It is a rare opportunity to see Ex Machina, company of renowned theatre maker Robert LePage, perform outside of London in the UK, and the opportunity to see such a trailblazer of theatre practice first hand. The Far Side of the Moon, originally conceived and performed by LePage himself, now in the more than capable hands of Yve Jacques.
LePage, founded Ex Machina in 1994 and quickly gained attention with their early works notably The Seven Streams of the River Ota (1994) and Elsinore (1995). LePage’s work fuses styles and disciplines, he does not characterise Ex Machina as a theatre company, and nor does his work, either in performance or in film does not slot easily into traditional descriptions. LePage has become known for his fusing of film and performance, of multimedia across his work- video projections, soundscapes and projected dialogue sit alongside puppetry and performance and choreography. Meanwhile his interests as an artist similarly span multifaceted and multimedia approaches incorporating science alongside philosophy and art. It is fitting then, in 1999 when beginning work on The Far Side of the Moon, it was the question of science alongside art that is a catalyst to the narrative.
In parallel narratives- one public, the story of the space race, one private, the story of two brothers, LePage explores the nature of humanity, and the direction of life. The story unfolds of two brothers, one gay one straight, one confident, one shy, the younger seemingly successful, the younger still struggling. Their domestic narrative is played out against the backdrop of the Space Race and younger brother Phillipe’s endless fascination with the cosmonauts, pitted against their ever more glamorous American counterparts the American Astronauts. The parallels between the struggling student and his glamorous and famous weather presenter brother are clear.
The storytelling is tightly woven, and complex, veering across Phillipe and Andre’s lives, touching on their childhood and adolescence, through their current situations and frustrations. It is a highly domestic, family oriented tale at its heart with everything circling back to the death of their Mother, and the realisation of what life is like without any parents.
The technical elements of the show are, as expected, astounding. In the hands of a lesser company the might come off as gimmicky, but here the fusion of projections alongside The performance is truly theatrical in its reliance on Jacques performance to encapsulate both brothers and a variety of peripheral characters, but also in the use of stage and props in a very traditional way. Although LePage is perhaps best known for his fusing of film and theatre, here although the film and multimedia elements are moments of brilliance, it is moments of simple theatricality that highlight the skill and attention to detail in the performance. When an ironing board becomes a bike, for example, and later a bed, or when through subtle costume change and mannerism Jacques becomes another character. The brilliance of LePage’s work is the fusion of these elements, and despite being a work of technical precision, it also has a very instinctual, organic feel that comes back to the engaging storytelling at its heart.
As LePage’s creation is always about fusion of elements, the bringing together of The Far Side of the Moon rests on the performance of Jacques. An intimidating ask to take on the very personal story that LePage wrote- he draws on his own Mother’s death, as well as hinting at his personal struggles with depression and coming to terms with his sexuality- as well as taking on the piece that LePage performed himself. However, Jacques having toured this piece for several years, has an easy stage presence which makes the precision performance of both hitting technical markers to allow projection, puppeteer or set to take over the storytelling, while also delivering two hours of single-handed narration while embodying Andre and Phillipe’s characters. Jacques does it with an engaging personable warmth that also brings the audience into what for those uninitiated might see as the daunting prospect of LePage’s theatrical world.
Robert LePage sets out to create fusion in his work- fusion in performance through multimedia, traditional and innovation, and through thematically, addressing issues side by side that might not traditionally be addressed. These elements alone could be a cold exercise in performance for performance sake, experimentation for experimentation’s sake which could leave the average audience alienated. It is the credit of LePage and the company that his work does not do this, while The Far Side of the Moon is a great introduction to the theatrical style Le Page is known for, while it is a challenging fascinating study of performance methods, it also keeps at it’s heart the element of storytelling. So while audiences may be intrigued, puzzled and hopefully challenged by seeing what may be a new approach to theatre for them as this work tours the UK and the world, they will also be invited in, and moved by, the story that facilitates the performance.
http://lacaserne.net/index2.php/theatre/the_far_side_of_the_moon/
Tag Archives: Wales Millennium Centre
Review: Youth Dance Night at NDCWales by Helen Joy
NDCW Youth
Right, this is a hard one; I have thought long and hard about this review.
My conclusion is this: I am not here to comment on any of the pieces critically, I am here to congratulate and celebrate everyone involved in creating beautiful dance through giving all these extraordinary young people the chance to dance.
Every dance has a message for us and in essence I think it is this:
“Listen to us, we may be young and we may seem to have so little experience next to you, the big grown-up, but we have a voice and we feel and we want you to hear us and respond. Our need to express ourselves and to be understood is as great as yours and we will be heard, we will use clothes and colour and tears and anger; we will use movement and action; we will use dance.”
Each piece is so different, working so carefully with the ages of the dancers, their abilities and their stories. Some dancers have that special something – you can already see it, something in the way they look straight at you, something in the way they love the connection between their bodies and their minds, something just special. Every dancer in front of us performs as a professional – confident, charming, athletic and poised. Confident enough to use humour and we in the audience are impressed and laugh with them.
They dance of war and remembrance, of love and loss, of action and inaction, of communication and self.
I have no warm personal association with this – I was once in the wrong queue at junior school and accidentally arrived in the ballet class, surrounded by pink leotards and birds in cages. I was about 6. I can still feel the horror of it.
Yet, here I am wishing and wishing I had had the gumption these young people have and to have stayed in that class; wishing I had that gumption now too. What amazing young people they are, what remarkable people they will remain and in part because of this opportunity they have the gumption to take, to value and to work at – for none of this comes easy, I am sure.
I am sitting next to Luke, a dance teacher, and we discuss what makes the difference between the Associates’ piece and everyone else’s. There is something about the last piece which is more polished than the others, slicker somehow. Time is partly the answer – these dancers have been selected and given the time to train in a way the others do not have.
This suggests to me that it is time that we all must have to perfect what we do – all these young dancers deserve our support to give them the opportunities and the time they need to grow into the adults who will make our world more than just a little better.
To support ETC, Fantasy Feet, Rubicon and the NDCW, please see the links below.
Every young person should have the chance to dance, please help them to get that chance.
Helen Joy for Get the Chance, 3rd Act Critics.
Curator: Caroline Finn, NDCW Artistic Director
Showcasing:
ETC Youth Dance
Fantasy Feet (2 x pieces within their 12 minute slot)
Rubicon (Urban Flagship Group)
Joon Youth Dance Company
National Dance Company Wales Associates
Seen: 26 February, 2017
Where: Dance House, WMC, Cardiff
Tickets: £10 | Concessions £7
Find Youth Dance at:
Fantasy Feet, Merthyr Tydfil
http://www.fantasyfeetdance.co.uk/
Rubicon Dance, Adamsdown, Cardiff
http://www.rubicondance.co.uk/
Joon Dance, Solva, Pembrokeshire
https://www.facebook.com/JoonDance/
ETC Youth Dance
https://twitter.com/etcdance
NDCWales, Wales Millennium Centre, Cardiff
http://www.ndcwales.co.uk/en/get-involved/dance/associates-age-14-19/
To support National Dance Company Wales, please consider their new Lift Lifft scheme at http://www.ndcwales.co.uk/en/about/support-us/individual-giving/
Review: Love’s Poisoned Chalice season – Madam Butterfly & Le Vin Herbe
Madam Butterfly & Le Vin Herbe
Love’s Poisoned Chalice
Welsh National Opera at Wales Millenium Centre
Madam Butterfly 
Sweet little Butterfly is but 15. A child. A beautiful, lost child to us.
Pinkerton is to our eyes horribly unattractive, horrible in deed, fact and person. I don’t want him anywhere near her.
But, she is in love and he is in lust.
He is the archetypal American soldier – overpaid, oversexed and over here. He has the tacit and overt support of his colleagues. He blinds Butterfly’s friends and family with his pomp and wealth.
It is an arranged marriage. Butterfly enters into it with enthusiasm and a love for Pinkerton which is not reciprocated.
He, of course, leaves her. She brings up their child with the help of her servant, Suzuki, over the 3 years of his absence in hope and penury. Pinkerton returns with his American wife and they assume the boy as their own. Butterfly kills herself. She has loved too much.
Not a new story in any sense. It is utterly predictable and pitiful. And honest.
I have seen this production before but I have not heard or seen such an utterly perfect Butterfly before. She is a little light burning into the sepia staging. She sings with her soul on fire.
Le Vin Herbe 
The story of Tristan and Iseult the fair. Accidental lovers brought together by circumstance and potions. Their love is inconvenient and uncontrollable. Their exile and their isolation disrupted by a secret visit from the king, Iseult’s husband to be, who leaves his sword to show his lenience. The lovers overthink his intentions and return to their respective lives at court.
Tristan marries Iseult of the white hands who takes her revenge on his love for the ‘other woman’ when he is dying. Iseult returns to die over his dead body. The brambles entwine their bodies for eternity.
An outstanding production. Skeletal, dark, passionate, ironic. Show-stealing leads against an outstanding chorus. This is a well-known story well told and chest-beatingly hot.
A few thoughts:
Now, both of these operas are about love and life and fate and death. They both imply you can love too much. They both sing to us of the nasty twisty business of chance and tell us that passion will end badly. They both show us women who give up their hearts to their men, to their lords and masters.
Butterfly sees a way to a happy, comfortable, settled life with her soldier and gives up her faith, family and friends to do so. Iseult gives up a husband, crown, wealth and status to follow her knight into the woods to live in a poor shed full of flowers.
Pinkerton makes no sacrifices; he is not in love. Butterfly, Tristan and Iseult are all in thrall to love and make the ultimate sacrifice. Pinkerton is rewarded for his disinterest.
Messing with fate is clearly a bad idea but the music it invokes is not. These are two visually and vocally disparate operas with similar stories to tell. They are well chosen, well cast and masterly.
Madam Butterfly’s Un Bel Di Vedremo is Puccini at his best; Le Vin Herbe is opera at its best.
Event: Madam Butterfly, Puccini
Seen: Feb 10, 2017
Website: https://www.wno.org.uk/event/madam-butterfly-0
Running: Friday, February 10, 2017 – Saturday, April 29, 2017
Conductor Lawrence Foster (until 4 Mar). Andrew Greenwood (from 24 Mar)
Director Joachim Herz
Revival Director Sarah Crisp
Designer Reinhart Zimmermann
Costume Designer Eleonore Kleiber
Chorus Master Stephen Harris
Lieutenant Benjamin Franklin Pinkerton Jonathan Burton
Goro marriage broker Simon Crosby Buttle
Suzuki a servant Rebecca Afonwy-Jones
Sharpless the American consul David Kempster
Cio-Cio-San (Madam Butterfly) Karah Son
A Welsh National Opera production, sung in Italian
……………………..
Event: Le Vin Herbe, Frank Martin
Seen: Feb 17, 2017
Running: Thursday, February 16, 2017 – Tuesday, April 25, 2017
Conductor James Southall
Director Polly Graham
Designer April Dalton
Lighting Designer Tim Mitchell
Storytellers Full Company
Iseult’s mother Catherine Wyn-Rogers
Iseult the Fair Caitlin Hulcup
Brangien, companion Rosie Hay
Mark King of Cornwall Howard Kirk
Tristan his nephew Tom Randle
Duke Hoël a nobleman Stephen Wells
Kaherdin his son Gareth Dafydd Morris
Iseult of the White Hands Sian Meinir
Solo narrators Anitra Blaxhall, Rosie Hay, Sarah Pope, Joe Roche, Howard Kirk, Stephen Wells, Catherine Wyn-Rogers
A Welsh National Opera production, sung in English
Review Madam Butterfly, WNO, WMC by Barbara Michaels
You can listen to Barbara reading her review at the Soundfile below just click on the link.
Madam Butterfly Wales Millennium Centre Cardiff
Music: Giacomo Puccini
Libretto: Guiseppe Giacosa and Luigi Illica
Director: Joachim Herz
Revival Director: Sarah Crisp
Reviewer: Barbara Michaels
(4 / 5)
That most heartrending of operas, Puccini’s Madam Butterfly is staged by Welsh National Opera as the second in their Love’s Poisoned Chalice season. Following on after La Boheme, which opened the season, Butterfly is, like the former, one of the most popular operas and as a consequence – in these days of cuts to the arts funding – one of those most often performed.
Once again, it is a case of reach for the tissues as the story of the Japanese fifteen-year-old geisha, Cio-Cio San, who gives her heart to, and marries, a bounder of an American naval lieutenant, one Benjamin Franklin Pinkerton who doesn’t take the marriage seriously, unfolds towards its tragic end. In restaging this opera which they first performed back in 1978, WNO have wisely adhered to the original format directed by Joachim Herz and first performed at La Scala Milan in 1904.
Sepia toned sets emphasise that this is old Japan – and the gulf between the two worlds and their values runs as an undercurrent throughout, at times becoming more prominent. The political undertones are emphasised throughout the libretto, epitomised by recurrent musical themes in the orchestration, as well, as in the repeated playing of the Star Spangled Banner.
This time round WNO has honed and polished their performance of the poignant story set to Puccini’s wonderful score to a state of near-perfection. This is due in no small part to Karah Son’s portrayal of the central role of Butterfly. Not only has the South Korean soprano a voice of the utmost clarity, with a seemingly effortless ability to soar to the high notes which the role demands, but Son excels both in Act I, as the innocent young girl who believes in true love everlasting (only to be thoroughly deceived and let down by that cad and absolute bounder Pinkerton) and in Act II, where she achieves the difficult shift to the more mature Butterfly, bringing depth to the tragic denouement This requires not only a change in characterisation but in style of singing, and this Son does, notably so in the beautiful aria One fine day..
In the role of the bad guy (and what a cad Pinkerton is to abandon his young wife so callously) Jonathan Burton’s tenor is pleasing, particularly in his duets with Son. His portrayal of the callous and worldly Pinkerton contrasts well with the naivety of the young Japanese girl who has never been further than Nagasaki, but Burton does at times lack facial expression. One could perhaps argue that this is intentional on the part of the director in that Pinkerton is a reflection of the attitudes that existed during that era. Nevertheless I would have liked a tad more expressiveness from Burton, as this can at times make him appear a tad wooden in the role.
Welsh baritone David Kempster brings gravitas to the role of the Consul who does his best to avert the tragedy, while as the bowler-hatted marriage broker Goro, Simon Crosby Buttle skips around the stage in great form. As ever, the WNO chorus is an added bonus, particularly so as the posse of Butterfly’s geisha friends in Act I, and the rendering with the orchestra, under conductor Lawrence Foster, of the humming chorus in Act II.
A production honed to near perfection which should not be missed. Catch it if you can.
Runs at the Wales Millennium Centre 17, 18 February, then touring,
Review: Sunny Afternoon by Corrine Cox
With speckled references to the hits throughout the storytelling, this clever writing creates an enjoyably impatient anticipation for the big numbers but also the impression that we are watching the creative genius unfold.
(5 / 5)
As we’re teased with references to the iconic You Really Got Me in the opening sequence there’s already a palpable sense of anticipation pulsing around the auditorium of the Wales Millennium Centre as the cast of Sunny Afternoon prepare to take us on a 2½ hour musical journey through The Kinks rise to stardom. From the early days in North London; their debut on Top of the Pops; the infamous American tour; through to their triumphant comeback, Joe Penhall ingeniously weaves the hit songs from the 60s into the storytelling of one of the most influential bands of the era.
Our story begins in Muswell Hill, with performances by Ryan O’Donnell & Mark Newnham perfect characterisations of the often tense professional relationship between the rebellious Davies brothers, as they navigate the initial tensions to discovering the bands distinctive sound, the start of a journey which would shape a unique musical identity that would inspire generations. Throughout the evening O’Donnell, Newnham (a highlight performance), Gallo, Rhys and the supporting ensemble, blend effortlessly to recreate the iconic sound of the band, in what is a moving portrayal of both the professional and the personal lives of the band and their adjustment to the pressures of stardom. With references to the hits speckled throughout the storytelling, this clever writing creates an enjoyably impatient anticipation for the big numbers but also the impression that we are watching the creative genius unfold.
Throughout the exploration of the soaring highs and the frustrating lows the band encounter, we join the cast in a celebration of how four working class musicians from North London changed the music scene for generations to come. Dead end street, weaved masterfully into Penhall’s narrative, particularly highlighting how the bands upbringing proved an ongoing source of inspiration for Ray’s writing with the majority of the works involving similar elements of social commentary, which inevitably played a large part in their then and ongoing appeal.
The staging enables the cast to create a certain intimacy during acoustic interludes including This Time Tomorrow and Thank you for the Days, contrasted with the gig feel of the iconic All Day and All of the Night & roof raising end sequence, and quirks of the choreography and use of props lend themselves especially well to the playfulness of numbers such as Dedicated Follower of Fashion.
The universal appeal of Sunny Afternoon makes it a must-see irrespective of whether you know the band or the songs. If you know The Kinks you’ll love it, if you don’t know the Kinks you’ll love it. A feel good musical and a moving portrayal to one of the defining bands of the 60s who will continue to inspire generations to come.
Ray Davies – Ryan O’Donnell
Dave Davies – Mark Newnham
Mick Avory – Andrew Gallo
Pete Quaife – Garmon Rhys
Music & Lyrics – Ray Davies
Book – Joe Penhall
Original Story – Ray Davies
Director – Edward Hall
Designer – Miriam Buether
Choreographer – Adam Cooper
Lighting – Rick Fisher
Sound – Matt Mckenzie
Musical Supervisor – Elliot Ware
Review ‘Mary Poppins’, WMC by Kate Richards
Sitting in the Wales Millennium Centre awaiting ‘curtain-up’ at Mary Poppins, I felt slightly sorry for the cast and production crew, at the huge task they faced in trying to impress the likes of me. Not a huge fan of musical theatre at the best of times, somewhat taken aback at the eye-watering cost of taking a family of four to the theatre at Christmas, and yet at the same time harbouring high expectations of being transported to a bright, magical world far away from Brexit, the state of the NHS and all the other gloomy headlines…..I was not disappointed.
As the curtain rose I felt my hackles rise slightly as the hubbub of the audience took too long to die down, but thankfully the volume and energy of the production soon drowned-out the residual noise and fidgeting of the younger audience.
What followed was a fast-paced, re-invention of the story that we know and love, interspersed with just the right mix of slick ‘magic tricks’ (pulling the hat stand out of the carpet bag, sliding up the banisters and making pictures come to life) and all the big songs you’d expect from this production. I was surprised at how different the story and structure was from the original film version, but this did not diminish the production at all – in fact it made it easier to watch for those of us that are very familiar with the dialogue of the iconic film.
The children, though ‘ringleted’ and clad in sailor dress and tank-top respectively, had a bit more attitude than I remember from the film, but I have no doubt this helped to make them more relatable to a modern audience, and helped make the whole thing a little less saccharine than I was expecting. The same could be said for Mary herself – though Zizi Strallen was every inch Mary Poppins from her clipped, received pronunciation to her turned-out toes.
I’m still not sure how Mary actually appeared on the stage, since we were distracted (not for the last time) by the creative use of lighting above the audience, so when our eyes returned to the stage – there she stood, perfectly poised.
The set was totally in-keeping with expectations of the house in Cherry Tree Lane (like the doll’s house you dreamed of as a girl but only collectors actually own), the colourful park and contrasting austere, greyness of the bank, and scene changes were slicker than other big budget productions I’ve seen in the West End. The pace and juxtaposition of the monochromatic scenes in London and the bank versus the vibrant colour of the park and the house scenes worked well at holding the attention of even the youngest audience members, and kept-up the momentum of the story.
I was amused to note that the ‘pre-teen’ beside me, pointed out every wire on the kites, and each cable used by Mary and Bert for their gravity-defying moves to her mother, but considering the challenges of staging this musical, it was actually gratifying that these were the only little bits of ‘reality’ she appeared to spot through-out the evening.
All-in-all it was the visual feast that I’d hoped for and it seems that the big budget really does buy you quality in everything from talent to sound, and costume to lighting. It is hard to pick out individual performances or highlights because the whole production worked seamlessly to create a theatre-going ‘experience’, where all the cogs meshed perfectly in a well-oiled machine. I went to see the production with my ‘Mum hat’ on wondering what my 6 and 10 year old nephews (and eventually my own child when he’s old enough) would make of it – would it be too ‘girly’ and surely there would be a very narrow window of opportunity when a child was old enough to sit through it, but not too old to dismiss it as ‘babyish’ or ‘uncool’? As I reflect on my experience, I know that my nephews would have been transfixed, and I would be so bold as to suggest that my husband would have enjoyed it too; the polished performance absolutely transported me to another world for a couple of hours so I concluded that it would be worth saving up for this as a special family treat at Christmas, and I might even give a few more popular musicals a try.
Review ‘Mamma Mia The Musical’ Wales Millennium Centre by Sarah Debnam
Mamma Mia the musical opened at the Wales Millennium Centre in Cardiff this week and the buzz and excitement surrounding it meant that expectations were high.
Let’s start by saying the show began as expected, with Sophie posting the invites for her wedding to her three potential fathers, showing determination and emotion as she did so, a perfect opening scene and introduction to one of the main characters. We were also introduced to Lucy May Barker’s singing voice and what a voice! Brilliant!
We then meet Sophie’s friends, Donna and her friends and the other main characters, including Sophie’s Fathers. All of whom I think we’re perfectly fitting for their roles. Especially Donna. Sara Poyzer that plays Donna, had a hint of Meryl Streep in her energy, however a phenomenal voice to carry those fantastic ABBA songs to every corner of the room, and have every person there enthralled.
As the story moves on we were treated to classics such as ‘Money, Money, Money’, ‘Lay All Your Love On Me’, ‘Our Last Summer’ and of course the entertaining ‘Does your Mother Know?’ Which happens to be one of my favourite parts in the film, and Emma Clifford that plays Tanya did it justice. Also the men showing off their dancing skills and choreography was outstanding, especially Louis Stoical who plays Pepper with his jumps, energy and humour!
It’s worth noting the simple but very effective scenery and spectacular costume designs, as well as the incredible orchestra really bring the whole thing together.
Of course the show had to find its ending sadly and even though it’s hard to compare the stage show with the film, the wedding preparation and wedding certainly lived up to expectations, ‘Slipping Through my Fingers’ no doubt caused a few teary eyes and certainly felt like a special moment.
The party like atmosphere at the end had everyone up from their seats dancing and singing along to ‘Dancing Queen’, inhabitations lost and I’m sure everyone left that room feeling great!
The audience were clearly hooked from beginning to end, with oohs and ahhs and plenty of laughter, the cast did an absolutely amazing job of entertaining everyone last night, and even though the film was a hit, this show was funnier, livelier and had more energy. I can understand the buzz surrounding Mamma Mia now, and might even try to catch it again before it leaves Cardiff!
Review Macbeth WNO by Barbara Michaels
All photographic credits Patrick Redmond
(4 / 5)
Reviled by many as one of Shakespeare’s more unpleasant plays, and referred to by thespians as ‘The Scottish Play’ because of its reputation for bringing bad luck to performances, Macbeth was described by Verdi himself as ‘One of mankind’s greatest creations.’ Oliver Mears’ gripping modern day production for Welsh National Opera, in conjunction with Northern Ireland Opera, holds its own, opening up a huge range of interpretations on account of its deep psychological reference.
For those unfamiliar with the play on which it is based, Macbeth is a soldier whose wife’s aspirations of greatness are his downfall, leading to his ultimate death. Returning with his friend Banquo after a successful battle, he meets a coven of witches who predict that he will become firstly Thane of Cawdor and then King of Scotland, but that it will be Banquo’s children that subsequently inherit. On arriving home, Macbeth tells his wife who informs him that Duncan, the present King of Scotland, will be visiting and staying the night. Duncan duly arrives and announces that he is bestowing on Macbeth the title of Thane of Scotland. Not content with that honour, Lady M. sees this as the perfect opportunity to kill him and thus make the second part of the witches’ prophecy come true. She easily persuades Macbeth to murder his monarch while he is asleep, but the killing doesn’t stop there.
A balletic opening with the witches grotesquely portrayed as shaven-headed mannequins, and grey-haired humpbacks gets the action started before Spanish baritone Luis Cansino appears in battledress as Macbeth. The appearance of Lady Macbeth in Scene 2 leads into the first murder, followed by the duet which Verdi himself described as being of major importance. The justly renowned chorus of the WNO are increased in number with extra singers in order to cope with different guises which include not only the witches’ coven, but ghostly apparitions, and others, including in the final act refugees from the havoc caused by Macbeth’s widespread killings of those he sees as threats to his rule.
Sung by American soprano Mary Elizabeth Williams, this Lady M is a ballsy, modern woman, sexy even at her desk and displaying her thighs with calculated intent. This is a power-crazy female who will stop at nothing to get what she wants. Williams has the demanding role to a T, fully in control from start to finish; not until the final act do we see the cracks in the surface which reveal the deep underlying psychological problems as lady Macbeth sleepwalks, rubbing her hands to rid them of the bloodstains no longer there and singing broken phrases opening up into great arches of song. Musically, Williams is superb, with a soaring soprano that takes the breath away, both in breath-taking solo arias and duets with Macbeth.
Set and costume designer Annemarie Woods has created a minimalist Scottish castle and a wood that moves, plus costumes with swinging kilts. There are, however, two provisos – Duncan’s costume of bright blue jacket, knee-length white socks topped off with a gilt crown is a tad pantomimic, while the dark kilts and gilets worn by the chorus in the final act are reminiscent of school uniform.
Runs: September 15, 17 and 24th; October 12th; November 2, 9 and 23rd.
Macbeth Welsh National Opera at Wales Millennium Centre
Opera in four Acts based on the play by William Shakespeare
Music: Guiseppe Verdi
Libretto: Francesco Maria Piave
Director: Oliver Mears
Reviewer: Barbara Michaels
Review Chicago Wales Millenium Centre by Barbara Michaels
CHICAGO
Music and lyrics: John Kander & Fred Ebb
Book: Fred Ebb & Bob Fosse
Choreographer: Ann Reinking
Musical Director: Ben Atkinson
Reviewer: Barbara Michaels
(4 / 5)
Red-hot and sizzling, the multi-award winning musical Chicago, based on real life events in 1920s US, is back at the Wales Millennium Centre and judging by the bookings as popular as it was when it came here four years ago. With its theme of greed and corruption, the contemporary relevance doesn’t need to be spelled out although the main action takes place on Death Row, where nightclub singer Roxie Hart is standing trial for shooting her lover and the feisty Velma Kelly is up for double murder. Strong stuff indeed but the dark undercurrent of the story and plotline cannot be ignored, and neither should it be.
But – moving on – this is musical theatre, so let us not dwell on this. The wonderful musical numbers, toe-tapping and fast, are what makes this show so popular, along with the fast-paced choreography. Chicago is above all a showcase for the original choreography of the legendary Bob Fosse. The tunes come thick and fast, plunging straight into it with All That Jazz in Act I and never letting up, and the dancers amazing…
Chicago has been performed on stage countless times, plus the memorable film version starring Catherine Zeta-Jones, and every director understandably wants to put his or her own mark on it in terms of character portrayal. Hayley Tamaddon is a low key Roxie with an air of fragility about her that belies the fact that this is one tough lady who will stoop as low as it takes to escape the death penalty. Although Roxie’s story is pivotal, it is her opposite number Velma who is the strongest here and Sophie Carmen-Jones give the role her all in no uncertain manner, displaying a versatility and, in Act II, an acrobatic ability that is truly amazing. While Carmen-Jones has the character to a T, Tamaddon’s Roxie is at times almost girl-next-door in her naivety.
Alternating in the role of Prison Matron Mama Morton, who believes in looking after ‘her girls’ – as long as her favours are reciprocated – are Gina Murray and Sam Bailey. Murray’s Mama threatened to bring the house down on press night as she belted out the iconic When You’re Good to Mama full throttle. Great stuff! A clever little cameo too by Francis Dee as ‘Not guilty’Hunyak. On the same evening, Kerry Spark took over the male lead in place of John Patrtridge, who was absent, in playing unscrupulous defence lawer Billy Flynn always on the lookout for number one and lining his pockets by defending about-to-be convicted murderers. Amos, Neil Ditt is an experienced actor who ‘gets’ the role of Roxie’s husband, the pathetic, incompetent and ignored ‘Mr Cellophane’ (to use the title of his song) off pat.
The staging is atmospheric and costumes a delight for the eye with deftly wielded chorus line feather fans in one of the later scenes, while the onstage orchestra under musical director Ben Atkinson, is superb, providing not only musical backing throughout but continuing to entertain after the show ends.
Runs until Saturday 30 July 2016
Review Chicago, Wales Millennium Centre by James Briggs
(4 / 5)
“Murder, greed, corruption, violence, exploitation, adultery and treachery…all those things we hold near and dear to our hearts “and so Cardiff welcomes the touring production of Chicago. In a first for the Wales Millennium Centre the smash hit musical Chicago has arrived to entertain packed audiences. Chicago is based on the real life events in the roaring 1920s. A nightclub singing sensation Velma murders her husband, and Chicago’s smoothest lawyer, Billy Flynn, sets out to act has her defence. But when Roxie ends up in prison on similar charges, Billy takes on her case too, turning her too into a media sensation. Neither of the two women will be surpassed in their fight against each other for fame and celebrity status.
As the audience sat down before the performance an announcement was made informing us that John Partridge who plays lawyer Billy Flynn would not be performing due to ‘unforeseen circumstances’ and therefore the role would be played instead by his understudy Kerry Spark. Despite the obvious disappointment by some audience members we needn’t have worried as Kerry Spark gave an excellent performance.
This revival tour of Chicago showed a whole different side to the show by stripping the production back to its bare bones, with a full band positioned on a podium on stage, minimal costumes on the performers and some chairs. As an audience member, you seem to have the feeling that the music is the main star of the show and the thing you should be concentrating on most of all.
In the performance, Sophie Carmen-Jones played Velma Kelly, the tough performer awaiting trial for the murder of her husband and sister. Sophie Carmen-Jones delivers a brilliant Velma who is very confident and self-assured but still beneath her many layers is highly vulnerable.
Hayley Tamaddon is utterly sublime as Roxie Hart. Hayley Tamaddon brings out a different version of Roxie with slightly more comedy and shyness in Roxie than audiences will not have seen before. There are many moments during the performance where Roxie really comes into her own and shines like a star.
In my opinion, the two leading ladies are perfectly matched and when they come together and perform the ‘Hot Honey Rag’ to the end of the show they are wonderfully in synch with each other bringing a smile to every audience member.
The Matron of the Cook County Jail, Mama Morton was played by Gina Murray. The role is usually played by former X Factor winner Sam Bailey however she took a break from the tour. Gina Murray was brilliant as Mama Morton and has a good mix of being stern and kind to the inmates. Her performance in the song ‘When You’re Good To Mama’ was amazing and received a loud applause from the audience.
One of the real stand out characters during the musical was A D Richardson as Mary Sunshine. Each line of the song ‘A little bit of good’ is presented with a strong sense of carefulness and delicacy. It’s an extremely gruelling role that can be extremely difficult to sing night after night, but you get one of the best vocal performances I have seen. Without giving a major plot spoiler away it is unbelievable how good the characters voice is considering the circumstances.
Roxie’s all loving and walked upon husband Amos Hart is played by Neil Ditt. Extremely well performed, the character is worked, used and mistreated by Roxie and Billy but it is a truly wonderful performance by Neil Ditt and this is especially shown in the song Mr Cellophane which demonstrates to the audience how this extremely bland man is constantly striving to be noticed by others.
‘The 6 marry murderesses of the cook county in jail in their rendition of the cell block tango’ are outstanding with the cast consisting of Sophie Carmen-Jones, Lindsey Tierney, Ellie Mitchell, Nicola Coates, Frances Dee and Chelsea Labadini. This performance is very powerful and each character portrayed is very different with a stand out personality that draws in the audience.
It would be very wrong to not mention the utterly divine band for the performance led by the fantastic Ben Atkinson. It truly is the icing on the cake for this touring production. All through the show the energy levels of the band were extremely high and the music blasted out around the Wales Millennium Centre. The two real highlight moments of the band was during the Entr’acte and Playout because it was then they came into their own. Ben Atkinson was conducting upside down leaning over a wall and climbing over the staging while leading his band. He finally ended up draped over the piano upside down with his band dancing around the stage. An utterly amazing performance.
https://www.youtube.com/watch?v=jyVeSC1GYTw
You don’t want to be ‘Mister Cellophane’ so make yourself seen and go and watch Chicago: The Musical at the Wales Millennium Centre. The musical is showing between 25th Jul – 30th Jul 2016. Tickets are selling fast so please make sure you get them via this link-
https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/Chicago15/