(3 / 5)
All about my Tits
I know Anna, a bit. We worked together briefly in a local charity supporting people receiving mental health services. We stayed in touch as she moved her career into the arts. I interviewed her on Radio Cardiff about this play. Her play. Her life. Her tits.
Anyone thinking this was going to be about anyone else’s tits is mistaken. Any social-political commentary is suggestive rather than overt, Anna is her own one woman treatise on the elastic line between tit and breast, sexual objects and milk bar.
I really like the atmosphere as we walk in to take our seats. The room is dark, girls are dancing, pop is playing, pictures of breasts various on the screen. White Russians are handed out. Not sure we get the significance yet. Much clearer when the breast milk samples are offered ’round later in the performance.
The dancing girls insinuate themselves into the audience. Hecklers and fighters for the views of others on breastfeeding as it progresses. A messy milky fight for rights.
It is a monologue of Anna’s experiences, a voyage ’round her breasts from girlhood to adulthood to motherhood and beyond. She refers to her book, diary perhaps, along the way. Stories are started, we are left to draw our own conclusions.
Anna uses her heckling dancers to good effect. A male heckler is used to make the point that it is not a show for titillation, ‘though Anna is fearless and shares her body appropriately and willingly and with a gentle self-deprecating humour.
Now. Here’s the thing. I haven’t had children and frankly, I don’t know much about tits as mother nature never felt much inclined towards generosity in that department.
This is a play about Anna’s tits. I have no idea what she is talking about for most of the time. I can see that the audience loves it – mostly women, mostly women with children I would assume, they are nodding in agreement and laughing with Anna throughout. She relates back. It is very nicely done.
Anna is sharing the intimate details of her life and most of the women, and a few men, are with her. Laughing with the relief of their own confusion, pain, embarrassments and pleasures being given air-time.
The atmosphere becomes heady with love for Anna, for her honesty, for the sisterhood. But I am lost.
I am sitting next to another woman equally detached from the proceedings. We want to love her too but we can’t. We are not part of this. But we admire her, enormously.
Afterwards, by invitation, the foyer is full of women signing the cartoon tits laid out on tables, they are groupies waiting for their heroine, their voice, to join them. Something powerful is happening here.
The clue was in the title. This is a brave, funny, honest autobiography and like many things we don’t quite like, don’t quite understand, it will stay with me far longer than anything I have enjoyed more. It made me think about the changing roles of the breast in society and in nature. It made me slightly jealous.
PS typing this has been annoyingly tricky as predictive/corrective text replaces TITS with TITUS, BREASTS with BEASTS. Says it all really.
Seen: Friday, 7th July, 2017
Venue: Chapter Arts, Cardiff
Reviewer: Helen Joy for Get the Chance
Performer, producer, director, writer: Anna Suschitsky
https://www.chapter.org/all-about-my-tits
Tag Archives: theatre
Review: The Cardiff Fringe Theatre Festival Launch by Sian Thomas
The launch party of the Cardiff Fringe Theatre Festival was one I wholeheartedly enjoyed attending, and am glad I did so. The launch party promoted the upcoming Fringe Theatre Festival, (and more information about that can be found at their own website: http://www.cardifffringetheatrefestival.co.uk/) as well as talk of their sponsors, and the events and activities planned.
The launch party consisted of a lot of mingling at first, but betwixt such there were three performances, which I believe were all wonderful.
The first was a snippet of a play called Three Days, with a touch of realism and the intrigue of drama that I thought was fairly enjoyable. As a snippet, I was not aware of the context of the piece, but focusing solely on what I did see, I did enjoy. There was a part that particularly stuck out to me. There was an instance where the characters were discussing their occupations and how they’re treated in them due to their age. I put a lot of attachment to that, as sometimes I worry about pursuing my chosen career and being hindered because of my age. So, it was nice to see characters I could relate to like that, even if only briefly.
The second performance was one I enjoyed very much, and the comedy element to it was nice to see. I don’t recall having seen theatre based on comedy recently, so this was a nice new feeling.
The third performance was the one I think I enjoyed the most. Two poems were performed by Alice Downing (the marketing director of the Fringe Festival), and both made my heart feel a little bit softer and made me appreciate words and how we all use them so much. I already love and cherish words and writing and poetry, so hearing another’s is always time well spent to me, so it really was a wonderful time. Also, and not to drag this back up but, it was really funny when she flubbed a word, and managed to laugh along with the rest of us in the audience.
Each performance was well-performed, and each with different aspects that I appreciated immensely.
Based on the launch party, I have high hopes and a lot of optimism towards the fate of the rest of the Fringe Theatre Festival, and I am looking forward to attending and experiencing the other events that caught my eye. I can’t wait to see what these nights hold.
Review Not Dead Enough, New Theatre Cardiff by Jane Bissett
(5 / 5)
NOT DEAD ENOUGH
Review by Third Act Critic, Jane Bissett
NOT DEAD ENOUGH – if ever there was a understatement for a title of a play this is it. This adaptation, although from a book of the same title, was a very much alive, fast moving drama which moved at a pace that ensured the audience was running alongside, wanting more but never left behind.
Peter James is an acclaimed author of crime fiction and Not Dead Enough is the third book in a series of 13 featuring DS Roy Grace. As a writer of crime fiction James has researched extensively interviewing convicted murderers and has a great insight into the criminal mind and indeed that of the seasoned detective. As an avid reader I am always in awe of the person who has the ability and imagination to adapt a book for the stage but Shaun McKenna has this cracked. He has done an outstanding job of bringing the story to life in the most believable way and I am sure with the approval of the novelist, Peter James.
All credit to an amazing Creative Team of; Director, Designer, Lighting, Sound, Production, Costume and Props who have created an environment before us of a Pathology Laboratory, a Police Station and an outside scene where it is as easily believable as the more sophisticated setting of the lab. In fact the staging of this production is the key to its ability to draw the audience into the world that James’ has created for us.
It is difficult to talk about the story line without giving away too much. If you have read James’ novels then you will be familiar with DS Grace and know him already and you will be entranced as the James’ characters are brought to life before you.
I guarantee this crime thriller will have you on the edge of your seat. Indeed at one point the gentleman sat next to me exclaimed out loud, in reaction to DS Grace searching for something, “It’s not in the box!” clearly this audience member was totally immerced in the investigation, as were we all.
All productions have their leading roles however, in Not Dead Enough all the characters were of equal importance to the storyline and you would be easily convinced that they were police officers who had worked together for years not actors playing a role.
However, that said I have to mention Gemma Stroyan who played Bella Moy and Gemma Atkins who played Sophie Harington.
Stroyan gave us a confident portrayal of a female police officer which was seamlessly believable at every level, comfortable in her skin and confident in what she was about. I would like to think that maybe James would take her character in the future and promote her to the central character in her own novel(s).
Atkins also gave a polished performance as Harington keeping us guessing about who she really was and what (if anything) she was really up to.
During the interval the auditorium was alive with chatter and theatre goers were talking not only amongst themselves and also with neighbouring audience members as to what they thought was going on, who had done what and making predictions about how it was all going to conclude.
Like DS Grace, I wanted to believe the main suspect, but how could we?! What was the evidence showing us? Who was safe? Who was next? WHAT WAS GOING ON?!
It would be wrong for me to tell you more but be aware it is not over till it’s over and even then not all the questions will have answers.
At curtain call the volume of the applause was only just that above the whistles of approval. This is an unmissable crime thriller that will keep you on the edge of your seat and wanting more all the way until the end.
I for one will be looking more closely at James’ novels and perhaps it will be my summer reading for 2017.
And for the record, on the way out people were still chatting and animated about what they had just seen.
NOT DEAD ENOUGH plays at Cardiff’s New Theatre from;
Tuesday 13 June – Saturday 17 June at 7.30pm
On Wednesday, Thursday and Saturday there are performances at 2.30pm.
For further details about the show or to book tickets call the Box Office on 02920878889.
Review Rose, Home Theatre by Elizabeth Lambrakis
(4 / 5)
This is a one woman show performed by the great South African actress Janet Suzman. Lasting just over 2 hours it is a tour de force, telling the compelling and poignant story of an elderly Jewish woman looking back over her long life. It spans much of the 20th century, from a hand to mouth childhood in a Ukrainian village up to a comparatively affluent retirement divided between Florida and Israel. Encompassing Stalinist oppression, the Warsaw ghetto under the Nazis, escape to Palestine on board the infamous SS ‘Exodus’, and then resettlement in America, she tells of her family, lovers, husbands, children and grandchildren. It is a story punctuated by loss and grief, as well as love and redemption.
If the aim of theatre is to educate then this play certainly achieves that, as we learn so much listening to this character’s story. But that’s not to say that this is a dry didactic piece. It is entertaining too, drawing us in with the wonderfully engaging power of the story. Written by the award-winning American playwright Martin Sherman the writing is never dull, often moving and sometimes amusing, a narrative that carries the audience along on the colourful and eventful journey through Rose’s life.
As for Janet Suzman’s performance it is an impressive feat for any actor, never mind someone of her age, to perform a monologue of this length and power with such apparent ease and charisma. We were quite simply blown away by it, and it won a richly deserved standing ovation.
A mention should also be made of the director Richard Beecham, as well as the design, lighting and sound team (Simon Kenny, Chris Davey and Adrienne Quartly), whose various contributions combined to make this into a memorable piece of theatre.
Review The Importance of Being Earnest, Theatr Clwyd by Gareth Williams
(4.5 / 5)
There are certain smells that have the power to transport you to a certain place. Before the action had even started on the stage of the Anthony Hopkins theatre, I found myself standing in the middle of a bookshop, browsing the shelves and in my element. Clearly, the ingredients for the opening scene – consisting of an oak desk, antique tea trolley, red leather sofa and chipped wood wall panelling – had combined to create a most evocative scent. It was the perfect metaphor for my relationship with The Importance of Being Earnest. Suddenly, this play, which I had only previously encountered on paper, was coming to life right before my eyes, and in glorious detail too.
The costume department at Theatr Clwyd has once again excelled in creating the most exquisite outfits. The actors look positively fabulous, and the periodic detail is simply sublime. They capture the regal nature of the Victorian aristocracy perfectly: elegant, smart and, particularly in the case of Lady Bracknell, excessive. The Scenic Artists have clearly been inspired to compliment these gorgeous outfits with some spectacular scenery. In Act II especially, the Manor House garden is breathtaking. With huge green hedges and colourful flower beds, it is a wonder the stage is big enough to fit it all in. It is a real work of art, worthy of a horticultural (never mind theatrical) award.
Thankfully, this colourful production also contains some vibrant acting. It is not just the brilliance of Oscar Wilde’s script that is hugely affecting. The addition of physical expression means that the wit and wisdom contained within it are greatly enhanced. The humour is at times bitingly satirical, at times far more slapstick. Yet whether it is the mannerisms of Matt Jessup as John Worthing, the animated physicality of Nick Harris (Merriman), or the snobbish ignorance with which Hilary Maclean plays Lady Bracknell, this production certainly delivers on comedic value. It is infectiously enjoyable, in part from the fact that the entire cast seem to be taking such pleasure in performing Wilde’s work. They never seem to be overindulging in this opportunity though. They embody their characters brilliantly, and the strength of relationship between them is evident.
This seems a timeless play. One hundred years on, it still feels fresh. I still meet people today who care deeply about their public appearance, their social status and financial expression. It also feels like a timely political play too. One wonders, at least from media portrayals, whether today’s politicians aren’t the spitting image of Wilde’s characters. In both cases, director Richard Fitch has hit on something which makes this production enjoyably and humorously infectious. It is a beautiful production. A treat for the eyes, ears and (for me at least) the nose.
https://www.theatrclwyd.com/en/whats-on/the-importance-of-being-earnest/
Review Sister Act, WMC by Eloise Stingemore
(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/
REVIEW AGATHA CHRISTIE’s ‘THE MOUSETRAP’ BY JAMES BRIGGS
(4 / 5)
When looking at Murder Mystery stories it is extremely rare to find someone as talented and well-loved as Agatha Christie. On the 25th November 1952 Agatha Christie’s ‘The Mousetrap’, opened in the West End and has been running ever since, meaning the play is celebrating its 60th Anniversary. To celebrate this momentous occasion the production company have taken the show on tour around the UK allowing a whole new audience to watch and enjoy.
Being an avid fan of Dame Agatha Christie I was very keen to watch this play as I wanted to see how similar the play would be to some of her most well-known work such as Miss Marple and Hercule Poirot. I must say that the play certainly does not disappoint and holds all of the key Agatha Christie characteristics to make it recognisable and familiar. Everything about ‘The Mousetrap’ seems very familiar as though we’ve read the story before. The play is set in a country house with oak-panelled walls with hidden back stairs and linking passages. It is the sort of house someone can leave the room by one door and reappear through another so you can never be too sure of where every character is. A snow blizzard takes hold and all of the roads soon become blocked to add to their problems the telephone is not working and on the radio there is a story about a murderer on the loose. The house is full of the usual range of Cluedo style characters that have never met each other before. Is there a chance that one of these people could be the murder? All of the characters have their own secrets and as you would expect from an Agatha Christie mystery, the story is full of twists and red herrings.
Three of the play’s characters Sgt Trotter, Mr Paravicini and Miss Casewell.
The characters are extremely well-defined and all very different and eccentric in their own ways. The cast of the play work really well together. Anna Andresen and Nick Barclay create a fitting partnership for Mollie and Giles Ralston showing well their nerves about their first attempt at running a Guest House. Sarah Whitlock portrays brilliantly the straight-talking, no-nonsense Mrs Boyle. Whom I thought had similar characteristics to that of Miss Marple as portrayed by Dame Margaret Rutherford. Amy Downham gives us a very secretive and mysterious Miss Casewell leaving the audience with many questions as to whom she could be. Gregory Cox is wonderful as Mr Paravicini and somehow seems to have created the character similar to that of Hercule Poirot. Oliver Gully is fantastically mad as Christopher Wren positively bursting with energy. Tony Boncza is ever so the retired Army type as Major Metcalf and Alan Magor played the part of Police Sergeant Trotter, a very good portrayal of a typical Agatha Christie detective putting all of the clues together and drawing all the attention of the audience.
Hercule Poirot and Miss Marple two characters created by Agatha Christie.
I simply must mention the divine set that was created for the play which was made in such a way that it felt homely and inviting for the audience. The use of lamps on stage bought a sense of comfort for the audience and also an element of reality. The large wooden panels with the period furniture gave the audience a wonderful setting for the story to play out.
The UK tour trailer for ‘The Mousetrap’.
I highly urge everyone to see ‘The Mousetrap’ whether you are an Agatha Christie fan or not. It is a wonderful ‘who done it’ mystery that is guaranteed to get you trying to solve the case. With endless twists and turns the audience are kept on the edge of their seats. But you must remember that EVERYONE is a suspect!
The Mousetrap is currently on a nationwide tour and tickets are available via this link –http://mousetrapontour.com/
“I am a member of Get the Chance because ….”
Get the Chance supports critics from a variety of ages and backgrounds. In the article below some of our members give a personal response as to why they are part of our team.
“I am a member of Get the Chance because it gives me the opportunity to review exciting productions and to have my reviews read by a wide audience. Another plus is that as a mature writer it is great to meet up with young critics with a fresh approach and style.”
Barbara Michaels Third Act Critic
![IMG_1308[1]](http://getthechance.wales/wp-content/uploads/2016/08/IMG_13081-1.jpg)
“I am a member of Get The Chance because it gives me a platform where I can speak my mind . It allows me to give my opinion and being able to do so enables me to explore the media, the news and whatever preferred genre or medium of entertainment I want. When it was introduced to me I was into writing and that has helped shape what dreams and ideals I have while also keeping my writing skills at a solid, good level. I am fortunate to be a part of Get The Chance because it has given me opportunities that I would not have had otherwise.“
Amina Elmi Young Critic
“GTC is a progressive and pro-active platform. It’s a community where culture critics can express themselves liberally and creatively. Time Credits remuneration is a real bonus. The opportunity to participate is wide open. Access is the magic word! If you are interested then you will Get The Chance here!“
Leslie Herman Jones Third Act Critic
“I am a member of Get The Chance because I am a life-long lover of theatre as an art form and I am keen to see more people involved in and responding to live performance. Coming from Tonyrefail near the Rhondda, I have fond memories of Christmas pantomimes, school plays and as a Welsh school pupil, Eisteddfodau. But I was in my twenties before I started watching theatre independently. I am constantly learning about theatre and all of the components that go in to it. The scheme draws in people from all backgrounds and experience levels and gives them a platform to share their experiences of the live performance in a very real and authentic way. We respond as members of the community, as a young person or as older people, with no pre-existing affiliations or expectations. As a community critic, I feel it my job to look beyond the show’s hype and the ‘creative vision’ behind the script or the journey of the actor and act as a bridge between the sometimes intimidating or stereotypically elitist or stuffy world of theatre and people with no or very limited experience of the theatre. I write openly and honestly about what I see and I love every minute of my involvement with Get The Chance.“
Gemma Treharne Foose Community Critic Wales
“I am a member of Get the Chance because it grants me access to a supportive network of like-minded individuals – people who are passionate about the arts; who contribute towards an open-dialogue about its creation and existence. It’s an inspiring organisation to be a part of.“
Lauren Ellis Stretch Young Critic
“I am a member of Get the Chance because it has given me an unbelievable amount of opportunities and allowed me to meet amazing people. From allowing me to appear on a local radio station to securing a job at the Wales Millennium Centre.”
James Briggs Young Critic
“I am a member of get the chance because I feel like I should have an opinion when it comes to the arts and theatre as it is something that I have been passionate about from a very young age. I have been performing since I was little and have always loved being able to express myself through art. Through critiquing I can give my opinions on theatre and art from a passionate young persons perspective.”
Eve Limbrick Young Critic
“I am a member of get the chance because it allows me to meet new industry creatives like myself and to see a wide range of great shows and performances.“
Kaitlin Wray Young Critic
“I am a member of Get The Chance because I strive to be a writer and truly love writing from the bottom of my heart. Being a member has allowed me to explore my opinions on different pieces of entertainment and push my writing skills. Through publishing reviews my abilities have grown, and I am wholeheartedly grateful for having the opportunity for this to happen. Publishing reviews and receiving responses is thrilling and something I enjoy. Get The Change provides this and so much more, and I feel lucky to be included and involved.“
Sian Thomas Young Critic
“I am a member of Get the Chance because I want to write, I want to write well enough to share my own experiences of art, theatre, dance & opera with others & widen their audiences, encourage attendance & sometimes, maybe, help us see things differently.
Being a Third Act Critic has opened doors for me – I see work I would never have seen otherwise; I get to draw dancers, talk to directors & actors, meet other critics & writers, I even enjoy the odd free drink!
I enjoy the interaction on Twitter & Facebook, relish any compliments & learn from criticisms.
I also enjoy telling other people what I do & try to get more people involved in this remarkable chance to see things & to review them.
Having just received my Spice Time Credits, I am also looking forward hugely to a few new experiences, armed with sketchbook & pen.“
Helen Joy Third Act Critic
“I’m a member of Get the Chance because of the invaluable opportunities and skills it provides me.”
Shannon Newman Price Young Critic
“I am a member of Get the Chance because it is a close knit community that allows you to voice your opinions and meet new people along the way, as well as offering you with amazing opportunities.”
Caitlin Finn Young Critic
“I am a member of Get the Chance because it opens up access to the arts and everyone’s voice is valued“
Corinne Cox Young Critic
“I am a member of Get The Chance because I wanted to push myself. I knew I could do it, so I did!”
Amelia Seren Young Critic
I am a member of Get the Chance because theatre and the arts is what I eat, live and breath. To be able to connect with fellow performers, practitioners, critics and journalists is a wonderful chance to learn, be inspired and to network.
Hannah Goslin Young Critic
Get Involved
For further information or to take part contact project coordinator Guy O’Donnell: odonnell.guy@gmail.com
Review Clear-Cut 6 M.A.D.E. – by Amelia Seren Roberts
Origami Reinkarnasjon performed by Simon Gore and Jack Rees
Traditional Sephardic lullabies, liberated CCTV Footage and choreography merging Jane Eyre with the tunes of PJ Harvey are among the diverse acts at Clear-Cut 6 programme of experimental performance arts.
The audience clamours for position in the gallery space at M.A.D.E; spectators gather at the back and the edges of the room, whilst others nestle amongst the many cushions and pallet boxes laid out for our comfort. The atmosphere is one of anticipation, but also of fun and togetherness. After reading through the programme at the beginning of the evening, I find myself curious about each of the seven experimental acts in turn. Clear-Cut is an event unlike anything I have attended before, and the diversity of the audience and acts alike is immediately apparent. The evening is a showcase of video works, dance, spoken word, performance, visual arts, new music and more. To experience this diversity of performance in a single event is impressive. It’s something of a one-stop culture stop.
“Where genres collaborate and collide”, Clear-Cut 6.
Will Salter, host of the evening and Dada performer
Will Salter is our animated host; himself performing Dada poetry at intervals throughout the evening to great effect. His verbal explosions punctuate the spaces between acts, and mischievously disrupt the audience should they grow too comfortable. Dada retains a long history with experimental performance related to (or in denial of) the fine arts, which makes the presence of the genre particularly appropriate on this occasion.
Our agenda for the evening is jam-packed, prompting fears that we might not achieve all seven acts. In actuality, the evening is well-structured whilst maintaining a casual and friendly atmosphere.
Marega Palser merges literature, illustration and popular music in, ‘Jane Eyre, The DarkSide...’ Initially inspired by Paula Rego’s illustrations of the novel by Charlotte Bronte, Palser’s performance really is a highlight of the evening. The artist said of the inspiration for the work, “each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting…” Palser describes the piece as, “a thought in progress…” and the work curiously encompasses elements of the unknown. The piece reveals something of an internal conflict, which ultimately dictates movement, yet there is undeniably confidence in the madness.
‘Jane Eyre, The DarkSide…’ performed by Marega Palser
‘IdentiTTy’ by Arnaldo James and collaborators is a film which asks more questions than are answered. “Does ethnicity or origin come through when skin tone is homogenised? Is morphology reflected by environment? Can identity be conveyed through dance and abstract non-verbal storytelling?“ The potentially fluid and reactionary nature of cultural identity is explored in this choreographed video work. Referencing Japanese Butoh and Creole traditions alongside more indigenous Trinidadian movement the piece claims to examine, “the similarities that occur in different cultures through movement and music”. The piece is visually stunning.
Nicholas Morgan & Margot Przymierska perform as the collective, ‘Parallel Lines’. In, ‘That’s the family you have’ Nicholas and Margot divulge separate yet intertwining stories, “improvising around box-set narratives and the immediate, subjective experiences of our own lives, collapsing characters, time & space, fiction & reality”. Their simultaneous telling of the circumstances surrounding the funeral of a relative, alongside an audio description of moments from the popular series ‘Game of Thrones’ captivated the Clear-Cut 6 audience and was at once sensitive and hilarious.
‘That’s the family you have’ performed by ‘Parallel Lines’, Nicholas Morgan & Margot Przymierska
Meanwhile, above the performance space, the gallery plays host to a film and sculpture installation by contemporary artist, Merran Singh Dubb. ‘Temple of Consciousness’ explores the relationship between the declining condition of the natural environment and the similarly marred spiritual condition of humankind. “It is evident that we are destroying the planet but ultimately, we are destroying ourselves”. The installation thoughtfully presents imagery representing spirituality alongside the elemental extremes of natural disaster and climate change.
To close the event, ‘Trio Ladino‘, consisting of Angie Kirby, Bethan Frieze and Eloise Gynn are a trio of musicians and vocalists performing adaptations of Arabic and Sephardic traditional lullabies. The trio describe their sound as, “ancient melodies fused with more contemporary musical perspectives, anchored by lullaby-like themes and romantic narratives”. The performance is a calming and captivating conclusion to the Clear-Cut programme.
On reflection, improvisation and experimentation were certainly the order of the evening with every act proving both valuable and unique. The atmosphere was at the same time informal, friendly, supportive and progressive. Clear-cut is unlike anything I have seen and I will be attending from here on!
‘Trio Ladino’ performers Angie Kirby, Bethan Frieze and Eloise Gynn
For a taste of Clear-Cut, visit: https://www.youtube.com/watch?v=JeQJ4MaIVtU
https://www.facebook.com/CardiffMADE/
Image credits to Glyn Owens and Sarah Vaughan-Jones.
Special thanks to M.A.D.E Gallery, Sarah Vaughan-Jones and all contributors and performers for the organisation of this event.
Review Chicago, Wales Millennium Centre by James Briggs
(4 / 5)
“Murder, greed, corruption, violence, exploitation, adultery and treachery…all those things we hold near and dear to our hearts “and so Cardiff welcomes the touring production of Chicago. In a first for the Wales Millennium Centre the smash hit musical Chicago has arrived to entertain packed audiences. Chicago is based on the real life events in the roaring 1920s. A nightclub singing sensation Velma murders her husband, and Chicago’s smoothest lawyer, Billy Flynn, sets out to act has her defence. But when Roxie ends up in prison on similar charges, Billy takes on her case too, turning her too into a media sensation. Neither of the two women will be surpassed in their fight against each other for fame and celebrity status.
As the audience sat down before the performance an announcement was made informing us that John Partridge who plays lawyer Billy Flynn would not be performing due to ‘unforeseen circumstances’ and therefore the role would be played instead by his understudy Kerry Spark. Despite the obvious disappointment by some audience members we needn’t have worried as Kerry Spark gave an excellent performance.
This revival tour of Chicago showed a whole different side to the show by stripping the production back to its bare bones, with a full band positioned on a podium on stage, minimal costumes on the performers and some chairs. As an audience member, you seem to have the feeling that the music is the main star of the show and the thing you should be concentrating on most of all.
In the performance, Sophie Carmen-Jones played Velma Kelly, the tough performer awaiting trial for the murder of her husband and sister. Sophie Carmen-Jones delivers a brilliant Velma who is very confident and self-assured but still beneath her many layers is highly vulnerable.
Hayley Tamaddon is utterly sublime as Roxie Hart. Hayley Tamaddon brings out a different version of Roxie with slightly more comedy and shyness in Roxie than audiences will not have seen before. There are many moments during the performance where Roxie really comes into her own and shines like a star.
In my opinion, the two leading ladies are perfectly matched and when they come together and perform the ‘Hot Honey Rag’ to the end of the show they are wonderfully in synch with each other bringing a smile to every audience member.
The Matron of the Cook County Jail, Mama Morton was played by Gina Murray. The role is usually played by former X Factor winner Sam Bailey however she took a break from the tour. Gina Murray was brilliant as Mama Morton and has a good mix of being stern and kind to the inmates. Her performance in the song ‘When You’re Good To Mama’ was amazing and received a loud applause from the audience.
One of the real stand out characters during the musical was A D Richardson as Mary Sunshine. Each line of the song ‘A little bit of good’ is presented with a strong sense of carefulness and delicacy. It’s an extremely gruelling role that can be extremely difficult to sing night after night, but you get one of the best vocal performances I have seen. Without giving a major plot spoiler away it is unbelievable how good the characters voice is considering the circumstances.
Roxie’s all loving and walked upon husband Amos Hart is played by Neil Ditt. Extremely well performed, the character is worked, used and mistreated by Roxie and Billy but it is a truly wonderful performance by Neil Ditt and this is especially shown in the song Mr Cellophane which demonstrates to the audience how this extremely bland man is constantly striving to be noticed by others.
‘The 6 marry murderesses of the cook county in jail in their rendition of the cell block tango’ are outstanding with the cast consisting of Sophie Carmen-Jones, Lindsey Tierney, Ellie Mitchell, Nicola Coates, Frances Dee and Chelsea Labadini. This performance is very powerful and each character portrayed is very different with a stand out personality that draws in the audience.
It would be very wrong to not mention the utterly divine band for the performance led by the fantastic Ben Atkinson. It truly is the icing on the cake for this touring production. All through the show the energy levels of the band were extremely high and the music blasted out around the Wales Millennium Centre. The two real highlight moments of the band was during the Entr’acte and Playout because it was then they came into their own. Ben Atkinson was conducting upside down leaning over a wall and climbing over the staging while leading his band. He finally ended up draped over the piano upside down with his band dancing around the stage. An utterly amazing performance.
https://www.youtube.com/watch?v=jyVeSC1GYTw
You don’t want to be ‘Mister Cellophane’ so make yourself seen and go and watch Chicago: The Musical at the Wales Millennium Centre. The musical is showing between 25th Jul – 30th Jul 2016. Tickets are selling fast so please make sure you get them via this link-
https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/Chicago15/