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Review: WOOF at Sherman Theatre by Gareth Ford-Elliott

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out of 5 stars (2 / 5)

Please note this review contains references to sexual violence and detailed analysis of the productions plot.

WOOF by Elgan Rhys is a new Welsh-language (occasionally bilingual with English subtitles at every performance) play about two men, Daf and Jesse, who have different expectations of one another.

In a lustful first meeting we see the pair’s first sexual encounter and follow their romance along some ups and downs until their final “sexual” encounter and the fallout.

Woof portrays big topics such as open/polyamorous relationships and sexual assault both in the context of modern gay life. However, Elgan Rhys fails to really explore any of these topics in a way that does them justice.

One main reason why is because the characters are cliché “types” of gay men. One wanting marriage and kids, the other wanting an open relationship. But this is the extent of their individuality. Even the way they speak is basically identical and generic.

Because of this, despite the characters having clear goals, the motivations that drive them aren’t clear. For a play that relies so heavily on bubbling under the surface, we should be understanding the motivations.

Rape is used as a “turning point” and feels more like a plot point than a major life event in Jesse or Daf’s life. Things do change after this, but again, the motivations that drive these changes are invisible. Because of this, it doesn’t feel like we’re watching a play, we barely see how they’re feeling and when we do, it mostly comes through speech and feels unnatural.

Things happen, we get spoken to about them, and then the characters move on to the next stage of the plot. It feels like a draft of a script that has figured out its structure, but not found the character’s voices or even the characters themselves.

One positive is that we see real love from both characters to each other, even if they don’t always care for the other.

Elgan Rhys presents a lot in Woof and some people will really identify with it, because of the evocative nature of the topics presented. But it explores very little of these huge themes and how they affect the characters, which is where this play particularly falls down.

The tone of the direction from Gethin Evans doesn’t help solve this. It’s quite flat throughout. The odd scene or moment is well controlled by Evans. But the piece overall feels odd. The subtext isn’t portrayed well throughout the performance at all and the build-up to the rape scene, as well as the scene itself, is really poor because of this.

Whilst neither Aled Pedrick as Jesse or Berwyn Pearce as Daf do particularly badly in portraying what they’re given, neither really rise and meet the task either. There are great moments from both, however.

Jesse’s immediate reaction to being raped is horrifying. The confusion and fear are portrayed well – but this doesn’t hold and the performance of Jesse declines into mediocrity afterwards. Meanwhile, the performance of Daf peaks in more comedic moments – but struggles with the darker ones.

There are moments of good chemistry between the two, particularly in the first third of the play. A scene where the two characters exchange phone numbers is particularly nice. Some real chemistry which is lovely as well as being the first time we see real care and love in the two. But then, there’s a lot that feels unnatural. For example, whenever the characters talk about their relationship – which is the central conflict of the piece.

The set and design from Elin Steele is simple. Nothing out of this world but it works. It’s a similar story for Katy Morison’s lighting design too. Some moments that are good, the club scene in particular, but ultimately underused.

The sound by Sam Jones doesn’t have a huge impact on the overall production. An announcement of “Happy New Year!” on the sound system doesn’t fit the tone and music isn’t exploited nearly enough.

The design elements really could set the tone for the piece but instead, as happens too often, feel like an afterthought.

Now that we have critically assessed the play itself, there are some other things that desperately need to be addressed.

Firstly, the lack of trigger warnings was a huge issue. “Sexual content” does not equal “rape/sexual violence”. This desperately needs addressing by the Sherman in the remaining shows as this was incredibly irresponsible.

The tone on the night and marketing is out of place with the nature of the piece. Having feedback boards outside with various LGBTQ+ flags on it, was a strange contrast from portraying a toxic gay relationship and gay rape. Marketing it with the words “bold” and “gritty” are also out of place with what we see. This isn’t a bold play because it doesn’t challenge its audience.

In the programme notes, Rachel O’Riordan, former artistic director of the Sherman Theatre and the person who commissioned this play, said, “the play…will ask our audience to look at some uncomfortable truths.” This is true. It asks its audience to observe some uncomfortable truths but doesn’t challenge them by exploring those truths.

It seems that from start to finish, the whole theatre had the wrong attitude with this play, from top to bottom. From commissioning, to presenting, to marketing and warning its audience about the issues it deals with. It’s a presentation of something that may well be true, but not an exploration of the themes or characters.

There will be people who really enjoy Woof and it is worth seeing, in full knowledge of what it’s about.

WOOF is a dark portrayal of a toxic, yet loving relationship, between two male characters who are ultimately underdeveloped.

WOOF performed at the Sherman Theatre, Cardiff
31 January – 9th February 2019
Written by Elgan Rhys
Directed by Gethin Evans
Cast:
Daf – Berwyn Pearce
Jesse – Aled Pedrick
Designer: Elin Steele
Sound Designer: Sam Jones
Lighting Designer: Katy Morison

Theatre

Review: BOOT by Phill Brewer at The Atrium by Gareth Ford-Elliott

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out of 5 stars (3 / 5)

BOOT by Phill Brewer, the debut production from Volition, is a chilling exploration of events in its protagonist’s story. Refusing to adopt a chronological form, Brewer’s style of monological storytelling perfectly matches the harsh world and erratic character he creates.

In essence, it’s a romantic tragedy that follows a man who, rightly or wrongly, can’t let his love for a woman go. He goes to extreme lengths to protect her physically and emotionally, sacrificing himself in the process.

A lot of people would portray this as a classic showing of toxic masculinity. With the violence, male entitlement and refusal to show weakness – it certainly can be interpreted that way. However, Volition’s aim is to represent a character’s voices, in their own words, and present them to an audience. Allowing the audience leave with their own opinions of that situation.

On the other hand, whilst BOOT has those classic tropes of toxic masculinity, the protagonist doesn’t gain from the situation. It’s a character who is as much a victim of circumstance, as he is of his own actions. Seeing it through his words, we see his perspective and reasoning, rather than simply blaming toxic masculinity.

You can read it in many ways, or merely as the story without the social-political views. It’s this viewing experience that separates Volition from various various other theatre companies. Often people ask, “what is the message?” Whereas for Volition it’s more, “what did you think?” It’s a really fresh take for modern theatre that seems to be obsessed with artist’s voices and messages – not that there is anything wrong with that, but certainly room for both.

The play starts in the boot of a car with the male protagonist and that is where it ends. The writing from Phill Brewer is smart in its aim to present the protagonist’s story in his own words, as in between the bumpy ride, we see the turbulent story that brought him to this position.

It starts at the right place, hits the right notes throughout and ends leaving you with the perfect balance of satisfaction and intrigue.

There is room for it to grow as a script. Generally some sharpening and a little addition of humour wouldn’t go amiss to help bring out the character. But overall it’s a really solid script with massive potential.

Written as a monologue, Rebecca Riley makes a good decision as director to perform this as an ensemble piece which brings the script to life really nicely. It’s paced well with the only real issues being minor blocking ones and, at times, an issue of tone.

The play starts at 100, with the protagonist freaking out. This just feels a bit intense to start and, whilst it makes sense, could do with some work as it somewhat kills the opening ten-fifteen minutes. Especially as we never really build back to that level.

The direction of the ensemble is really nice from Riley, who uses physicality beautifully to add to the piece.

The acting from lead, Connor Hughes, is strong. The moments of clear emotion are great, but Hughes does a good job of also showing what’s bubbling underneath. Because of this, it’s really easy to know what the character is feeling and everything from the script makes sense on stage.

The ensemble generally do a good job of bringing the piece to life and really help with the pacing of the script. There are a few instances of over-acting from the ensemble members, which may well be a directing issue, that sometimes takes focus away from the lead. But, overall a good addition to the production.

BOOT shows a level of lighting design I was not expecting coming in. The use of red lighting is really evocative, as well as the box light to represent the boot of the car. In this aspect, Zach Ashley did a really good job.

It is a shame there isn’t more explored in the sound design. This can be put down to lack of resources and time. However, often the noise of moving ensemble takes away from the show. More sound design could cover this and add something of its own. But generally, the design aspects are above expectation.

There is room for improvement with this production, especially in nailing the ensemble work, a little work on the script as well as incorporating the design elements that feel missing. But, on the whole this is a really enjoyable piece of theatre with a really interesting discussion to follow it.

BOOT has real potential, perhaps let down by the lack of time and resources afforded to it. A great script, visionary director and a solid lead make this a really promising debut from Volition.

BOOT performed at The Atrium, Cardiff
From December 11th-12th 2018
Presented by Volition
Written by Phill Brewer
Directed by Rebecca Emily Riley
Stage Manager – Zach Ashley
Cast:
Connor Hughes
Tasha Walton
Sergio Taddia
Tilly Jordan
Jose Pedro Fortuna
Photo Credit – Adam Robinson

Theatre

Preview: BOOT by Phill Brewer and Volition

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Boot by Phill Brewer is a new play coming to Cardiff on Tuesday 11th and Wednesday 12th of December 2018. The debut production from new theatre company Volition, will be performed at The Atrium.

Set in Swansea, Boot follows an unnamed man trapped in a car boot who ponders over the events in his life that led him to this position. It’s a dark comedy that studies one man’s inner conflict and ambition in an ever changing world, presented as a mix between gritty realism and abstract physical performance.

Originally performed as a one man show at a sell-out performance in Matthew’s Yard, Croydon, Boot has since been developed by Brewer and reworked into an ensemble piece by Rebecca Riley (director).

The inspiration for some of the stories and scenes come from things that Brewer has witnessed in his time growing up in London. Some personal experience, stories from friends and general experience from the streets of London.

The aim of the piece is to present the story and let the audience decide for themselves the morals of the situations. Both Brewer and Riley say they want the audience to leave divided and talking about the show.

“BOOT is the perfect piece of writing to work on for me as the character is both the antagonist and the protagonist of his own story. His
battle is one of inner conflict, something that is universally relatable.” – Rebecca Riley, director.

The company, Volition, is made up of Phill Brewer and Rebecca Riley. Long-term friends who studied theatre together at Brit School of Performing Arts and Technology and now live in Cardiff.

The aim of the company is to provide a voice and platform for young people whilst creating theatre that is ambiguous, not making comment or judgement.

Rebecca Riley (centre) and Phill Brewer (right) with lead actor, Connor Hughes. Photo Credit Adam Robinson

 

 

 

 

There is a rebellious vibe about the company – but one that is very open to discussion and passionate about theatre as a means for discussion. Boot seems the perfect place for this exciting new company to start and the audience are key to their work so get your tickets here to be part of it.

BOOT performed at The Atrium, Cardiff
From December 11th-12th 2018
Presented by Volition
Written by Phill Brewer
Directed by Rebecca Emily Riley
Stage Manager – Zach Ashley
Cast:
Connor Hughes
Tasha Walton
Sergio Taddia
Tilly Jordan
Jose Pedro Fortuna.

Theatre, Uncategorized

Review: Cheer at The Other Room by Gareth Ford-Elliott

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out of 5 stars (4 / 5)

Cheer by Kitty Hughes is a dystopian, anti-panto where Christmas is controlled by the elite and briefly experienced by the poor through the Christmas drug, ‘cheer’.

We follow Jules (Alice Downing) on a journey of exploring her own morality. Jules sells illegal Christmas licenses, seeing herself as a Robin Hood figure, but operating more like Sports Direct, TK Maxx or one of those Gucci knock-off labels. Offering cheap alternatives to allow the poor to join in on the rich people’s rampant consumerism. Enabling and in essence supporting the elite.

When Todd (Cory Tucker) enters, Jules is forced to recognise her hypocrisy as someone who understands the oppressive system, but merely profiteers off the desires of the poor.

 

One thing Kitty Hughes does well in the script, is neither character is particularly likeable. Jules is clearly exploitative and, despite being relatable in many ways, flawed. We would all like to say, “I’m not like that,” but ultimately if you can afford Christmas, you undoubtedly will relate in some way to her moral conundrum.

One main criticism has to come with Todd’s character. He doesn’t really have a story and is more of an event in Jules’ story. A statement in itself. But one that is potentially problematic. He goes in wanting one thing and comes out with it and despite recognising the over-consumption and greed of it all, he still wants to participate. And that is his position going in. He doesn’t learn a lot and really, at its heart this is a story about the moral dilemma of left-wing, middle class person. A conversation urgently needed in theatre, so good that it’s being had here. But perhaps a stronger working-class character, with more of a story would make this production more powerful.

It’s a play that explicitly talks about class, in a way that really isn’t very dystopian at all. Some people can’t afford Christmas, this is simply a reality. But also, it’s a script you can interpret in various ways. General classism, how the “first” world treats the “third” world in terms of aid, or even migration. The play feels a lot more real than a lot of dystopian pieces that speak in metaphor or allegory. This is more literal and stronger for it.

The script certainly gets a little lost in repeating itself. It seems to drag and with less of the playful style Big Loop usually adopt, 85-minutes does seem too long to tell this story. Especially as it feels as though you could pack this into an hour very easily. That said, the scenes themselves are well written, and you don’t get bored. But in terms of a script, it could be planned and plotted better.

Not Duncan Hallis’ most playful piece of direction, he shows that he can handle a heavy piece without compromising his style too much.

Perhaps one of the main downfalls of this production is, it sometimes feels like we’re split between Hallis’ imagination and Hughes’ political conscience. Sometimes it gets a little cluttered and the drama gets lost.

However, this conflict of style isn’t always a negative. The direction sometimes distracts from the deeply political text in a way that makes the message sink deeper. For example, when the two characters are arguing about their backgrounds, an exchange that is packed with political language, it’s a complete mess.

But a mess in a good way. It seems real. There’s a lot of frustration in this argument and the two characters are not exactly in the mindset in that moment to string together coherent political points. It comes from the character’s heart in a way that we don’t really see elsewhere, particularly from Todd, in the production. And so despite the political language, the manic actions and energy make it seem as if they’re just shouting and rambling, despite making thought-out political points. There’s a complete contradiction between what we see and hear that works really well.

The combination of styles is really good and a writer-director team I’d like to see more of. It just would have been nice to see some more weird, wacky or surreal moments from Hallis’ mind at times.

Alice Downing shows a lot of depth in her complex character. She exploits a brilliant use of facial expressions and body language to portray her character’s inner emotions.

Cory Tucker doesn’t have the same amount of character depth to play with, but does a good job of depicting what is there for his character. In particular, Tucker’s attention to detail in certain moments, the first time he tries gingerbread or the first time we see him on ‘cheer’, stand out. Considering there’s not much depth to his character, Tucker does a good job of letting us know the important moments for Todd.

The set design from Ceci Calf is really nice. The classic bookshelf/cupboard the best bit, but it’s just generally a nicely decorated set. The lighting design by Garrin Clarke compliments the production well. Lights changing and flashing when characters are on ‘cheer’ and a projection of a crazy Father Christmas onto the set in particular stand out.

The sound design from Matthew Holmquist shows a great use of music in particular. A bit of a throwback to earlier in the year when Cardiff Boy, which Holmquist directed, took over The Other Room. Again we see the influence of Holmquist’s mix of music to emphasise what’s happening on stage.

Generally, the productions is enjoyable and funny, as well as deeply political and thought provoking. A protagonist with a clear moral dilemma that isn’t solved by the end is left at a satisfactory conclusion encouraging the audience to discuss further after the show. And isn’t that exactly what theatre should be about?

Cheer is a bleak outlook on the world and Christmas, but has messages and themes that really should be spoken about further than just in the theatre. It’s a brave production that won’t fail to get a reaction from anyone.

Cheer at The Other Room.
Running November 27th – December 15th
Produced by Big Loop Theatre Company
Written by Kitty Hughes
Directed by Duncan Hallis
Starring:
Alice Downing as Jules
Cory Tucker as Todd
Creative Producer: George Soave
Designer: Ceci Calf
Lighting Designer: Garrin Clarke
Sound Designer/Composer: Matthew Holmquist
Stage Manager: Kitty Hughes
Assistant Producer: Yasmin Williams
Assistant Director: Alanna Iddon
Arts Placement: Natasha Grabauskas
Set Construction: Jack Calf
Promo from Sean Cox Design
Photography from Tess Seymour Photography

Theatre

Review: Humanequin at Wales Millennium Centre by Gareth Ford-Elliott

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out of 5 stars (3 / 5)

Humanequin by Kelly Jones is a groundbreaking collection of three stories from young transgender people in South Wales. It is raw in its monologue format and informative in its direct approach.

The stories come straight from real life and that reality is enhanced by having three transgender actors on stage. The fact that Humanequin is the first transgender play, with an all transgender cast performed in Wales, makes it truly groundbreaking. And the production is stronger for it.

The thing with this production is, it isn’t necessarily about the theatrical quality, that I am reviewing here. It is much more about what we as an audience take away from it. This is about telling and normalising the stories of transgender for the people of Cardiff and wider society. So to start without mentioning that would be a disservice.

The direction of this production from Jain Boon could be stronger. There is some nice blocking and movement in this piece. And moments that are strong. But overall, it lacks the intensity necessary for a piece like this.

Sammy Woodward stands out as the actor with the most emotional range and they really feel in the moment with their character. Emily Joh Miller grows into her performance whilst Harry Bryant keeps a steady pace throughout. The three work quite well together, but there is that lack of intensity and chemistry between the three.

Georgina Miles’ set design is simple, yet effective. The most prominent pieces of set are some blocks and three metal grates that get moved around to change the setting. There is also a tree with tags for leaves. On these tags are written names of trans people who have been lost over the years. This tree is a really nice touch and whilst not actively used in the performance, watches over the actors and certainly adds a lot. The set is nothing extravagant, but effective in its job.

Chris Young’s sound design is really complimentary to the production with Ceri James’ lighting design representing the emotion of the piece well. The main criticism for these two is there isn’t enough. At times these aspects of design are really strong, but in others they are absent, in a way that doesn’t translate well.

As a cis woman, Kelly Jones takes on a big task of writing for a group of people we very rarely hear about. But, a task she handles well as far as the content goes.

It’s more Jones’ playwriting that lets her down. It’s not a bad script by any means, and as a piece that is ultimately meant to educate, it does a very good job. But as a compelling piece of drama it is lacking.

The three intertwined stories told as monologue is a form I personally love, but here it doesn’t work for some reason.

Characterisation also gets lost in an attempt to normalise the characters. Aspects of their personalities seem trivial. As well as this, some of the politics is very on-the-nose. Not an issue in itself, but again, it just doesn’t feel right here. It seems forced. Something that is maybe necessary for the piece, but needs to be worked into the production in a stronger way.

One decision made in the writing process that was really good, was to not make every story all “doom and gloom”. It would be easy to make this a sympathetic piece of theatre that looks at the struggles of trans people with the far too often real life consequences. And that reality is not ignored here. But neither is the reality that these are people. They act out, they do things that seem irrational at the time. But like any good playwright, Jones examines and explains them by the end of the story.

Perhaps in another performance context such as being held in a different venue, at an earlier time, in a school or university, as part of an education programme or whatever it is, this could be a fantastic production. And for people who know little about trans-issues, this would certainly be a very informative and emotional way to be introduced to these issues. So that must be commended. But, for the audience that, on the night I was there, seemed very clued up on these issues, it perhaps lacked the dramatic value that we go to the theatre for.

Not necessarily to be entertained, but to leave having found or felt something. And whilst for an audience without knowledge of trans-issues, this would be great. For those with that knowledge, it doesn’t offer much.

If this piece moves forward, the decision needs to be made whether this is an educational piece or a different form of theatre. Because both have their place and both are necessary for the growth of trans-theatre and the awareness of trans-issues in wider society. But this just feels like it’s biting off more than it can chew.

Humanequin is a strong, educational piece of theatre about the experiences of young transgender people in South Wales. Its flaws pale in comparison to its importance.

Humanequin by Kelly Jones
Performed at the Wales Millennium Centre
Presented by Mess Up The Mess Theatre Company, Youth Cymru and TransForm Cymru.
Performed by:
Sammy Woodward as Rae
Harry Bryant as Max
Emily Joh Miller as Meg
Directed by Jain Boon
Designer: Georgina Miller
Sound Designer: Chris Young
Lighting Designer: Ceri James
Stage Manager: Katie Torah
Technical Assistant: Dawn Hennessey
Producer: Jay Smith
Creative Assistant: Kay R. Dennis
Community Artist: Bill Taylor-Beales
Education Producer: Rachel Benson
Artistic Director for Mess Up The Mess: Sarah Jones

Theatre

Review: The Island at Oasis Cardiff by Gareth Ford-Elliott

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The performance of The Island by Athol Fugard, John Kani and Winston Ntshona from Fio at Oasis Cardiff, a community centre for refugees and asylum seekers, was a beautiful way for anyone to get introduced to Fio.

It wasn’t a classic “theatre night”, but more a community evening that had a play at the end of it. There was food served originating from various different countries, the opportunity to have your photo taken and talk with other audience members and refugees from all over the world.

All this before Oasis World Choir, a choir of refugees, took to the stage to perform, inviting the audience to sing along. They performed a mix of pop songs and songs written by themselves. It was a real mix of cultures brought together by music and truly was a beautiful thing to witness. The general themes of the songs were about hope and unity.

As someone who grew up in a close-knit, music based community in West Ireland, it took me right back to that community feeling. But this was totally different, a group of people from all over the world, from various backgrounds.

Some of the music was brilliant. Some of it was a bunch of people having a sing-song, the choir and the audience which was fun. But there were some really beautiful individual performances from various members of the choir.

The Island from Fio

out of 5 stars (3 / 5)

The Island follows two black prisoners, John and Winston, who rehearse and perform a theatrical version of the Greek myth of Antigone during their time on Robben Island in Apartheid South Africa. Based on a true story, the two prisoners use this play as a way to speak about the current state of affairs of their country. It is a story of brotherhood, jealousy, oppression and protest with an important message of equality at its heart.

The play, originally performed in 1973, has its issues. There is a lot of character building, but a lack of character motivation at times. Whilst there are moments of real importance, the energy of the play stagnates too often. The restrictions of censorship in Apartheid South Africa when this play was written is a reasons for this. Only touching on certain issues that couldn’t be explicitly spoken about in detail. Whereas for a modern audience, in full knowledge of the realities of apartheid, it maybe doesn’t hold the power it did in 1973.

That aside, it tells an important story of struggle against the state. A story that is as relevant around the world today as it was in 1973. You could tell similar stories about the prisons in the USA, Brazil, North Korea, Thailand and even in post-Mandela South Africa. And despite the lack of detail and skirting around the harshest of realities, when this production does suck you in, it is hard not to feel it.

Because of the possibility of telling this story anywhere in the current world, you have to question Fio’s choice to cover this time period. Why this piece? Why now? What is it saying that is new? The answer to that last question is, nothing. We are not getting anything new. If anything, this is a watered-down version of what happened.

However, it is important to learn from history. And Fio were not making this piece of theatre to say anything new. They were making it to speak about the past of South Africa and how we, as the UK, move forward with commonwealth nations considering the past we share. Fio are clear to state the UK’s complicity in South Africa’s apartheid period.

I must mention that it does feel wrong to criticise a script written in a state of censorship. If you’re familiar with Iranian film, an industry full of censorship, you will know how much allegory is relied on to criticise the state and how often details are left to interpretation. The Apple (1998), written and directed by Samira Makhmalbaf, takes the real life story of two young women locked up by their father, and combines that with the symbolism of an apple, a symbol of opportunity, temptation and “the fall of man”, to speak about sexism in the country.

Is it the pinnacle of filmmaking? No. But you don’t get screened at Cannes for nothing. And The Island didn’t win Tony Awards for its technical playwrighting. But more for what it meant at that time.

Less about Fio’s choice to stage it though, Abdul Shayek’s direction fluctuates as the play progresses. The parts that stand out in the script are expressed well in this production. Most of the play is handled with care and directed to good effect. But there are areas that stagnate, times where the energy drops and moments that seem to lack importance.

The design was the strongest aspect of this production. The set was simple, yet effective. Four metal poles holding up a caged ceiling. This set was utilised well by the actors and combined with sound and lighting design, works well together, particularly in dream-like sequences, to produce emotive design. In a space like the Oasis, effectively a sports hall, this is not an easy feat and they deserve credit.

Performances from Joe Shire and Wela Mbusi are both strong. Portraying a brotherly relationship that shows real love, yet also jealousy. The moments of intimacy are beautiful, however some moments of conflict early in the play seem forced. The movement from the performers at times is really strong, which movement director Andile Sotiya deserves credit for.

The Island from Fio split my opinion a great deal and I still can’t decide, in my opinion, whether Fio made the right choice in staging it. Aspects were brilliant, but other parts fell flat. On one hand telling stories about history is important. But on the other hand, was this the right play to put in front a 2018 audience in Wales? Especially viewing it on this night, sharing a room with refugees, I couldn’t help but want to hear their stories more than one I have heard a thousand times. Stories that affect the present. But then, what is the present if we ignore history?

Overall though, the piece was an enjoyable piece of theatre, both from a general spectators perspective and from a critics perspective. Plenty to talk about afterwards both artistically and politically. Not to mention, the event as a whole was really beautiful and made for a heart-warming evening full of hope.

The Island by Athol Fugard, John Kani, and Winston Ntshona
Presented by Fio at Oasis Cardiff on November 9th 2018
Director: Abdul Shayek
Winston: Wela Mbusi
John: Joe Shire
Movement Director: Andile Sotiya
Lighting Design: Ryan Joseph Stafford
Sound Design: Dan Lawrence
Design Consultant: Becky Davies
Stage Manager: Jeremy Barnaby
Executive Producer: Shane Nickels
Producer: Nicole May
Assistant Stage Manager: Cait Gerry
Assistant Director: Yuqun Fan
Assistant Producer: Jasmine Okai
Community Engagement Officer: Naz Syed
Audio Description Consultant: Alastair Sil
Caption Consultant & Creator: Ben Tinniswood

Music, Musical, Photography, Theatre

Review: Cardiff Boy at The Other Room by Gareth Ford-Elliott

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out of 5 stars (5 / 5)

Kevin Jones’ monologue Cardiff Boy is a nostalgic jump into the 90’s with a story as relevant today as it was in the 90’s. A story of male friendship that explores toxic masculinity with a killer 90’s soundtrack.

Narrated by “the quiet one” of the group, the story follows a group of young Cardiff lads as we join them on a night out. The use of set, sound and lighting design really add to Jones’ descriptive and emotive piece, which is guided well by director Matthew Holmquist and actor Jack Hammett.

Jones’ writing in this piece has its strength in the language. Whilst the plot is fairly basic, it is the expression of the characters that really stands out. Jones uses a clever mix of comedy and archetypal characters to juxtapose the hard hitting moments of the play. This works very well and makes the play relatable, enjoyable whilst also saying something unique.

There’s more you want to know about the characters and paths that are left unexplored. But not in an unsatisfying way. Details such as the protagonist’s relationship with his father is touched upon, but quickly brushed over by the protagonist. A detail that could be explored, but the lack of clarity of which is harrowingly too real for many young men.

When the audience enter the space of The Other Room, we leave behind Porters, the pub within which the theatre resides. However, with Cardiff Boy, The Other Room literally feels like the other room of the pub, such is the strength of the set design.

photo credit Kirsten McTernan

 

 

 

 

Sitting down you’re greeted by benches and chairs scattered throughout the room, with tables on which to rest your drinks. And as Hammett wanders between you and the other audience members, it is hard not to feel a strong sense of place.

This is heightened with the hanging photographs of 90’s Cardiff, which act as a sort of scrapbook of the protagonist’s photography collection. Photography and perception is used at various times by the protagonist to set the scene, with the city and locations generally described in great detail. Looking around at these fragments of Cardiff hanging from the ceiling, creates a very evocative feeling that makes it easy to get drawn in.

The directing of Matthew Holmquist is another strength of this piece. Not an easy piece to take on, such is the temperamental nature of the script. Without a brave director, that temperament could easily become a major flaw. But, the tone of the piece is handled brilliantly by Holmquist who allows the moments of emotion time to breath, without letting them take over.

Jack Hammett does a good job of portraying the protagonist and his mates as he bops around the room. In particular moments of vulnerability, which defines his “quiet” character, stand out. Ultimately a play about difference in men, Hammett does a great job in portraying this.

The use of sound is crucial to this play, and it doesn’t fail to impress. The soundtrack is obviously brilliant for anyone who enjoys 90’s music. Often used to comedic effect, the music, like the photographs, has a deeper meaning to the protagonist of the piece. Sound is also key in setting the scene and does so well.

The only issue for sound designer Joshua Bowles to work on would be that the level of the sound often drowns out Hammett’s voice. On occasion this works, for example in the club, where you can never hear anyone anyway, however, probably an occurrence too regular were that the desired effect.

photo credit Kirsten McTernan

 

 

 

The use of lighting from Ryan Stafford is understated. Often going unnoticed until you try to see it, the lighting adds to the overall piece well. A tough play for lighting, as the stage is the entire room, Stafford manages to keep it effective without distracting. Even when there are flashing lights, you barely notice it because the music, direction and acting are all working together with the lighting to set the scene.

Perhaps this is the biggest compliment to Cardiff Boy and Red Oak Theatre as a wider company. A company that views the roles of the designers as importantly as the director, writer or actor. Something that is weirdly rare when you consider how well it has worked in Cardiff Boy and how vital these professions are to the theatre industry.

It’s good also to see that with this in mind, Red Oak are committed and passionate about developing young artists with a paid assistant director (Nerida Bradley) and assistant designer (Lauren Dix). A company no doubt restricted by a budget won’t always do this, so it’s nice to see Red Oak committing to young artists in this way.

Along with this, it is heartening for a piece that started at a scratch night, to grow into such a strong piece of theatre. Again showing Red Oak’s commitment to new work and new artists.

Overall, Cardiff Boy is a wonderful production. It’s hard to say anything stands out in this production as everything works so well together to achieve its aim. However, April Dalton’s design, assisted by Lauren Dix, is phenomenal and deserves recognition.

The play’s greatest strength is the team behind it because with another team, and another company, Jones’ emotive script could be easily forgotten.

Cardiff Boy by Kevin Jones
Presented by Red Oak Theatre
Running From: 30 October – 11 November 2018
Performed at The Other Room, Cardiff
Director: Matthew Holmquist
Cast: Jack Hammett
Designer: April Dalton
Lighting Designer: Ryan Stafford
Stage Manager: Joshua Bowles
Sound Designer: Joshua Bowles
Producer: Ceriann Williams
Assistant Director: Nerida Bradley
Assistant Designer: Lauren Dix

Theatre

‘Street’ and ‘Izzy’s Manifestos’ from Spilt Milk by Gareth Ford-Elliott

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Spilt Milk’s double bill of Street by Susan Monkton and Izzy’s Manifestos by Kevin Jones (23/10 – 26/10 2018) is their second production of the year, having staged the impressive Five Green Bottles by Joe Wiltshire-Smith at the Cardiff Fringe in May. Along with various scratch nights, the company are a busy one, offering various opportunities for Cardiff’s creative scene.

And this double bill showcases exactly that. A work-in-progress piece from emerging writer and actor Susan Monkton, as well as a more polished piece from Kevin Jones.

The evening starts as any Spilt Milk night would, with a warm welcome at the door and an invitation to the bar, where lovely Kate and Leo from AJ’s Coffee House will serve you. The setting of AJ’s is intimate, cosy and always makes for a nice evening of theatre, this being no different.

Street by Susan Monkton  out of 5 stars (3 / 5)

Street is only Susan Monkton’s second piece of writing that she has shared with the public, and with it being a work-in-progress, that has been taken into account for the review.

The play follows a young woman, Laura (portrayed by Ella Maxwell), as she walks home from a one night stand, only to be met with a bomb explosion on City Road in Cardiff. She tends to the wounds of Sammy, a young boy, before fleeing the scene. This causes guilt in her mind to circle, until a knock at the door from a police officer assures her that the boy is okay, and that she’s done nothing wrong. The opposite in fact, she is “my hero” in Sammy’s words.

Overall, it feels as though the writer has found a topic, but not really explored in depth the character or the situation. The point of the play, why the story needed to be told by this character and the writer’s aims aren’t really clear.

The police officer scene is fairly awkward, in part because the officer speaks over the sound system as a voice-over. But it also feels unrealistic for the officer to show up, bring her pair of shoes and comfort her.

Aspects like Sammy being revealed as a refugee is a detail that feels thrown in, unnecessary and really takes characterisation away from him. Almost to ramp up the tragedy, but ends up falling into the trope of white heroinism.

The setting of City Road is a multicultural area of Cardiff and in the national discussion of refugees and terrorism, it is impossible to get away from the topic of Islam. The connotations of these aspects of the play really need looking into as combined with the white heroism, it creates a potentially problematic play.

A play that focuses on the victims and tragedy of the situation could have more responsibility in considering the connotations of the setting, characterisation and main themes.

The opening monologue about Laura’s night out is a bit odd in contrast to the rest of the piece. However, it does portray Laura as someone ultimately not ready to be a hero. That continues to be a big theme throughout the play, but a theme that makes the protagonist fairly passive. Things happen to her rather than because of her actions.

There are some really strong moments of humour early in the play, which is definitely a strong area of Monkton’s writing having seen her previous work. There is also strong characterisation for Laura and some really emotional writing. The script shows real promise but it requires work and needs to be more careful in certain areas.

Ella Maxwell does an excellent job in portraying Laura, really throwing herself into the script, bringing out the humour when appropriate, but also handling the more emotional parts of the play really well also.

Street is directed with real care from Becca Lidstone with close attention to detail. Paced well with key points in the script really standing out. No doubt that some of Maxwell’s excellent work is down to this direction, not to take any credit away.

There were moments where sound effects used felt awkward which Lidstone and sound designer Nick Laws could work on. They seemed to be chucked in and rather than adding to the scene, distracted somewhat.

Overall it is worth going to see to give feedback on the script and for Ella Maxwell’s great performance. But certainly a play that needs work.

Street by Susan Monkton
Cast: Ella Maxwell as Laura
Directed by: Becca Lidstone
Produced by: Tobias Weatherburn
Sound Design and Stage Manager: Nick Laws
Venue: AJ’s Coffee House
From Spilt Milk Theatre

Izzy’s Manifestos by Kevin Jones  out of 5 stars (4 / 5)

Izzy’s Manifestos by Kevin Jones was initially performed at the Edinburgh Fringe Festival in 2017. However, has been developed and brought back as a brand-new production by Spilt Milk.

The play follows a young girl called Izzy, who, after her father’s death when she is fourteen, creates manifestos by which she lives her life. It is an unpredictable, hilarious, yet potentially heart-breaking piece of theatre.

I say potentially, as the script certainly doesn’t live up to it’s high potential. That’s not to say it’s not of a high quality. It is really funny and a strong piece of theatre. However, it ends abruptly and leaves you wanting more.

Before the play starts, Angharad Berrow goes around the room, in character, telling people that the play was about to start. This along with Berrow’s energy sets the tone for the play which moves very quickly, jumping from stage to stage of Izzy’s life.

Izzy is witty, excited, evil and brilliantly portrayed by Angharad Berrow. Not afraid to break the fourth wall, which works well as there are planned and unplanned examples of this, all of which Berrow handles very well.

The piece is well directed by Luke Hereford and despite lack of emotion in the character, Hereford finds other ways of displaying what is under the surface of the character. In particular, manipulating tone and pace to good effect. This really shows what a promising director he really is.

The main issue here comes in that there seems something missing at the end. Some emotion. Izzy spends the whole play (and previous years of her life) ignoring her father’s death and not grieving. When she finally lets herself think of her father, which she admits to the audience, there doesn’t seem to be a consequence of this. The story seems focused on Izzy reaching that point – but not on what that might mean for her moving forward. The ending is generally rushed and seems unfinished.

It’s hard to say exactly what it needs, but it needs some more care and to show more emotion in the conclusion. Just as the play feels like it’s getting somewhere, it finishes.

It was the only major issue with the play, but it was the difference between four and five stars. Other than that, it is a really enjoyable piece of theatre on all fronts and definitely worth seeing.

Izzy’s Manifestos by Kevin Jones
Cast: Angharad Berrow as Izzy
Directed by Luke Hereford
Produced by: Tobias Weatherburn
Sound Design and Stage Manager: Nick Laws
Venue: AJ’s Coffee House
From Spilt Milk Theatre

Review by Gareth Ford-Elliott

Music, Theatre

Review: Laurie Black Live by Sian Thomas

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Seeing Laurie Black: Live was so much fun. Straight away it was easy to tell it was a show perfect for me. Though I could sit quietly in the background and mind my business, I still felt lovingly included and seen. It began relatable and topical and brilliantly on my wavelength.

Her songs had a very specific feel to them. An almost gothic or witchy vibe (which I personally find a lot of fun; I’ve always enjoyed those kinds of aesthetics although I haven’t really lived them) that also rang with a lot of emotion I didn’t expect to find but was glad I was shown, anyway. I kept an interest in them overnight (I’ve found only really good shows do that to me. Sometimes they just end, sometimes I just go home. Other times I keep it in a corner of my mind, look it up online for a little bit longer, dedicated a little more time to finding things out about this. With this show I looked up some other music, I saw the kinds of things sold in the merch store, and I thought ‘yep. This show’s the winner’.). I’m happy to say I’ve found some new songs to listen to.

The participants portion of the show was good! I’m glad I didn’t have to do it myself and I was glad I felt alright blending into the background and just having the opportunity to watch on and see what other people thought, which was really nice! That and, it was more enjoyable watching other people have fun on stage.

The make up was great. It was glow in the dark. Which I didn’t expect to adore, but I did. I thought it was a really nice touch with the rest of the flashing lights and the way the windows of AJ’s Coffee House were blocked out. For an apocalypse show, I thought it was a nice and extravagant detail; the kind of extra mile you definitely couldn’t go if the world was really ending unless you really, really tried.

Laurie Black herself was affable and fun, definitely undeterred in her show, unstoppable in how she created laughs, a supportive and laid back atmosphere, and unquestionably a wonderful performer. It’s always nice to watch people just be themselves on stage, unafraid to swear or mess up or anything else. It was almost cathartic to watch; I wish I could have related. Although I definitely related to some other points during the show – I think those were enough.

This event was the one to mark the end of the fringe festival, so I’m pleased to say I attended to watch it go out with a bang. I’ve had an immensely wonderful time seeing all these different kinds of shows and going to all these different kinds of events. I wait with bated breath to find out what’s coming next year, and I hope I get to experience the same wonderment and awe for my third year in a row. These last two really have been something special; I’ve had fun with the people I’ve gone with and I’ve been able to see shows I wouldn’t have otherwise ever known existed.

I’m voting for Laurie Black: Live for my favourite show, this year. A close second was Camp Be Yourself. Although it will forever remain that the Open Mic Poetry Night is my all time favourite free fringe event, Laurie Black: Live was most definitely my favourite show this year. None of them left quite the lasting effect as this one had.

Sian Thomas

Theatre

Review: Becoming Human, Pinocchio Retold by Sian Thomas

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Seeing Becoming Human: Pinocchio Retold was an experience and a half. The show was abundantly expressive from the very beginning, and remained so the whole night. The vibe was energetic and the atmosphere was apparent and welcoming, and it felt nice to be a part of a show like that.

At first it was loud. I remember wondering whether those downstairs could hear the show and whether or not they would think it was alluring based off of how it sounded, as sound was an important factor to this play. Reminding me somewhat of a show from last year, Stories Of The Silver Tree, sound effects were so viral and also so interestingly done. By a person on the floor (who, honestly, I didn’t notice for a while. I thought it was a recording and that the leafs had amazing timing) but when I found out one person was doing all that right there in the moment, I was moved. I was impressed! The sounds were just as energetic and fun as the story and the characters, and I really did like how it was done. Clever and well executed, to say the least.

Again, the venue was lovely. I’ve got myself quite a fondness for the space above Ten Feet Tall, even if it was stuffy and warm, it still worked to create a wonderful space for a wonderful show. The stage fit the play nicely. There was such a good use of space and imagination to fill in such space where props may have been. I liked that props were hardly used. It drove home the important of the one prop that was used (a small glowing ball to represent a conscious; which I thought was very cool) and worked to inspire an audience to use their imagination even when out to see a show. I thought that was quite a sweet touch. And once more, sound. Projecting into the room nicely and always sure to have an impact. Lastly, the lighting. I like the disco ball. I really do. I’m glad it was used.

Becoming Human: Pinocchio Retold has such a great story, and a really good message. I liked the way string was used to emphasise how our lives intertwine and attach us to one another. The message of growing up and valuing those around you was lovely to see, and a good thing to actively do. Always important. Showing love and fondness I think is sweet and that message was put forward incredibly as the character searched for parental figures and found themselves and went through many changes in such a short space of time.

Lastly, a touch I did really like was the way the actresses went from the story characters (multiple at once, sometimes! A feat, if I say so myself) to people walking us through the story and commenting on the truth of the tale. All I remember from Pinocchio is that Disney covered it, and even then I don’t remember much from that. It was nice to see a rendition of the story that was more accessible and fun, made less for kids and more for people who just wanted to have a fun time.

The Fringe isn’t on for too much longer! I’m hoping that my last few plugs will do well for it, as it deserves as much attention as it gets and even more than that. http://www.cardifffringetheatrefestival.co.uk/shows-tickets/

Sian Thomas