(5 / 5)
The smash hit musical production returned to the Centre with director and choreograph Craig Revel Horwood from Strictly Come Dancing at the helm. Who gave this tried and tested production that has gone through various permutations since the 1992 Whoopi Goldberg film a real musical heart.
Sister Act tells the hilarious story of Deloris Van Cartier, a sassy nightclub singer in 1977/78 in need of witness protection after witnessing a murder. Deloris is hidden in the one place she won’t be found – a convent! Forced to wear a habit, and eat nothing but mutton, Deloris clashes with Mother Superior and begins to lead her fellow sisters astray, until she finds her calling in teaching them to sing.
Alexandra Burke really shines in the lead role of Deloris Van Cartier, each witty line or facial expression is delivered to perfection. However, it is when she opens her mouth to sing, we’re reminded of why audiences voted for her in there millions during 2008 X Factor. Burke’s voice never falters; her dancing is wonderfully expressive and comedic, it is her ability to make her audience laugh while ensuring their feet never stop tapping, makes her truly sensational as Deloris.
This show contains a fabulous group of musicians, who, instead of playing in the orchestra pit, take the role of various characters such as the trumpet playing Mother Superior played by Karen Mann. Who along with Burke are truly at the heart of this warm, funny and entertaining production but they are by no means the only ones. The whole cast displays a great deal of energy and enthusiasm and present as though they are loving life when signing Alan Menken original musical numbers including ‘Raise Your Voice,’ ‘Take Me to Heaven,’ and the show-stopping finale ‘Spread the Love Around.’
From the first moment to the big finale, the show is wonderful. A perfect lead in Burke, a great cast as well as a superb script and songs have been combined perfectly by the director into perhaps the best show to grace the stage of the Centre in a long time.
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/SisterAct/
Tag Archives: Review
BSL, Subtitled Video review, You’ve Got Dragons by Taking Flight Theatre Company performed at Chapter Arts Centre, Cardiff reviewed by Steph Back.
A BSL subtitled video review of You’ve Got Dragons by Taking Flight Theatre Company performed at Chapter Arts Centre, Cardiff reviewed by Steph Back.
Production information
“A delightful tale of one child’s journey to come to terms with their dragons, told in Taking Flight’s unique style. With toe-tapping music, this highly visual, sensitive production is a humorous and touching exploration of the ‘dragons’ we all face.
A fully accessible intergenerational show featuring creative captioning, BSL and audio description it is a treat for all the family … and remember ‘no dragon is more powerful than YOU’!”
Review The Boss Baby by Jonathan Evans
(4 / 5)
When you are a child everything is so much more dramatic and threatening, especially when you look back on it. What was maybe a small argument escalates into an epic battle, what was most likely a chase around the garden is a fierce race. The Boss Baby understands this concept and uses to tell it’s story in the most entertaining way.
A man named Timothy (Tobey McGuire) tells a story about how when he was young (now played by Miles Christopher Bakshi) he lived with his mother (Lisa Kudrow) and father (Jimmy Kimmel). He was very imaginative and was encouraged to use his imagination to play games of adventure. All is happy, but one day a taxi pulls-up outside his house and a baby exits, wearing a suit, sunglasses and carrying a briefcase.
Alec Baldwin as the baby is so appropriately cast against type. As a serious veteran actor he’s not the first name that comes to mind when you think of sweet baby. Though this isn’t his first time in animation, he’s given his voice to Cats & Dogs, The SpongeBob SquarePants Movie, Madagascar 2 and Rise of the Guardians. He has a greatly distinctive, gravely voice that of course doesn’t work for a baby, that’s why it works, it makes the whole thing so much more absurd and funny. But also in terms of his performance he is able to be sharp and cynical, petty and bouncy. For the baby body itself, it obviously has greater maneuverability than a real baby would but stays true to the stubby proportions that real babies do.
This isn’t the first movie to have the plot of a new child coming along, the first ones that come to my mind are The Rugrats Movie and Look Who’s Talking (you could also interpret that as the plot of Toy Story, but that’s irrelevant). The point is how well it tells it’s story. This is fun, enjoyable with all it’s over-the-top acting, situations and reactions, engaging for the eyes with the energetic and colorful animation, all of it will have you smiling. The filmmakers have very effectively put themselves back in the position of a seven year old. Where they can see things and interpret them in their own logic. They also inject things for the adults but smooth it down enough so the young-lings will laugh too.
Through Tim’s imagination we are able to see many visual variations on-screen. Some are more expressionistic and stylized but they all have the vivid colors and clean lines that make it all clear and accessible for all the ages.
One thing I do question is the conflict with the baby. Sure adults will be able to tell that this is stylized fantasy, but how the young children will take it and then treat their siblings is a bit more of an iffy subject.
The animation, character designs and backgrounds are all smooth and simple. The eye’s are large and round with not much detail in terns of facial features and the animators use this to create large, clear expressions that make the characters thoughts and reactions easily understandable.
I was genuinely surprised how accessible and likable this movie was. There is a great understanding of the workings of a child but also a focused goal on telling a story with a message that playtime is probably more fun with a playmate. It will more than entertain the young children with it’s silly names, comedic timing and stimulating colors and the adults will see a well crafted story and genuine sentiment. The phrase “Fun for the whole family” gets tossed around a lot, but this one really is.
Review Scarlett at Theatr Clwyd by Gareth Williams
(3 / 5)
There is much to love in Scarlett. This one act play is short and sweet. Yet don’t think it lacks depth. It tackles issues of identity, family and death in a very humorous and conversational way. Part of its appeal lies in the relationships between the three generations of women onstage – protagonist Scarlett, her daughter Lydia, and her overbearing mother Bette. Scarlett is having some kind of midlife crisis. Or is it? Whatever her reasons, she has decided to travel from London to rural Wales in search of a new place to live. The small stage represents a patch of Welsh countryside, on which sit two rocks and a dilapidated stone building. This building appears to be the perfect place for Scarlett (played by Kate Ashfield) to start a new life for herself. This is in spite of local landowner Eria (Lynn Hunter) insisting it’s a chapel, and Lydia and Bette referring to it as nothing more than a shed.
Writer Colette Kane uses these differences of opinion to create a very witty, sometimes poignant, script. The dialogue is often rapid. The characterisation is scarily familiar. I could see elements of my own family in all three generations of women, yet this only added to the humour. Joanna Bacon is superb as Scarlett’s demanding and self-righteous mother. There is a fierce outer shell yet an inner vulnerability to Lydia which Bethan Cullinane manages to balance effortlessly well. As for Scarlett herself, Ashfield has landed a strong and empowering role. She commands the stage, not imperiously, but simply by embodying the character so well. There is no doubt that this effervescent and strong-willed woman is the central figure in a play that is not afraid to speak plainly about sex, status and self-worth from a wholly-female perspective.
Kane’s script can be very subtle in its character arcs. I say this because the characters can feel fully formed when we first meet them, yet over the course of the play, there is a change in their outlook and perspective. This is not always obvious. Sometimes, the change is too subtle. When the lights came up and the cast took their bows, I admit that I was slightly surprised. I was expecting an interval, to stay with these characters beyond 75 minutes. It is testament to Kane that they became so familiar and likeable, yet I couldn’t help feeling that there was more of their story to tell. As a result, I left feeling slightly dissatisfied: not what I wanted to feel.
Scarlett is a play hardwired in reality. It deals with identity and relationships in a very unassuming, conversational way. I don’t think it’s a standout production, but it certainly feels relevant. It may be short and sweet, but it has a lot to say about life, love and loss.
https://www.theatrclwyd.com/en/whats-on/scarlett/
Review National Theatre Live: Twelfth Night by Danielle O’Shea
(4 / 5)
Twelfth Night is Shakespeare’s classical comedy about love, gender and things not always being as they seem. This story became all the more poignant considering recent discussions of gender and sexuality.
In his pre-show interview, Director Simon Godwin described his interpretation as being a comedy wrought with pain and this was evident throughout. Despite the humour which trails through almost every scene, it is undeniable that each character has their own pain – whether this be due to grief or unrequited love – and Godwin made sure not to shy away from this pain but instead to embrace it. The emphasis on character was drawn even stronger by the minimalist settings which centred around a staircase that was manipulated from scene to scene from boat to church to club and so on.
https://youtu.be/O_93ev18DcY
Each member of the cast was incredible and their passion for their role was palpable however two stood out for me. Tamsin Greig as Malvolia presented a stunning portrayal of the stern turned vulnerable steward who every member of the audience empathised with whether it be from her assumed romantic triumph to downfall. In addition, Daniel Rigby forced the character of Sir Andrew Aguecheek into the spotlight with an absolutely hilarious performance that left everyone in tears.
Overall, it was a marvellous experience which was incredibly inclusive in its staging leaving little room for those unfamiliar to Shakespeare to go astray. In Godwin’s interpretation, the political and social connotations of the show were celebrated which encouraged conversation both onstage and off that had previously gone unmentioned. Altogether, it was a show that united both audience and cast in spellbinding switch-up of the classic.
National Theatre Live: Twelfth Night
Gwyn Hall, Neath
April 6th 2017
Running time: 3 hrs 10 mins
Author: William Shakespeare
Director: Simon Godwin
Design: Soutra Gilmour (Designer), James Farncombe (Lighting Designer), Shelley Maxwell (Movement Director), Michael Bruce (Music), Christopher Shutt (Sound Designer), Jeannette Nelson (Company Voice Work), Kev McCurdy (Fight Director), Alice Knight (Staff Director)
Cast: Tamara Lawrence, Daniel Ezra, Oliver Chris, Emmanuel Kojo, Brad Morrison, James Wallace, Tim Mc Mullan, Niky Wardley, Daniel Rigby, Adam Best, Doon Mackichan, Phoebe Fox, Tamsin Greig, Imogen Doel, Whitney Kehinde, Ammar Duffus, Claire Cordier, Mary Doherty, Andrew MacBean, Imogen Slaughter.
Review Caitlin, Light, Ladd & Emberton, Theatr Brycheiniog by Hannah Goslin
(5 / 5)
As a huge fan of Eddie Ladd, Deborah Light and Gwyn Emberton, I have been excited to see Caitlin for a long time – missing the chance when it came to London, my visit to Brecon happily coincided with their Welsh tour.
Directed by Light and choreographed and performed by Emberton and Ladd, the story of the piece is based upon the poet Dylan Thomas’s wife, Caitlin, her turbulent life with the Swansea celebrity and her alcoholism beginning before and continuing after his death.
Set out in a circle of chairs, the story unfolds before us as an AA meeting but the words are simple sentences and the rest purely physical. The chairs soon became metaphors and symbolism for lovers, baby chairs and Thomas’s gradual success until his death where he (literally) falls from grace.
https://youtu.be/_21dOoSAqWc
I do feel slightly biased in the fact that these three dancers are such huge inspirations to me, but I couldn’t express how fluid and creative the movement were. Times where you could only imagine pain and impact of the body seemed so gentle and as if they did not hurt the performers was astounding. And they used every bit of space and every chair. It was a wonderful take on Caitlin’s life.
My only argument would be that I wanted more of the physicality and less of the chairs. While I completely understood the reasons behind the chairs, as a fan I just wanted more – perhaps that’s just me being greedy!
To accompany, the music was interesting, with no social/cultural significance but only to heighten the movement. And no particular theatrical lighting, giving the room a naturalistic feel rather than something created for theatrical purpose.
Caitlin, as all of Light, Ladd and Embertons work as a group and as individuals is a triumph. A beautiful representation of love, addiction and pain.
Directed by Deborah Light
Devised with and performed by Eddie Ladd and Gwyn Emberton
Sound by Siôn Orgon
Costumes by Neil Davies
Images by Warren Orchard
http://www.gwynembertondance.com/caitlin/
Caitlin – spring tour 2017
27-28 March // Aberystwyth
2 April // Laugharne
https://www.eventbrite.co.uk/e/caitlin-by-light-ladd-emberton-laugharne-shows-tickets-31967232854
5 April // Theatr Brycheiniog, Brecon
http://www.brycheiniog.co.uk
8 April // Theatr Ardudwy, Harlech
http://www.theatrardudwy.cymru/
11-15 April // Chapter, Caerdydd/ Cardiff
http://www.chapter.org/caitlin-0
21 April // Ffwrnes, Llanelli
http://www.theatrausirgar.co.uk/en/
23 April // Llandrindod Wells
http://dawnspowysdance.org/events/
25 April // Barry Memo
http://www.memoartscentre.co.uk/events/caitlin-2/
28-29 April // Galeri, Caernarfon
http://www.galericaernarfon.com
4 May // Taliesin, Swansea/ Abertawe
http://www.taliesinartscentre.co.uk/
Review: Rent by Gemma Treharne-Foose
First things first, let’s get one thing clear – I am a steadfast ‘Rent Head’ and after this show – will remain so probably for the rest of my life and I make no apologies for this.
That being said, it’s been a whole 19 years since I was wowed (age 17 – yikes) by Jonathan Larson’s rock opera for a modern age. I wasn’t sure if the years had been kind to this production – would I even like it anymore? The show’s UK tour marks the 20th anniversary of the show.
Rent may have been billed as a parable of the modern age (inspired by Puccini’s opera La bohème), but it was also a snapshot of the 90s era, too: the cusp of the digital revolution, the internet age, the crude expansion of gentrification or ‘hipsterfication’ of previously bohemian neighbourhoods, the effects of AIDS on young communities following the 80s epidemic and scare stories. Maybe it would have lost some of it’s relevance? I had my reservations.
Back in 1998 at Shaftesbury Theatre in London, Rent was still very much in it’s infancy and was at the peak of it’s popularity, having won a shower of critical acclaim stateside (Pulitzer drama prize,four Tony awards, six Drama desk Awards, ‘Best Musical’ Awards and an Obie Award).
In ‘98, this was a show unlike anything else I had seen before. When I last saw it. I was an idiot teenager with a questionable taste in ridiculous infantile men. By the time I emerged from that theatre though, it shifted my view of the world.
But suddenly, my childish attempts to write poetry suddenly had context and purpose. I too wanted to dance on the table wearing spandex and hang from poles singing at the top of my voice like Mimi Marquez, go on protests like Maureen and befriend drag queens just like Angel Schunard.
In fact I did all of things…even though I couldn’t legitimately call myself a bohemian due to my love for global coffee chains. But even so – it didn’t even matter that my poetry was shit! I loved the way Jonathan Larson had pushed boundaries in the theatre world. I even went on to study Theatre and Media Drama and found my own little theatre circle…and my battered Rent CD (original Broadway cast recording) has accompanied me on all my journeys around the world since my 17th birthday.
So how to go about fairly reviewing a show that I have such a strong personal attachment to?
It may have been 19 years since I last saw Rent, but I can certainly see the differences (and improvements).
Lee Proud’s choreography was electric (fans of La Vie Boheme will love the table and chair dance), Angel’s acrobatic dance routine and of course the memorable ‘Tango Maureen’ – better and edgier than I remember at the Shaftesbury Theatre. Anna Fleischle’s set design includes multiple scaffolding layers on all sides and there nice touches – projecting Mark’s film on an old sheet, a trapeze, a pole, moving structures as vehicles for the characters, cages during the song ‘Contact’ – Maureen’s hilarious costume surprise during her protest song.
Rent is centred around a group of young struggling artists in New York’s East Village – they are fighting the property expansion and development which threatens to take over their performance space and remain true to their artforms and to themselves. I know how this sounds! And yes – over the years Rent’s edgy style (and way of incorporating social commentary into a musical) has been mercilessly parodied and skewered by the likes of Team America.
And yet! There are so many layers to unwrap and musical styles to bask in throughout this show…and try as I might even all these years later after seeing the first show in 1998, I couldn’t get through the first three songs without ruining my mascara and blubbing (I also snorted out loud…in front of some minor Welsh celebs in the audience. Oh well!)
It’s sometimes a mistake to get so accustomed to an original cast recording that you can’t imagine anyone else singing those parts. All these years, I had no idea I was loving the voice of someone who would later become the voice of a Disney character (Idina Menzel, the original cast member for ‘Maureen’ went on to become the voice of Elsa, much to the annoyance of parents worldwide who had to listen to ‘Let it go’ 1,000 times a day).
I wasn’t sure how Lucie Jones (an X-Factor contestant – pah!) would handle the role of Maureen. And I was entirely wrong to pre-judge her due to my dislike of the X-Factor because not only did Lucie Jones absolutely SLAY the role of Maureen, she brought out even more of a kooky side to her (and single-handedly inspired me to lose three stone so I can look as amazing as she did in that body stocking! Wow).
Ryan O’Gorman’s sweet portrayal of Collins was beautiful – and his silky baritone vocals not only matched the calibre of the broadway version of Rent but perhaps even went one step beyond it.
The interaction between Leyton Williams (who previously had the title role of London’s Billy Elliot) as the lovely Angel and Collins was a joy to witness – and Layton brought a whole new talent to Angel’s ‘Today for you, tomorrow for me’ routine with astonishing leaps, spins and flips….and all in outrageous heels and a cloak coat.
You might think Jonathan Larson’s energy and optimism in the music and lyrics may come across as syrupy and hammy….but lord knows we need this more in 2017 than we did in 1996 when Rent opened.
For me Rent’s underlying sadness is that for all it’s popularity and influence, writer/composer Jonathan Larson’s early death (age 35) meant that he never got to see any of the success and joy that this musical has brought to people over the last 20 years.
Even all these years later, Larson ‘s story remains relevant and engaging for modern audiences. We are what we own. We’re knee-deep in a culture of mindless McJobs and as Mark and Roger sing: ‘We’re living in America…leave your conscience at the tone’. In the age of deportations and walls and blind gun laws (let along the way the tide is turning against LGBTQ communities), I really do question humanity sometimes.
I don’t know how many terms Donald Trump has or how many years of damage our current generation has ahead of them, but though it all I’ll still listen that old Rent CD of mine and remind myself that ‘We’re Okay’.
Bruce Guthrie’s production and Cardiff’s warm and inviting reception to Rent’s songs show me that there are still good people in the world. And I know this because all of them were mooing, crying, laughing and on their feet by my side at the end.
I’m definitely not leaving it another 19 years before I see this show again!
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/Rent/?view=Standard
Type of show: Theatre
Title: Rent
Venue: Wales Millennium Centre (Cardiff)
Dates: 3-8 April
Book, Music and Lyrics: Jonathan Larson
Directed by: Bruce Guthtie
Director/choreographer: Chantelle Carey
Billy Cullum (Mark Cohen)
Ross Hunter (Roger Davis)
Ryan O’Gorman (Collins)
Layton Williams (Angel Schunard)
Phillippa Stefani (Mimi Marquez)
Lucie Jones (Maureen Johnson)
Shanay Holmes (Joanne Jefferson)
Running time: 2.5hrs (approx)
Produced by: Idili Theatricals Ltd / Theatr Clwyd
Review Ghost in the Shell by Jonathan Evans
(3 / 5)
Mamoru Oshii’s Ghost in the Shell is one of the greatest pinnacles of intellectual science-fiction and cult fan-base. It is material that has passion from both sophisticated movie analyzers and the enthusiastic nerds that wear the t-shirts. It popularity and longevity has been more than proved so it is only natural that an English speaking studio would seek to adapt it.
The question of Ghost in the Shell has always been about the progress of technology and how that will effect humanity. What is the line or organic and the manufactured for the living?
You shouldn’t always have to compare one movie to another, you don’t need to compare 2001: A Space Odyssey to Star Wars, however you do need to compare the original Oldboy the the remake, because it has the same name and tells the same story. But how much? You also shouldn’t want the exact replica, because then it’s just a waste of time. With a remake of any sort, you need something that understands the material but tells it in it’s own unique way.
Director Rupert Sanders (who also made Snow White and the Huntsman) has a mastery of creating extremely good looking movies. He and his team have captured the world of the source material with the bright vibrant lights of all the advertisements, the dark shadows of the alleyways and the intricate as-well as organic look to the technology.
Being that it’s source material is Japanese the decision was made to incorporate a lot of Japanese aesthetics and cast members into this American adaptation. It comes off odd, I don’t know whether this actually takes place in Japan or whether or not there’s just some big cultural merging that has happened over the years.
Scarlett Johansson as the Major is different from what people are use to. She is more expressive and vulnerable, but that’s because her origin is changed (I’ll forgo that explanation). However she is still stern and commanding, can clearly combat a threat in either hand-to-hand or gunfire.
This is not a straight remake of the original, it is more like a channeling. It takes moments and set-pieces from the original and tells an altered story with it. You will recognise situations an images, but their place and context has change or altered.
The original movie was able to have loads of detail within it at times to explain certain elements of how the world works, but it also allowed other moments where it left it to interpretation original had blank spaces, this over explains.Rarely does it leave moments of ambiguity, this is more like a traditional Hollywood movie with ensuring all the questions are answered.
Is this still Ghost in the Shell? Yes, this is the world and it asks similar questions. It is not as unique or as haunting as the original but then it’s not trying to be a straight adaptation of it anyway. This is one of the best looking movies out right now and probably will be for awhile. It will also make you ask questions, not super deep questions that you can find in other Science fiction material, but their still worthwhile questions and all while being enveloped in a luscious conceived and realized world.
Review Wild Card, Dan Daw, Sadlers Wells by Hannah Goslin
(4 / 5)
Over at Sadler’s Wells we were taken into a smaller studio to the side of the usual theatre. This venue was very welcoming and intimate which I thought was ideal for the dance come performance arts pieces.
Both pieces were conceived by Graham Adel noted for his work challenging the social norm and focussing on people.
First half of the show was a piece called Gender F**k (er). Featuring one woman, Keren Rosenberg, the 50mins performance aimed to cross the barriers of gender. A relatively slow piece, Rosenberg transforms her body from masculine to famine throughout with astonishing movement and physical change. There are times where clothing or props are used to help create these different ideas but the transformations are fluid and at times mixed showing stereotyped differences but also highlighting realistic opinions of little difference .
Very adult in its content, it is quite raw and almost hypnotic as Rosenberg manages to fill the space with her movement.
The second half saw Dan Daw in On One Condition. The set was a like a above view / blueprint version of his family home giving it anonymity but also taking away any emotional ties. The piece shows his life in a snapshot with short spoken tales and movement to catchy music.
Daw has a disability that affects his movement but uses this to create beautiful images and movement highlighting a key message in the piece about not letting things stop you in your dream and the ability for everyone to do anything. It isn’t a hindrance but actually inspiration and used to its advantage.
He’s also very comical, not only poking fun at himself and at his disability but wider humour in satire of dance themes and genres. What I loved so much about this piece was the sheer intelligence in the concept and creation but also the honesty.
Two very different pieces, it was interesting to have a mixture of concepts and the clever ways both Graham and Dan Daw create a narrative; sending out vital messages about today’s society.
http://www.sadlerswells.com/whats-on/2017/wild-card-dan-daw/
Review Junkyard: A New Musical at Theatr Clwyd by Gareth Williams
(5 / 5)
Please don’t misunderstand me when I say that Junkyard: A New Musical is a load of rubbish. It is by no means of poor quality, lacking in characterisation, or short on story. I am actually making reference to the dynamic and inventive set. It is made (almost entirely) of waste material: planks of wood, old tyres, thick blue twine. It is a representation of the ‘Adventure Playground’, an idea pioneered in the 1960s and ‘70s. It provided a space for kids to call their own, where they could embrace risk and unleash their creativity.
Writer and director Jack Thorne has made this the setting for his latest production, having been inspired by his father, Mick. As one of the first play leaders at an adventure playground in Bristol, Thorne pays tribute to him in the character of Rick. Played by Calum Callaghan, Rick is a laid-back, rather soft man who, nevertheless, has a big heart. He wants to build a ‘Junk Playground’ in Bristol and hopes to get a group of teenagers involved in the process. However, this rowdy group of misfits prove more challenging than expected. What follows is a tragi-comic story as the lives of these young people become inextricably entwined in the building of this unconventional structure.
Leading this group of kids is Fiz, an outspoken and confident young lady played to perfection by Erin Doherty. Doherty is a delight to watch. Utterly captivating, she makes Fiz an instantly loveable personality. Full of humour and expressive action, Doherty allows just the right amount of vulnerability to seep through. Her performance is enhanced by an incredibly strong supporting cast. Each brings such life and vitality to their characters that one could easily mistake this for a social documentary. I recognise in the passionate anger of Ginger (Josef Davies), the stuttering speech of Talc (Enyi Okoronkwo), and the crude insults of Higgy (Jack Riddiford), traits not only from my own teenage years but personalities that I came across during my own time as a (not very good) youth worker.
It is testament to the performances and quality of writing that one looks upon this as a marvellous work of social commentary. Yet what enhances this production to make it, in my opinion, a five-star play is the effective use of lighting and music. The opening sequence, repeated later in the play, is mesmerising. The use of torches and lighters immediately captures your attention and from then on, you are hooked. Stage-side throughout is a live band; always a winner in my book, but what makes this particular piece of musical theatre stand out is its intriguing blend of speech and lyrics. It uses a similar technique to the sung verbatim in London Road, yet here it is largely the internal thoughts and emotions of the characters that are sung as part of a more traditional narrative script.
There is plenty of humour in Junkyard. Some people may find the language a bit too crude or near-the-knuckle at times. There is also quite a lot of swearing. Again, some people might find this excessive. But I think it adds real charm to the whole thing. Its sense of realism cannot be questioned. It is a really immersive piece of theatre. It is challenging too. It makes you reconsider the very notion of what a playground is, how it is treated, and who it’s for.
Junkyards may be a load of rubbish, but this one is a work of art.
https://www.theatrclwyd.com/en/whats-on/junkyard/