Tag Archives: Wales Millennium Centre

Theatre

Review: The Ocean at the End of the Lane, Wales Millennium Centre

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Part of an extensive bibliography, Neil Gaiman’s 2013 novel The Ocean at the End of the Lane escaped adaptation until previews for this play began in December 2019. A successful West End run, and Olivier nominations, followed to culminate in a UK and Ireland tour. In bringing Gaiman’s famous imagination to life, friendship, storytelling, and family are central to an epic, magical tale of a childhood once forgotten and the darkness lurking at its edges.  

Following the clearly creepy visuals of Henry Selick’s Coraline (2009) and the excellent chemistry between Michael Sheen’s Aziraphale and David Tennant’s Crowley in Good Omens (2019), The Ocean at the End of the Lane presents unique challenges to theatre makers. Director Katy Rudd, Adaptor Joel Horwood, and cast tackle fantastical and gritty elements with equal sincerity resulting in an evening of spectacle, relatability, and stunning visuals enhancing the original material. 

Keir Ogilvy brings a sensitive and well-meaning 12-year-old boy to life. It is a difficult age at which to understand why, in the aftermath of his mother’s death, his Dad (Trevor Fox) burns the toast and brings in a lodger, forcing him to share a room with his energetic little sister (Laurie Ogden). All that before said lodger kills himself in the family car. Ogilvy keeps the boy grounded, but questioning and immovable whilst open-hearted as he discovers his wit and bravery along the way. Ogilby and Fox share many expertly gut-wrenching scenes ensuring the audience cannot look away for a second. 

Millie Hikasa (Lettie) and Keir Ogilvy (Boy)

Millie Hikasa is a standout as Lettie Hempstock. This production emphasises Lettie’s mysterious complexities whilst keeping her immediately recognisable to all who know girls like her, want their girls to be like her, or are girls like her. Hikasa packs Lettie with undeniable charm, courage, creativity, and tenderness to provide a comforting presence throughout. Alongside Kemi-Bo Jacobs as Ginnie Hempstock and particularly Finty Williams as Old Mrs Hempstock, their clan sit as both the heart and levity of the show, gently guiding both boy and audience through darker, complex fantastical elements. 

Millie Hikasa (Lettie) and Keir Ogilvy (Boy)

Charlie Brooks provides an effortless spine-chilling edge to this production as Ursula, both in her actions and the hard truths she perceives. Brooks and the tight, talented ensemble are at the central to the play’s more theatrical, fantastical elements but to describe them would be a spoiler. This production is perfect for fans of theatre magic and illusion using puppetry, movement, set, prop, and lighting design to truly elevate an already captivating performance. 

Keir Ogilvy (Boy), Finty Williams (Old Mrs Hempstock) and Millie Hikasa (Lettie)

It is unfortunately often the case that the soundtracks of straight plays fall under the radar, or are not utilised. However, Jherek Bischoff’s compositions and Ian Dickinson’s sound design ensured the soundtrack sat in equal measure with all other elements of this production. You will leave the theatre wanting to listen to this soundtrack as much as any musical production.   

This production features theatrical narrative and design imaginative and beautiful in equal measure. There truly is something in this show for everyone, especially young and old. Particularly, anyone interested in the creation of captivating theatre design should not miss their chance to see this show! 


The Ocean at the End of the Lane is playing at the Wales Millennium Centre from 30 May – 3 June 2023. More information on the show and how to book tickets here.

Musical, Theatre

REVIEW Roald Dahl’s Charlie and the Chocolate Factory: The Musical, Wales Millennium Centre

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Sweets are miraculous inventions. With a little sugar and a dash of imagination, you can make something magical. It’s the sort of magic that suffuses Charlie and the Chocolate Factory, Roald Dahl’s classic tale of a young boy whose life changes when he wins a Golden Ticket to meet the Candy Man himself: eccentric and elusive chocolatier Willy Wonka.

Originally made into the classic 1971 movie-musical starring Gene Wilder, the Leeds Playhouse Production now embarks on a grand UK Tour after successful stints on Broadway and the West End. Directed by James Brining and adapted by David Greig, Charlie and the Chocolate Factory is a feast for all the senses! Classic tunes ‘Pure Imagination’ and ‘The Candy Man Can’ sit along sumptuous new songs by Marc Shaiman and Scott Wittman, the duo behind the musical Hairspray, with orchestrations by David Shrubsole. It now comes to Cardiff’s Millennium Centre, which seems fitting given that it’s the hometown of author Roald Dahl.

The cast of Charlie and the Chocolate Factory: The Musical. Image Credit: Johan Persson.

The role of Charlie is shared by four actors (two boys and two girls) and was played on the press night by Isaac Sugden. He brings a real warmth to the role, caring and compassionate, and it’s a great choice to turn Charlie into an inventor-type who repurposes lost and broken things. His scenes with the wonderful Michael D’Cruze as Grandpa Joe are some of the show’s best, as are the scenes in the Bucket household. Christopher Howell, Kate Milner Evans, Emily Winter and Leonie Spilsbury beautifully portray the rest of the loving Bucket clan, and also double up as the beleaguered parents of the other four Golden Ticket holders, who are just as delectably loathsome as their sprogs.

Marisha Morgan and the cast of Charlie and the Chocolate Factory: The Musical. Image Credit: Johan Persson.

And boy do they get their just desserts! Marisha Morgan is on top form as Violet Beauregard a gum-popping poseur rebranded as a sort of obnoxious TikTok star. Robin Simões da Silva as Augustus Gloop, Teddy Hinde as Mike Teavee, and Emma Robotham Hunt as Veruca Salt (stepping in for Kazmin Borrer) bring real panache to their roles, while Ewan Gillies and Lucy Hutchison are delicious as dynamic TV duo Jerry and Cherry Sundae. Whenever each ‘bad egg’ is hoisted by their own petard, you know the Oompa Loompas are on their way for a musical ‘I told you so’ – here, they are reimagined as dancing automatons, lending a steampunk quality to Wonka’s factory that gives it a Metropolis–esque edginess (and nimbly sidesteps the characters’ problematic origins). It’s their scenes that best showcase Emily Jane Boyle’s zesty choreo and Simon Higlett’s costumes, especially in the standout set piece ‘You Got Whatcha Want’.

Gareth Snook and the cast of Charlie and the Chocolate Factory: The Musical. Image Credit: Johan Persson.

And you’ll really get what you want with this show’s portrayal of Willy Wonka, played by the sublime Gareth Snook, who really makes the character his own. He’s got more layers than a Wonka Whipple Scrumptious Fudgemallow Delight: at turns sinister, sarcastic, and sweeter than an Everlasting Gobstopper. Plus, his rendition of ‘Pure Imagination’ was truly scrumptious!

Charlie and the Chocolate Factory: The Musical. Image Credit: Johan Persson.

The show is a candy-coated fantasy, featuring eye-popping visual effects and illusions courtesy of Simon Wainwright and Chris Fisher. The way they convey the factory’s myriad rooms, from the chocolate river to the fear tunnel, brings real spectacle to the stage. Choc-a-block with gorgeous sets, toe-tapping songs, and more sweetie puns than you can shake a (candy) stick at, Charlie and the Chocolate Factory is pure confection perfection!

Roald Dahl’s Charlie and the Chocolate Factory: The Musical is playing at the Wales Millennium Centre from 3 – 20 May 2023. More information on the show and how to book tickets here.

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

Dance, Film & TV

Review Peaky Blinders – The Redemption of Thomas Shelby,Ballet Rambert, Wales Millennium Centre, Cardiff by Barbara Michaels

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Peaky Blinders – The Redemption of Thomas Shelby

Ballet Rambert, Wales Millennium Centre, Cardiff

Writer and Creator: Steven Knight, CBE

Choreographer and Director: Benoit Swan Pouffer

Composer and Orchestration: Roman GianArthur

Reviewer: Barbara Michaels

3.5 out of 5 stars (3.5 / 5)

No need to stress if you didn’t watch the TV series.  Ballet Rambert’s Peaky Blinders is in a class of its own, unique both as a production and as a dance form. Although danced in the main in contemporary dance style with more than a touch of street dancing – razors, knives etc – choreographer and director Benoit Swan Pouffer uses classical dance moves too. Not only uses them but dares to improvise, building on to the traditional with innovative use of classical ballet moves – with a dancer even performing a plié in mid-air.

Beginning with a brilliantly depicted scene from the battlefields of World I, the ballet moves through the life of one Tommy Shelby down the years, showing through him the ways in which those who fought in this horrendous war were affected throughout their lives even in they survived – a living death, as it were.  As it moves on through the post-war years, Tommy’s life segues into a violent world full of murders and gang warfare, with knives and razors flashed – the latter hidden in and the raison d’ètre for – the peaked caps that gave the gang its name. This historically accurate production is not for the faint-hearted, but is well worth taking a deep breath and immersing oneself in what it portrays through dance form.

Creator Steven Knight, who wrote the original script for TV and together with Pouffer, adapted it into dance form, uses a live band on stage throughout for gunfire, air raid sirens and a plethora of music and sounds which works well in tandem with ever-changing themes composed and orchestrated by Roman GianArthur. Natasha Chivers’ lighting aids and abets, of particular note being the scene with searchlight beams and in the second half where an opium-fuelled Tommy descends into a living hell.  Benjamin Zephaniah’s voiceover is both necessary and succinct, while set designer Moi Tran’s clever sets lend an authentic and atmospheric touch throughout: a colourful carousel lends a light touch for one scene. Having the dancers on two levels gives additional scope but at this venue means that audiences in stall seats are unable to see the dancers’ legs!  Ben Zephaniah’s voiceover is both necessary and well done but pre-recorded vocals – recordings of different tracks which, despite being relevant, are over-loud for much of the time.  

The love story between Shelby and his long-time sweetheart disappears and resurfaces throughout lending a necessary lightness of touch, as does a great scene in the second half with dancers dressed in costumes by costume designer Richard Gellar reminiscent of photos of Marilyn Monroe in her early days (a la Moulin Rouge or Talk of the Town for those old enough to remember these iconic London night spots!)

Ballet Rambert is justifiably famed for the high standard of its dancers, and this production underlies this with memorable moves executed with skill. Mention must be made here, in addition to the expertise of the dancers – notably Naya Lovell, Simone Damberg Würtz and Caiti Carpenter -of Musa Motha who, despite losing a leg to cancer when he was just ten years old, does not let that factor deter him in any way, resulting in a performance that is a privilege to watch not only for its depiction of the role but its perfection of technique.

Runs until Saturday March 25th at Wales Millennium Centre Cardiff, then touring.

Opera & classical

Review The Magic Flute Welsh National Opera, Cardiff Millennium Centre

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Music: Wolfgang Amadeus Mozart

Libretto: Emanuel Schikaneder

Director and English translator: Daisy Evans

Designer Loren Elstein

3 out of 5 stars (3 / 5)

With its contending forces of good and evil, Mozart’s sardonic fairy-tale The Magic Flute, has more than a hint of the pantomimic.  To use the words of the vernacular, Daisy Evans new production for the Welsh national Opera, sung in English with Welsh sub-title, sure does that in spades. Opera afficionados used to the more traditional – as in WNO’s much loved version last staged in 2005 – need to take a breath and prepare.

Mozart’s ‘Flute,’ first performed in Vienna in 1781, is reset by Evans into today’s world, with more than a hint of Star Wars, laser beams, fluorescent multi coloured lights et al. Not always easy to follow if you neglected to read the excellent programme notes. The connecting link which runs throughout is Schikanender’s libretto telling the story of the quest of Tamino, a Prince who sets out to find and rescue Pamina, daughter of the Queen of the Night.  Pamina has been kidnapped by the villainous Monostatos by order of Sarastro, head of a mystic cult. Encouraged by ladies of court, Tamino is helped by the magic flute and Papageno, the bird catcher who lives in a hut in the woods and whose idea of heaven is hearth and home with the girl of his dreams.  The story, with its mix of wonderful music, soaring arias, lovers’ tiffs and misunderstandings, set against a background of birdsong and mysticism, strongly references the fight between good and evil, the power of womanhood, all being brought to the fore by Evans, who has added and subtracted spoken passages in a translation that allows at times for a contemporary use of words that does not always sit well.

And thereby lies the rub, for in her endeavour to give the fairy-tale that is The Magic Flute a modern twist, Evans goes overboard. Mozart’s light-hearted touch is lost at times amidst a welter of light beams, however skilfully used and puppetry, however effectively used. Under the direction of puppeteer Matthew Forbes flocks of birds flutter intermittently around Papageno’s head.  Used throughout, this is a clever idea (although it might have been preferable to dress those manipulating the strings in black) but a tad over used – it is possible to have too much of a good thing.

Nevertheless, consisting as this opera does of some of the composer’s most memorable arias and lyrical duets, this production does still keeps much of the romance, comedy and mysticism of the original. Thanks being due in no small measure to the expertise of the orchestra of the Welsh National Opera under the baton of Freddie Brown and the admirable chorus. The latter, despite being attired in headgear similar to that of a beekeeper in the second half, is as always in fine fettle, although under used in this production. At Saturday night’s (March 11th) performance, British-born soprano April Koyejo-Audiger made her WNO debut with a pleasing soprano and good sense of timing opposite South African singer Thando Mjandana, whose melodic tenor stands him in good stead in the lyrical duets with Koyejo-Audiger. Neal Davies is a quirky Papageno who combines comedy with sympathy both for being put-upon and for his unwanted single existence.

Audiences familiar with this opera are known to wait with baited breath for the high-octave reach called for by the Queen of the Night. Lyric-dramatic coloratura Julia Sitkovetsky does not disappoint with a soaring performance in high-octave and extremely difficult solos which even the most accomplished of singers can struggle to reach.  Carmarthenshire-born Alun Rhys-Jenkins, whose specialises in tenor character roles, plays the supposedly frightening Monostatos for laughs more than terror, with a touch of the game show host at times in the role of sidekick to a far from sinister Sarastro sung by a bewigged Jonathan Lemalu with more than a touch of the Georgian gentleman.

A minimal and modernistic set is the background to an innovative and clever production. Whether or not this is a welcome addition to the multiple performances world-wide of one of Mozart’s most popular operas remains to be seen.

Snap: Less is sometimes more!

Runs until March 17th in Cardiff, then touring.

Tags: Alun Rhys-Jenkins, April Koyejo-Audiger,Cardiff, Daisy Evans, Emanuel Schikaneder, Freddie Brown, Jonathan Lemalu, Julia Sitkovetsky, Loren Elstein, Matthew Forbes, Neal Davies, Thando Mjandana, The Magic Flute, Wales Millennium Centre, Welsh National Opera, Wolfgang Amadeus Mozart,

Musical, Theatre

REVIEW My Fair Lady, Wales Millennium Centre by Barbara Hughes-Moore

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There are few things more magical than a classic Hollywood musical: a lavish spectacle with characters to adore and songs to die for. And there are few more beloved than My Fair Lady, one of the last golden age musicals, in which a snooty phonetics professor vows to transform a Cockney flower girl into an English rose. Based on George Bernard Shaw’s 1913 play Pygmalion, the film starred Audrey Hepburn as Eliza Doolittle and Rex Harrison as Henry Higgins and featured iconic Lerner & Loewe songs like ‘I Could Have Danced All Night’ and ‘Wouldn’t It Be Loverly’. It’s a classic for a reason – and, direct from the West End, the Lincoln Center’s dazzling new revival is here to remind us just how loverly a show this is.

Charlotte Kennedy and the My Fair Lady ensemble (photo credit: Marc Brenner)

Lerner & Lowe also brought us the musical delights of Camelot, Gigi, and Brigadoon (not to mention the vastly underrated Paint Your Wagon) – but it’s easy to see why My Fair Lady is their most beloved work. Directed by Bartlett Sher (helmer of the critically-acclaimed revival of The King and I), this new production – the first major revival in fifteen years – comes with revitalised sets, costumes and musical arrangements. The score has never sounded as magnificent does here under the musical direction of Alex Parker, and you won’t find a finer chorus this side of the Edwardian era.

Michael D. Xavier, Heather Jackson and Charlotte Kennedy (photo credit: Marc Brenner)

Having made her professional debut in Les Miserables in the West End, Charlotte Kennedy puts her own instantly-iconic spin on the beloved character of Eliza Doolittle. Her powerful voice and equally powerful performance makes her the beating heart of every scene she’s in – and her hilarious conversation with the aristos in Ascot is truly one for the ages.

Michael D. Xavier, Charlotte Kennedy and John Middleton in My Fair Lady (photo credit: Marc Brenner)

Two-time Olivier Award nominee Michael D. Xavier (who performed opposite Glenn Close to great acclaim in Broadway’s Sunset Boulevard revival) brings a haughty charm to Henry Higgins, pitched somewhere between David Tennant and Dickie Attenborough. Xavier brings a beautifully self-aware silliness to the totally oblivious Prof, especially in ‘An Ordinary Man’ and ‘I’ve Grown Accustomed to Her Face’. His rapport with Emmerdale’s John Middleton as Colonel Pickering is especially fun to watch – and their ‘Eureka!’ moment with Kennedy during ‘The Rain in Spain’ is a joy.

Adam Woodyatt and the My Fair Lady ensemble (photo credit: Marc Brenner)

EastEnders’ Adam Woodyatt is perfectly cast as the lovably roguish Alfred P. Doolittle, a role he was born to play – in his hands, ‘With a Little Bit of Luck’ is delightfully puckish, but it’s the barnstorming ‘Get Me to the Church On Time’, culminating in an exceedingly camp can-can, which really brings the house down. Woodyatt flexed his dramatic chops the last time he performed in Cardiff, to great effect – but it’s brilliant to see him really let loose here.

Lesley Garrett, Michael D. Xavier, Charlotte Kennedy and John Middleton in My Fair Lady (photo credit: Marc Brenner)

Tom Liggins brings a boyish charm to Freddy Eynsford-Hill (and a sublime rendition of ‘On the Street Where You Live’) while Heather Jackson, known to many as the West End’s Madame Giry (The Phantom of the Opera), brings gravitas even in just a few scenes as Mrs Higgins, as does world famous soprano wonderful Lesley Garrett, who – if slightly under-utilised – brings warmth to the role of Mrs Pearce, and lends her beautiful voice to some of the show’s best numbers. And kudos to Tom Pring for stealing scenes as a sardonic butler.

The My Fair Lady ensemble in full swing (photo credit: Marc Brenner)

Michael Yeargan’s sets are nothing short of an architectural marvel and make an ingenious use of the Millennium Centre’s impressive stage. Especially extraordinary is the way in which Higgins’ luxurious London townhouse rotates during musical numbers to show off an elegant hall, a stylish study, a chic bathroom and a leafy alcove within which an amorous young couple meet by midnight. The sets transport you from the East End to the Embassy Ball, aided by Catherine Zuber’s exquisite costumes which capture every inch of the scale and grandeur of the classic film.

The My Fair Lady ensemble dressed to the nines for a day at the races (photo credit: Marc Brenner)

While there are a few aspects that might benefit from a modern touch – the decision to keep all of Higgins’ unpleasantness towards Eliza does threaten to undercut the budding romance and has an impact on how you view the ending – the sheer talent on display makes My Fair Lady an unmissable night of sumptuous entertainment. With a little bit of luck, you’ll not only have a bloomin’ loverly time, but you’ll dance all night too!

Touring throughout the UK, My Fair Lady is performing at the Wales Millennium Centre for 3 weeks only from 9 – 26 November. For more information and to book tickets, click here.

Theatre

Review the_crash.test, Hijinx Theatre by Barbara Hughes-Moore

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The award-winning Hijinx, one of Europe’s leading inclusive theatre companies, is always pushing the envelope on what ‘theatre’ is and what it can be. the_crash.test – in partnership with Wales Millennium Centre, Pontio and Theatr Ffwrnes – is Hijinx’s latest experiment in ‘hybrid theatre’, fusing performance and technology in an immersive experience like no other. Branded as a Frankenstein for the tech age, the show explores the responsibility we have as humans: to each other and to the things we create.

Directed by Hijinx’s AD Ben Pettitt-Wade, the_crash.test asks you to imagine a world in which your digital self could live for you (think the Bruce Willis movie Surrogates, only better). This is the promise of tech start-up Figital, led by preening CEO Michel LeCoq (Benjamin Victor), who zooms in from a wellness retreat in Bali to put the finishing touches on the ‘Fing-a-me-Bob’, or ‘Bob’ for short: a digital crash test dummy whose burgeoning sentience is about to throw a serious spanner in the works for world domination.

The show itself is a marvel of creativity and collaboration, devised and driven by a cast of performers on stage and via video link. The space is filled with two huge screens onto which is projected everything from a tropical paradise to a molecular wonderland, underscored by Tic Ashfield’s evocatively unnerving soundscape. The motion capture puppetry for ‘Bob’ is especially impressive, and Owen Pugh and Lucy Green, who alternate the role, really bring the character to life. Pugh carries much of the drama as both ‘himself’ and as ‘Bob’. Green is also hilarious as one of Figital’s increasingly concerned shareholders, zooming in alongside Richard Newnham (be-wigged, bothered and bewildered – to fantastic effect) and Lindsay Foster as the feather boa-ed investor riotously reaching the end of her tether.

Benjamin Victor conducts the show with a skittish charm, joyfully skewering the Elon Musks and Mark Zuckerbergs of the world. Bethany Freeman steals scenes as the beleaguered cleaner Betty, whose interactions with Bob are genuinely moving. Meanwhile, Matthew Mullins is responsible for some uproarious moments as the cameraman watching everything slowly devolve into chaos. In a time when zoom call ‘comedy’ has become rote, Hijinx have found a way of making it feel fresh, new and funny – and when they go dark, they don’t pull any punches.

While the ending is genuinely spectacular, the show can be a little uneven at times, and the meta-narrative doesn’t quite pay off – but it is always dynamic, clever, and darkly funny, and whenever the focus is on ‘Bob’ and their increasing sentience, it really soars. Bob’s creators aren’t sure what he’s ‘for’ – but what are any of us ‘for’, at the end of the day? That sort of capitalistic thinking gets very dehumanising very fast: if all of us have worth based on what we can offer, then what does it truly mean to be ‘human’?

The interactive parts of this show are a lot of fun and it’s exhilarating to be able to explore ethical dilemmas alongside the characters. The audience can join in-person or online, and whichever you choose, do bring your mobile phone with you if you can as you’ll be asked to vote on certain moments, starting with ‘what colour should Bob be?’ and escalating to high-stakes questions of mor(t)ality. It might even be worth exploring asking the audience to ‘justify’ their ethical decisions.

The level of talent and creativity on display is staggering. the_crash.test is playing at the Millennium again tonight, and there are plenty of chances to see it again: at the Millennium on 24 June, Pontio Bangor on 29 June and Ffwrnes Llanelli on 2 July (all as part of Hijinx’s Unity festival). Innovative, imaginative and totally immersive, the_crash.test is bonkers in the best way and something you simply have to experience for yourself.

the_crash.test is playing 13 and 14 May 2022 in the Weston Studio, Wales Millennium Centre and throughout June and July in Llanelli, Bangor and Cardiff. All performances are live-captioned and the 14 May performance will have BSL and audio description.

Review by
Barbara Hughes-Moore
 
Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.
Musical

Rview: Six the musical Wales Millennium Centre by Patrick Downes

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Where to start with Six? Is it a musical, is it a concert or is it a degree in Tudor History?

It’s all the above and some more. If like me you didn’t do very well on your History GCSE, but have since seen Horrible Histories, the story of Henry 8th’s six wives should be known to you in some way.

Divorced, beheaded, and now live, Six The Musical’s success of the last few years has been extraordinary. From humble beginnings at the Edinburgh Fringe, back to the West End, UK tours and being performed around the world. It’s quite a feat for something that on paper doesn’t sound that brilliant, but when you see it, you get proven very wrong.

Performed as a concert, Six is the 6 wives of Henry 8th telling their individual story through the means of song. The twist is that each queen is based on a 21st century female pop icon. Be that Adele (Jane Seymour), Lily Allen (Anne Boleyn), and Beyonce (Catherine of Aragon). What this brings is a modern contemporize twist to history from hundreds of years ago, but in realizing that, there’s an underlying cause that brings it to the present with the likes of #MeToo.

The production, the sound and the overall feel is something that hasn’t really been done before. Maybe this will see more musical theatre being created this way. It was nice to see a spread of ages attending too. People going for different reasons, maybe history students, young teenage girls, or wanting to witness something quite special and different from a normal musical.

Performance wise it would be unfair to pick one individual since that’s what the whole remit was supposed to be. Individually, the Six women sing amazingly, as a group is where their power truly lies. If there’s going to be a new girlband, maybe they’ll come from the one of the Six’s line ups? All I do know is that it was an amazing afternoon spent at Wales Millennium Centre, witnessing something quite unique – plus it meant I went home and watched documentaries on Youtube about the 6 wives.

Don’t worry about losing your head – it’s worth it.

☆☆☆☆☆☆ performance (See what I did there)

Reviewer: Patrick Downes

Musical

REVIEW: CLUB TROPICANA BY GEMMA TREHARNE-FOOSE

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Club Tropicana 

Press Night: 13 Aug 

Wales Millennium Centre

After a long absence from theatre reviews this last year and with the media a toxic cesspit these days, I felt so ready to be entertained. Like, seriously entertained. I have been awaiting the next chance to review something lively and upbeat, like a demonic glitter leopard stalking her pray. Yes, I was so desperately in need of an escape from the grim reality of Britain in 2019, that when news came from our friends in the WMC of a spectacular 1980s musical that harked back to the cheesefest pop era of my childhood, it truly felt like a gift. 

So it’s quite appropriate that in order to share this therapeutic time-warp, I should invite along my older and let’s face it superior older sister. Even though we only really got to know one another when I was already in my twenties, I have always looked up to her. Not least because my earliest fleeting memories of her were when I was a little nipper and she was already in her teens. At this point in the 80s, Wham were still going full pelt and George Michael wasn’t gay yet. My sister had Wham and A-ha posters on her wall and her teenage bedroom was a treasure trove of jewellery – wowwwww, magazines – wowwww and hairspray – wowwwwww.

It was a warm fluffy 1980s memory, a defining moment. Perhaps even stronger than my memories of the more grim aspects of the 80s – miners strikes, recession and poll tax riots. But look – kids need a dream! They need icons! Which is why I once cos-played as Madonna with a friend when I was eight and we called for a boy we both fancied. Back-combed hair. Beads, lace gloves – and a black kohl beauty spot penciled onto our top lips. Papa don’t preach, it seemed appropropriate at the time. It’s not everyone’s cup of tea as an era, but Maggie Thatcher or not, the 80s was epic! 

This was my frame of reference for coming along to the press night for Club Tropicana – I was already buoyed by my love of cheese, the 80s and musical theatre. I must admit I had my reservations about Joe McElderry (X Factor) as lead, but I learned my lesson after judging former X-Factor contestant Lucie Jones before seeing her utterly slay in the role of Maureen in Rent. I was also skeptical about the use of ‘Love Island’ references in the musical’s marketing literature. I might like cheese and pop music but even I have my standards.

The premise of this family friendly show is that a budding young bride and groom get cold feet and take a hiatus ahead of their impending wedding only to – surprise! – find themselves at the same resort where the drinks are free and tans glow. The show is an unapologetic romp through some of the poppiest, cheesiest anthems of the 80s. I wasn’t sure to what degree these anthems could complement or dovetail with the storyline or how the proposed story would hold up…this is something I suffered I mean ‘struggled with’ with at Son of a Preacher Man in 2018. You can love the songs, but if a musical isn’t delivering on the storyline then it will fall on it’s arse. 

So what then of Club Tropicana? 

Let’s be frank. It won’t win any prizes for being clever or original. The characterisation (bar a few stand out examples) is challenged at times by a simple (to the point of dumbed down) script and carosel of smash hits that come so thick and fast, it’s dizzying. It was difficult for me to connect to the characters, some of whom felt like musical theatre stereotypes and perhaps lacking in personality at times. The story hardly allowed for any development of some of the supporting cast’s stories beyond a few lazy jokes.

Imagine Hi-De-Hi mashed up with Mrs Brown’s Boys and a splash of Alan Carr and Eldorado. There are jokes about sex, farting, diarrhoea, being sick. There is humping, there is more innuendo than a Carry On comedy, more ham than a Danepak factory. But while all this stuff may leave an extremely nasty taste in the mouth of the more sophisticated theatre-goer (like the couple in front of me who seemed to have gotten lost on the way to a Chekov play or the ballet and cringed and recoiled with any hint of smut), we were mosty all there to unwind, have fun and enjoy the tunes – like refugees from the toxic wastelands of 2019.

Joe McElderry is hard to dislike and he works his socks off to win over the crowd, he plays the part of super-camp holiday rep Gary and is great fun, getting the audience to their feet and joining in a locomotion-type dance from the get-go. His personality shines through and vocals are super strong. The choreohraphy, costumes and hair – all excellent – one highlight being that gravity-defying quiff on Christine’s sidekick Andrea (played by Tara Verloop).

There are some surprisingly lovely musical arranegements in the show, with a beautifully crafted accoustic version of ‘Take on Me’ being a standout song, performed by lead actors Neil McDermott as Robert and Emily Tierney as Christine. I hate to be predictable but in every musical there is a suporting cast member who lingers in the memory (perhaps unfairly sometimes, given the pressure and scale of task facing the lead role actors). They seem to have a presence that even surpasses the role they embody – carrying with them an effortless ability to shine, no matter how lame or stereotypical the role they play.

For this show, it’s Kate Robbins as hotel maid Consuela – a Spanish trope so tired, they had to bring it back out of retirement. But her physical comedy and impersonations of a raft of 80s stars throughout the show is the backbone of Club Tropicana. For all the dazzling choreography, pretty musical theatre performers and bright lights – you need someone who will cut through the noise and make you belly laugh. More than that though, her impressions of the vocals of Tina Turner, Madonna, Shirley Bassey and even Cilla Black are truly sensational.

In places Club Tropicana was clunky, and yes – it’s possible to eat up so much cheese you are quite tired of it and need to lie down afterwards, but it’s a show that is unashamedly for those of us who remember the 80s as a time when sitting on the floor doing the ‘Oops up side your head’ dance seemed like such innocent fun. It’s nostalgic and warm and you won’t even mind being part of a Butlin’s-style Spanish package holiday experience where you wouldn’t normally be seen dead.

Take your Mam or your mates, listen to Cyndi Lauper in the car on the way down….eat the cheese! You can always have a lie down afterwards….


Film & TV, Musical, Theatre

Review Kinky Boots, Wales Millennium Centre by Barbara Michaels

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Music and lyrics: Cyndi Lauper

Based on the book by Harvey Fierstein

Director and choreographer: Jerry Mitchell

Reviewer: Barbara Michaels

4.5 out of 5 stars (4.5 / 5)

Plaudits for this musical, based on the book by Harvey Fierstein and the 2000 British film, are thick on the ground – and deservedly so.  Brash, bright and beautiful throughout, Kinky Boots tells the story of one Charlie Price.  An unwanted inheritance from his father leaves Charlie running a shoe manufacturing company in Northampton and forming a partnership with cabaret performer and drag queen Lola.  When the business is threatened with closure and bankruptcy Lola saves the day by suggesting the manufacture of high-heeled boots for drag performers. Et voilà!

Some great songs, including those with a message and others which are pure joie de vivre, pack a punch.  Kinky Boots is so much more than just another musical.  At the heart of it – and what a big heart it is – is a subject which nowadays is, for the most part, treated empathetically, which was not always the case in some communities not that long ago.  I refer to transgender – often in the news of late.  The story tackles it head on, with the occasional heartbreak yet with fun and verve, dished out by an amazing cast who earned a standing ovation last night in the Donald Gordon theatre in the Wales Millennium Centre in Cardiff.

As Charlie, Joel Harper-Jackson proves, after a slow start, that he can both act and sing, coming into his own in the second half with a rendering of Soul of A Man which tugs at the heart strings.  But it has to be said, it is Kayi Ushe’s Lola that steals the show. Ushe gives a scintillating performance as the drag queen and, equally telling, when he appears in male clothing. Lola’s singing of Hold Me in Your Heart as the show nears its close is heart-rending.

Demitri Lampa cuts the mustard as Don, managing to steer clear of the pitfalls of such a role i.e. portraying a so-called masculine prototype with beer belly and a set of out-moded ideas. Adam Price as the factory manager George makes this cameo role his own, although the joke wears a bit thin towards the end of the show.  Coronation Street’s Paula Lane as the factory girl sweet on Charlie and Helen Ternent as his erstwhile fiancée Nicola provide an extra fillip. 

As for the Angels – the dancers at Lola’s club – wow!  Brilliant and believable they sing and dance throughout showing amazing talent and especially outstanding in What A Woman Wants, sung with Lola, Don and factory girl Pat in Act II.  Everybody Says Yeah, sung by Charlie, Lola and the Angels with full ensemble, which brings the first half to a close is another gem. You couldn’t wish for better. All aided and abetted by great music, wonderful costumes and David Rockwell’s atmospheric set.  Sit back and enjoy the magic that is Kinky Boots.

Dance

Review: Matthew Bourne’s Romeo + Juliet, Wales Millenium Centre

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Reviewed by Luke Seidel-Haas

ROMEO AND JULIET by Bourne , Director and Choreographer – Matthew Bourne, Designer – Lez Brotherston, Lighting – Paule Constable, Rehearsal Images, Three Mills, London, 2019, Credit: Johan Persson/

“Two household’s, both alike in dignity. In fair Verona where we lay our scene”. So begins Shakespeare’s 1597 tragic love story of star crossed lovers. Intended as a radical reinterpretation of the classic tale, Matthew Bourne’s New Adventures company does away with the feuding families, the setting and indeed many of the characters. Instead the tragedy is set within the confines of the “Verona Institute” – some form of psychiatric ward in the not too distant future. And rather than being from rival Montagues and Capulets, the eponymous lovers are two patients being treated in the institute.

Stripping back the characters and removing the text forces you to concentrate on the connection between the characters, and in that aspect Bourne’s production is excellent. the chemistry between Romeo (Andy Monaghan) and Juliet (Seren Williams) is beautiful; their moment of meeting at the party and subsequent coming together crackles and fizzes with excitement. As they weave around each other and intertwine you feel their passion, all sound tracked brilliantly to Prokofiev’s score. Their romance is the highlight of the piece, with it’s devastating ending heartrendingly performed by the pair.

Similarly impressive is the ensemble cast. As part of New Adventure‘s endeavour to nurture the next generation of dancing talent in the UK, the whole show was cast from open auditions nationwide, and at each venue on the tour six local dancers take up place in the ensemble. It is testament to their talent and the hard work of Bourne’s creative team that they blend seamlessly in with the ‘permanent’ cast.

Less convincing is the overall concept for Bourne’s piece. Romeo and Juliet has been reinterpreted in different ways ever since it’s creation. Each interpretation can reveal fresh or different perspectives, from Baz Luhrman’s film with guns set on Venice Beach to the 1957 film West Side Story highlighting the violence between rival gangs. Yet here the interpretation falls flat. Rather than rival gangs or families, the Verona Institute is divided into girls and boys. Each are generally kept apart by officious looking guards and officers, yet are allowed to interact. The two sides don’t appear to hate each other and the only obvious tension between them is sexual tension. As a result the drama has to come from a prison guard, playing the equivalent to the Tybalt role. This change in dynamic removes much of the fuel which creates the drama in Shakespeare’s script.

The other issue with Bourne’s Romeo + Juliet is the choice of location. Set in a mental institution, the cast are subjected to medication, examination and strict exercise regimes. Their movements vary from uptight and restricted in the presence of authority to wild and passionate when let loose. Yet the subject of mental health isn’t really tackled or explored. Why have these young people been institutionalised? What help are they receiving while inside? A cynic might think that the setting was chosen to tie in with the increasing awareness of mental health, and to tap in to the surrounding zeitgeist. However, in doing so did they consider how it looks to then show people with mental health problems rocking backwards and forwards before ultimately killing each other or themselves?

As a piece of modern dance, Bourne’s production is a triumph. The choreography is dazzling, the music and score have been adapted from the original with a pared down orchestra by Terry Davies to great effect and the ensemble work from the cast is excellent. Yet sadly as an overall piece of work it doesn’t feel fully thought through with regards to how the reinterpretation changes the dynamics of the piece or intent behind it. Excellent choreography and performances, hampered by issues with the interpretation.

Matthew Bourne’s Romeo + Juliet is running at the Wales Millenium Centre until the 22nd June 2019.