Cleddau was not without its faults. But the latest Welsh crime drama on S4C had enough to entice viewers back for more. Each new addition to the Welsh-language channel’s catalogue needs to bring something new, fresh and exciting, such is the proliferation of the genre since Y Gwyll / Hinterland. And while there are well-trodden tropes in this latest series, there are also moments of nail-biting tension, surprising twists, and interesting character portrayals.
Elen Rhys plays Ffion, one half of a detective duo whose fairly unique quirk is that they used to be an item. Before Rick, played by Richard Harrington, had an affair with nurse Helen (Rhian Blythe). Ffion left in the aftermath, but returns a decade later to help solve the case of a copycat murderer. The two are paired back together, and there are no surprises as to how their relationship develops. But despite this stereotypical storyline, it is used to good effect to portray Rick as a rather manipulative and controlling character. Themes of trust and truth play out between the two but spread into the lives and stories of other characters around them. Including the man charged with the original murders, Paul Harvey, played with cold, calm villainy by Ian Puleston-Davies; and his wife Anna (a deceptively vulnerable Eiry Thomas).
There are elements of Sherwood and The Killing in its carousel of potential suspects from a close community all-too-familiar with original events. Both Gwydion Rhys (as Ryan Moss) and Matthew Aubrey (as Mel Owen) give excellent, if not highly conventional, portrayals of troubled men accused of the latest killing. Such typical character types offer nothing novel. Just as the shots of Jamie Tilston (Sion Alun Davies) beforehand spoil the on-screen revelation of his real identity. However, scenes like the school shooting in episode two, the showdown in the cellar and everything that comes before it in the final episode, ensure that Cleddau maintains the interest and excitement of the viewer. It is these sections that offer up real suspense. And as the series edges nearer to revealing the killer, threading all the characters together to build real tension, one feels validated in sticking with it through the less intriguing stuff.
For all its flaws and predictability, Cleddau also has its fair share of the edgy and enthralling. It is a shame that such moments are not too many to make this series a real thriller. But it is a crime drama with enough unexpected turns to perhaps claim itself as a murder mystery. Either way, if you’re prepared to persevere with it, the end is worth the wait.
Click here to watch the full series on BBC iPlayer.
The recent S4C series Fflam was a slow-burner. I came to it with much intrigue and anticipation given the concept and acting talent. The idea of a woman, Noni, seeing her dead husband, Tim, again, after years believing he had died in a fire, sounded like the perfect spark from which to ignite a gripping narrative. The fact that Gwyneth Keyworth (Bang, Craith/Hidden) and Richard Harrington (Hinterland, Poldark) played the lead roles only served to excite and offer high expectations. So it was with sadness and disappointment that I found myself ultimately underwhelmed by its delivery. It did manage to strike a few matches throughout its six, half-hour episodes. However, these failed to set alight a series that was full of promise but low on satisfaction.
The performance of Keyworth was central to giving the drama a certain kudos that it may otherwise have lacked. Her ability to convey Noni’s internal emotions onscreen was akin to that of Eve Myles in Keeping Faith. The difference here though was the oft understated way that Keyworth did this. She demonstrated the conflict between grief and passion going on inside through very subtle expression which, nevertheless, with help from the camera and editing suite, was full of depth. Her appearances alongside Richard Harrington, particularly those in a restaurant over dinner, provided some of the most enjoyable scenes of the series. The gentle charisma that Harrington brought to his mysterious character, opposite the romantic infatuation that Keyworth successfully tempered as Noni, helped create a sense of ease. It led to a free-flowing script that meant their conversations appeared natural onscreen. These moments became absorbing as a result, giving some required fizz to a drama that, outside of them, felt a bit flat and unengaging.
I wonder whether the drama would have benefitted from having a more compressed narrative in which its central premise was played with a lot sooner and the final twist in the series was incorporated a lot earlier. This would have contributed to the retention of dramatic tension that, instead, bubbles up and then peters out at several points throughout the series. It is not helped by the fact that the characters of Deniz (Memet Ali Alabora), Ekin (Pinar Ögün), and Malan (Mali Ann Rees) were underserved by a subplot that lacked the same level of emotional investment as the main thread. And even in respect of the lead characters’ encounters, the pull-and-push of their developing relationship, though understandable in capturing Noni’s reticence, became increasingly frustrating. It simply took too long to progress, with the undesired effect being that, at points, the series felt like it was playing for time. By the time the revelations started to come out in episode five, they did not elicit the same degree of interest as they might otherwise have done had the narrative been pacier. As such, Fflam would have benefitted from an adaptation that condensed its source material into much more flavoursome half-hour chunks than we get here.
Overall then, Fflam has plenty of plus points to prevent it from being a damp squib even as it fails to set fire to the landscape of Welsh television drama. It is refreshing to see an image of Wales that is multicultural and inclusive played out onscreen, even if the presence of diverse characters only serve to circulate around a central narrative in which they play a limited part. Gwyneth Keyworth cements her status as one of Wales’ most exciting and talented screen actresses, with Richard Harrington and Mali Ann Rees again proving solid and reliable actors in their own right. If a second series is forthcoming, as expected, then Fflam has plenty of room for improvement. But it also still retains enough unrealised potential to warrant another chance.
In the third part of my showcase series for Get the Chance, I thought I’d share five of my favourite Theatr Clwyd shows in conjunction with their #TCTogether project.
Under Milk Wood
I have this production by Terry Hands to thank for falling in love with theatre in the first place. On a cold February night in 2014, I sat on the end seat in the front row of the Anthony Hopkins theatre and was transported to the wonderful world of Dylan Thomas’ famous drama. It featured an excellent cast of Welsh actors whose delivery of the language created a very vivid experience. I can still see the character of Polly Garter (Katie Elin-Salt) under intense spotlight, transfixed by her plaintive tones as she sang of lost love. A true ‘conversion’ experience for me.
Junkyard: A New Musical
Writer Jack Thorne has gone on to critically-acclaimed success with TV dramas like The Accident. This play came hot on the heels of the first in his National Treasure trilogy, and was every bit as good. Set in an adventure playground, it featured a rowdy group of teenagers led by the outspoken Fiz (Erin Doherty). Doherty led the company brilliantly, giving a pitch-perfect performance in a production that used lighting and music to brilliant effect. Emotive and funny, it shone a light on the overlooked corner of an urban landscape.
The Importance of Being Earnest
Anyone who has witnessed the annual Rock ‘n’ Roll pantomime will know that the costume department at Clwyd are a talented bunch. They excelled themselves with this production however, with costumes that were every bit as colourful as the spectacularly rich scenery. Oscar Wilde’s already witty script was brought to life hilariously by the physicality of actors Matt Jessup and Nick Harris in particular. Brilliantly funny, I don’t think I’ve ever had so much fun in a theatre.
Home, I’m Darling
Deservedly winning awards (Best Comedy among them), Laura Wade’s critique of nostalgia and domestication was a beautifully-constructed, well-acted and aesthetically-glorious piece. The bold and impressive scenery – effectively a life-size doll’s house – would have been enough to bowl you over. Thankfully, the acting talents of Katherine Parkinson and Richard Harrington, clearly in their element, brought plenty of humour and vulnerability to their lead characters. It made for a highly original, thoroughly enjoyable play.
Pavilion
I loved this play. Playwright Emily White’s debut is a modern Under Milk Wood, casting a sharp, satirical and dark eye on life in small town Wales. It featured an incredible array of performances from established actors and upcoming talent alike. The true genius of this production was in its realism; the way that White created drama out of the everyday and mundane. The cast brought it to life superbly. I cannot wait for it to be revived for the stage again already.
What are your favourites? Share them using the hashtag #TCTogether, where you’ll also find lots of creative ideas to do during lockdown @clwydtweets.
Opening The Other Room’s The Violence Series autumn season is Matthew Bulgo’s American Nightmare. Bulgo’s third play with Cardiff’s pub theatre, this rendition tackles class and the flaws in the reality of the ‘American Dream’.
American Nightmare follows two pairs of very different kinds of people. The elite class, represented by Clara (Ruth Ollman) and Greg (Chris Gordon) plotting a new scheme to control and exploit the working and under classes, which are represented by Daria (Lowri Izzard) and Elwood (Gwydion Rhys).
Clara and Greg sit, drinking and dining in a New York skyscraper as Clara entices Greg with an extremely lucrative business proposal that will change the landscape of America both physically and culturally.
Meanwhile, in a bunker somewhere in America, Daria and Elwood are taking part in a programme that aims to produce a set of obedient, low incentive driven workers under the orders from a character named ‘The Program’.
The writing from Matthew Bulgo is perfectly good for the most part. Clara and Greg are a little too prominent and really it’s mostly unnecessary in the grand scheme of things. The characters exist mainly to provide context rather than any real drama or story within itself. Context that could be more creatively explained and unravelled in a less predictive manner.
The story mainly comes from Daria and Ellwood, this is where we get tension and see in depth, complex characters. Daria’s story arch is brilliant and everything she does makes complete sense in the context of the play. Every move is calculated perfectly from Bulgo.
Ellwood is a well written, realistic character for who you feel both sympathy and frustration. He has his ideas of how the world is and is firm in being resilient in the face of it, but at his heart just wants to get away from it all and live off the land.
The direction from Sara Lloyd is understated. Lloyd expertly controls the manipulation and psychology between the two sets of characters that drives the drama and tension of the play. This is American Nightmare’s real strength and Lloyd makes the most of it.
Lloyd is accompanied by an excellent production team with Delyth Evans’ set in particular standing out. The highlight of which is a pair of sliding doors that part to unveil the elite and close to lock the poor in to the bunker.
Katy Morison’s lighting is simple, yet effective, working in conjuncture with Simon Clode’s videography that transitions the scenes. Tic Ashfield’s sound design doing its bit which blends nicely without invading the rest of the production.
Lowri Izzard is fantastic, perfectly displaying Daria’s journey and ulterior motives subtly throughout the play with the use of body movements and tone.
Gwydion Rhys is completely believable if not only for a poor Southern accent. His facial expressions are great as he transforms into Elwood. His descent is a shining light of the play and Rhys is a huge reason for this.
It’s hard to criticise Ruth Ollman and Chris Gordon but also hard to take too much from their performances. They have good chemistry and do their job well, but their characters don’t have much depth to delve into.
The main downer on the acting is Richard Harrington as ‘The Program’ who appears via video. As an authority figure with no remorse, he feels quite soft and unbelievable in the role.
There is one
issue that should not go unspoken in criticism of the play.
To ignore
race is a complete whitewashing of the issue of class in America. They are intrinsically
linked and whilst a white writer may not feel it appropriate to pass comment
the play is much weaker for overlooking this gaping hole in its content.
This is a
play set in a dystopian America – but what is written in fiction only holds
worth when considered in the context of it relates to real life. It is impossible
to talk about poverty, class and the American Dream in America without speaking
about race if you want to speak with true credibility.
Ignoring
race is potentially problematic considering what is suggested in this play has
literally happened and continues to happen to people of colour in the USA. This
is reality for some, this is what is happening.
The play is
exaggerated reality, yes. But all this play does is exaggerate the realities of
people of colour in America with a white face. If accidental a huge stroke of misfortune.
If intentionally ignoring the race aspect to poverty and class in the USA,
problematic.
The excuse of “that’s not what the play is about” isn’t valid here. The writer simply must tackle it to some extent. This is a whitewashing of the issue it deals with and the play is weaker for it.
Not to take away from what is there which is technically good writing, excellent production and some great acting. The issues with American Nightmare are what is missing in its content rather than its generally strong core.
American Nightmare at The Other Room, Cardiff 10th September – 29th September 2019 Written by Matthew Bulgo Directed by Sarah Lloyd Starring: Lowri Izzard as Daria Gwydion Rhys as Elwood Ruth Ollman as Clara Chris Gordon as Greg Richard Harrington as The Program Designer: Delyth Evans Lighting Designer: Katy Morison Sound Designer/Composer: Tic Ashfield Videographer: Simon Clode Production Manager: Rhys Williams Stage Manager: Hattie Wheeler Assistant Director: Duncan Hallis Casting Director: Nicola Reynolds Production photography: Kirsten McTernan Fight Director: Kev McCurdy Associate Director: Matthew Holmquist Accent Coach: Emma Stevens-Johnson BSL Interpreter: Sami Thorpe Set Builder: Will Goad
Update : the production is transferring to the West End’s Duke of York’s Theatre for a limited season this January. Booking can be made at the highlighted link above. (4 / 5)
Travelling along the sun-drenched roads of North Wales in the heat of an early July evening, I wondered whether it was the right time to be going to sit in a theatre. But Home, I’m Darling is worth suffering a bit of sweat for. It may have been warm in the Emlyn Williams Theatre, but that did not stop me from thoroughly enjoying Laura Wade’s brand-new play. With a sizzling set, a bunch of colourful characters, and a blooming good narrative blossoming with resonant themes, this is a must-see for the summer.
As I entered the auditorium, I gasped with amazement at the sheer size and scope of the set. To be greeted by a full scale model of a house was not what I expected. I was positively overwhelmed by the sheer level of detail in its interiors and furnishings. The work of designer Anna Fleishle and her team is nothing short of remarkable. It transports us immediately into the world of the 1950s, where we meet a “sickeningly happy” couple played by Katherine Parkinson (The IT Crowd, Humans) and Richard Harrington (Hinterland, Lark Rise to Candleford). Parkinson plays the doting housewife to Harrington’s sporting gentleman. Set to the music of Mr Sandman, there is an air of pristine perfection about this opening scene. The song exudes a dream-like state in which these two characters exist and, indeed, as Harrington’s Johnny pops on his hat and coat, takes his lunchbox packed by Parkinson’s Judy, and kisses his wife goodbye, it all feels rather like a Sunday afternoon TV movie. So when Parkinson pulls out an iPad from a drawer, it creates a moment of dissonance that reverberates on the saccharine glass of this play’s squeaky –clean window.
Parkinson gives an accomplished performance as Judy, an idealist who delights in the idea of immersing herself in the 1950s by becoming a full-time housewife. It is not just the décor that oozes a nostalgic charm. Along with some incredibly elegant dresses, Parkinson’s slightly RP-toned accent and gliding movement paint a picture of a simple existence far removed from the complications of modern life. Judy is a woman who has chosen this life of frugality and servitude. Parkinson has her defend this choice with the kind of razor-sharp wit that is a staple of her acting persona. Even the impassioned speech of her feminist mother (Sian Thomas) seems to have little effect on her. It is a succinct and timely reminder of all that women have fought for over the past 100 years. It may not have broken through the resolute edge that Parkinson provides Judy with, but it was powerful to hear as an audience member. Such a resolute appearance is marked by an air of vulnerability however. Judy has lost herself in the pursuit of her ‘50s dream. It is left to Johnny to help her find herself again. Harrington invests warmth and loving care into his character. He could not be further removed from his troubled and brooding character in Hinterland. When he does get angry, it is a tone that will be familiar to fans of the BBC Wales crime drama. It seems that anger is what Harrington does best. Yet there is a distinctly soft side to Johnny that shows another side to Harrington’s acting ability that I’ve not seen before. It was refreshing to see, and proves his worth as one of Wales’ finest contemporary actors.
Sadly, we don’t get to see near enough of another of Wales’ finest. In my opinion, Sara Gregory is up there with Eve Myles in terms of her acting ability and characterisation. Her turn as branch manager and Johnny’s boss Alex in Home, I’m Darling is short but unsurprisingly sweet. She brings a professional charisma and expert flair to her character that makes her a formidable force for the short time she is on stage. When her, Parkinson and Harrington are together, it is one of the most electrifying scenes of the whole play. Kathryn Drysdale and Barnaby Kay complete the cast, both giving solid performances as husband and wife duo Fran and Marcus. Such is the quality of their characterisation that they could easily be the lead characters in another story. It is testament to Laura Wade’s writing that, instead, we have them occupying this space as minor, but no less significant, characters to Parkinson and Harrington’s leads.
Due to move to the National Theatre in London later this month, Home, I’m Darling is worth catching if you are in or around North East Wales. Director Tamara Harvey and her team have again excelled themselves with a production that is just as, if not even more memorable, than 2017’s Uncle Vanya. The set is certainly as iconic as the one created for Uncle Vanya, and the cast that has been assembled is again oozing with quality. Katherine Parkinson feels like she was made for the part of Judy. Richard Harrington is brilliant as her husband Johnny. Sara Gregory and the rest of the cast are given characters that could quite easily be lead parts in an alternative version of events. Massive credit must go to Laura Wade for creating such an inventive and mesmeric play. She has created something that perfectly encapsulates the zeitgeist, and that includes the weather at present. Amidst the current spell of sunny weather, it is worth venturing indoors for an evening in order to see this wonderfully colourful creation.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(3 / 5)
(4 / 5)
