Tag Archives: Wales Millennium Centre

Review Piaf! The Show Festival of Voice WMC by James Briggs


 
 out of 5 stars (4 / 5)
 

Cardiff welcomed one of France’s most famous singers in the form of ‘Piaf! The Show’ as part of the Festival of Voice event in association with ‘Directo Productions’. ‘Piaf! The Show’ celebrates the centenary of Edith Piaf’s birth and is a wonderful production  that sees French singer Anne Carrere filling the impeccably large boots of Edith Piaf. Edith Piaf holds very special memories for me as my family and I would regularly go on holiday to Jersey. When I was four I asked the hotel pianist if she would play Edith Piaf’s ‘Non, Je Ne Regrette Rien’. The pianist as well as my family were astounded at my request, but as we would return year after year to the same hotel every time I walked into the hotel the pianist would always play the song for me and even gave me some of my first ‘piano lessons’.

With a packed line up of almost thirty songs we are taken on a musical journey of Edith Piaf’s life starting firstly in Act 1 with the beginnings of Edith Piaf singing in café’s for customers and serenading people alongside the River Seine. However, Act 2 is totally different with the show changing into a concert style performance and Anne Carrere’s performance as Piaf is totally mesmerising. There were countless famous numbers included allowing the audience to sing along with the music. The settings used on the stage were minimal yet extremely effective some of which being a streetlamp in Montmartre,  seedy clubs of Pigalle and even the world famous Carnegie Hall in New York.

While performing on stage Anne Carrere was backed by a live band simply made up of a piano, doublebass, drums and the most amazing accordionist Guy Giuliano who was simply outstanding. The songs performed were a great mix from the well known such as Jezebel and Autumn Leaves and those not so well known to me such as ‘Bravo Pour Le Clown’, ‘Milord’ and ‘La Foule’.

The audience were left feeling as though we were watching the show in France as it was all in French. I really enjoyed the use of French as it brought more meaning to the music and made the portrayal of Edith Piaf by Anne Carrere even more special.

For those who have listened to Edith Piaf’s music you will know that she had a very specific sound to her voice and this is extremely difficult to impersonate, however, Anne Carrere manages to exemplify not only the spirit of the singer but also her unique sound. The legendary vibrato is captured with precision and even when dancing with men she had picked from the audience she stayed in character and didn’t let the accent go for one second.

The setting was also very effective in that during the singing a large projector at the back of the stage showed photographs of Edith Piaf through her many stages of life. Simple sets of a streetlamp alongside a park bench, bar and cafe tables provide the audience with a visual aid when listening to the music and following the story. This created the most fantastic atmosphere for the audience but the music with Anne Carrere alone is enough to entertain any audience and the enjoyment on stage was infectious.

For me this show was a dream come true and is the closest I will ever get to watching Edith Piaf singing her music live. It was therefore a terrible shame that the audience was so small in number as the performance deserved a packed audience. However, this did not deter the audience giving Anne Carrere and her band a standing ovation which was very well deserved.

I would recommend this show to everyone whether you are a fan of Edith Piaf or not as it is simply a wonderful celebration of all things French and the fabulous Anne Carrere is outstanding and I am sure when she performs at Carnegie Hall in New York I am sure she will be loved there also. If you ever get the chance do not think twice about buying a ticket as it is a must see show and your guaranteed a wonderful night out. Merci Anne Carrere vous étiez un artiste incroyable et vraiment fait Edith Piaf fier!

https://www.youtube.com/watch?v=GuxAeSihdgs

Merci d’avoir lu mon commentaire sur le fantastique Piaf ! Le spectacle.

Project Review, Making It! by Helen Joy

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Parama 2 Making it – LIVE!

A review of the programme of scripting workshops leading up to and including, the production: by a participant.

A small group of women of a certain age gather together in the curious spare rooms and spaces of the Wales Millennium Centre every Tuesday afternoon for 9 weeks.

March 15th

We introduce ourselves cautiously to our facilitators, Valmai Jones and Catrin Edwards; and to each other. Why are we here? Personal growth and development, honing skills and learning new ones, changing paths, making connections. A mixed bag of skills too–clowning, illustrating, writing, performing, acting – and a fair few years of life experience to boot. We watch Catrin’s film, Voices From the Factory Floor, with extra voices from the WMC breast cancer charity fashion show below. A heady mixture of women’s words on a Tuesday afternoon.

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Responding to the characters in the film seems easier to some than others. Some slip into roles easily; others struggle a little; I have no idea how to pretend and can only be me. I am astonished at the ease with which our group brings life and animation and speech to these women we have only glimpsed, sometimes second or even third hand. Real stories slip out so naturally hidden in the make-believe.

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Now, Val employs a little trick each week. Relaxation exercises for the body and the brain with closed eyes. Her mellifluous Welsh lilt calms our nervous spirits and revives our inner creativity. Staring intensely at paper mandalas to free up our right brains – mind over myth – becomes part of our shared experiences, part of bonding the group and comforts changes with consistency. This is neat.
We play a kind of Consequences – throw our titles into a hat, pick one, write some lines, pass it on… we read them out – remarkably adept little stories, tight, funny, sad, clever but mostly text, not so much dialogue.

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As the weeks roll on, we learned to examine characters and how to bring them to life through words and play. We had homework: write up your character – give her life. Give her words to say. And playlets form with monologues, dialogues, complex scenarios. Characters cry, laugh, shout and dance. Some of us stay with the themes of the film; some use the Consequences storylines; others choose something new. Somehow, perhaps not surprisingly, we all talk about the influential women n our lives.

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I struggle with reading out my words, my dialogue. And the first time it matters, I can’t do it. I am ten years old and I will be humiliated. I hand my script to Val. She is so kind and talks me through ideas and scenarios and builds my confidence.

The call goes out – posters are ready, the time and date is set – we will be performing at 3pm on the 9th May in the Preseli Rooms at the WMC. Tell your friends and families.

I write a script over an evening. I have been mulling over the idea for a few weeks now without realising. I cannot face reading it. I wonder how the others are managing.

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May 8th

Rehearsals. It is a beautiful, hot sunny day outside and we are all inside, fretting over scripts, tripping over stage hands and working with professional actors. This is getting very real. We are called to the stage, Val is acting and Catrin is directing. We are multi-tasking at a superhuman level.
I cannot open my eyes when they start to read my play. Gradually, I uncurl and watch and listen and begin to edit and critique and love it. Not love my work – but love the process. I discover acting is a joy – to be someone else for someone else is a privilege. I try so hard to do it as well as I can. Everyone else seems so much better at this but inside, I guess, we all feel the nervous.

May 9th, 3pm

Somehow, out of all the chaos, a slick series of plays is presented to a small but hugely appreciative audience. All credit to Catrin and Val for their inspiration and facilitation. All credit to the actors and stage hands for adding that professional edge.
And to us? Well. We pulled it off.

The audience, mostly made up of women from Voices from the Factory Floor, has enjoyed our efforts very much. The plays remind them of conversations had with their own mothers, fathers, daughters and friends. One said that we hadn’t needed scripts to read – that we could have just chatted amongst ourselves on stage – and there I see the compliment, our work was natural, candid observation with each of us adding our own personalities and quirks to tell tales. Not perfect but gentle, the work of women who have been there.

I am not alone in being relieved yet ecstatic as the event closes but oh so sorry that this series of workshops is not continuing and that we are left to go our own ways with our words.

The project  was supported by Age Cymru’s Gwanwyn Festival which is funded by Welsh Government and Arts Council of Wales, WI in Wales and Women’s Archive of Wales

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http://gwanwyn.org.uk

http://gwanwyn.org.uk/events/making-it-free-drama-scripting-workshop-for-older-women/

http://gwanwyn.org.uk/events/parama2-presents-making-it/

Review Sleeping Beauty Wales Millennium Centre by Patricia Stowell

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Patricia is part of the Time Credit network supported by Spice. She accessed her tickets through volunteering in her local  community.

 out of 5 stars (5 / 5)

Many volunteers and Spice Time Credit users recently had an unexpected and very welcome trip to the ballet Sleeping Beauty.   Wales Millennium Centre had generously offered tickets to be used by members of the community who could ‘pay’ with their well earned Time Credits. The tickets were quickly taken up and many had to admit that they had never seen a ballet and some had never visited the WMC before so what an opportunity this was to get close up and personal to a fabulous performance.

But this was no ordinary Sleeping Beauty. The Matthew Bourne production was full of colour, movement and energy performed to the well known music by Tchaikovsky.   It was a gothic tale for all ages, a love story fraught with curses and spells. The costumes were outstanding, from the very first scene setting the christening of Aurora with a life-like puppet of the baby girl drawing in the audience from the beginning.   We watched as the familiar fairy tale of a young girl cursed to sleep for one hundred years was enacted and danced through various scenes.

As Aurora grows up, we were taken through the fashions of the day, including a genteel tennis game followed by afternoon tea on the lawn, watching the antics of her suitors as they tried to gain her attention. Years later, when Aurora wakes up, we are in the modern world, still beset with many temptations and sinister goings-on.

It was an outstanding performance, full of magic, fairies, vampires, love and romance, danced by incredible dancers . There was certainly no falling asleep during this performance.

Thank you once again to the Wales Millennium Centre for giving us the opportunity to experience a beautiful and amazing ballet.

Review Sleeping Beauty Wales Millennium Centre by Ellie Lawrence

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 out of 5 stars (5 / 5)

Hi, I am 10 years old and this was my first ever trip to see a Ballet. Before we went I expected there to be three good fairies that went to live with Sleeping Beauty and keep her safe so the evil witch couldn’t get her, just like I’d read in the story.

The show was at the Wales Millennium Centre, the venue is spectacular, inside and out. After a short amount of time in the queue we exchanged our time credits for tickets and went to find our seats. We had fantastic seats only a few rows from the front with lots of space and a great view of the stage.

The show was really good with lots of really great parts in it, lots of music and amazing dancers. The dancers took us on an emotional journey of excitement, laughter, fear, sadness and delight. I was surprised how they managed to tell the story without using any words.

I really liked the puppet baby at the start particularly when it was climbing up the curtains. I also liked it when the evil and good fairies were dancing around the baby in the night. I would definitely recommend this show.

 

Review Matthew Bourne’s Sleeping Beauty by Bethan Hooton

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On the 26th of April, I was lucky enough to see Sleeping Beauty at the Wales Millennium Centre, Cardiff. I haven’t really seen a ballet performance, besides the odd Nutcracker performance at Christmas, so I didn’t really know what to expect. I was absolutely blown away, it was incredible.

I love the Disney interpretation of Sleeping Beauty, but I think I found my favourite in this performance. It followed a similar structure, but it was so unique. The fact that the Princess didn’t fall in love with the prince was a breath of fresh air. I also liked the fact that the gardener and the Princess were already in love. It can be sluggish sometimes if you watch two characters fall in love. My favourite part would be the fact that the evil queen died before the curse came true. It was the son who made sure that it happened, and I just found it so interesting. It was different. The story was in the gothic genre and as I have studied it, I loved watching what aspects of the gothic were in the performance. It was dark and eerie. You kept wondering what was going to happen next, even though you knew how it would end up.

Ballet is such a beautiful form of dance, each move had such grace and elegance to it. I could not take my eyes off of the performers. I liked how each character had a performance that was unique to them, so you could define between each of them. As ballet is silent, the performers had to express so many different emotions through their performances and they did not disappoint! You could feel the emotions they were feeling, especially the Queens when Sleeping Beauty was put to sleep. It was almost as if you could hear the words that they weren’t saying. They are all incredibly talented.

The set was simple and sweet. There was not too much on the stage at one time, but you still got the feeling of elegance within the castle, and you got the sense that this was a gothic love story. The costumes were just incredible! They were so detailed, and unique to everyone. Each Faery had a different costume so you knew which was which. They reflected the personalities of each character, which helped you understand more about the story and what was happening. They also reflected the gothic nature of the story and the fairytale elements.

I loved this production and it definitely has inspired me to go see more ballet. Whilst it was confusing to begin with, it wasn’t long until I understood what was going on. The different interpretations were really interesting to me as both a literature student and someone who loves going to the theatre. I was left speechless when it finished. I recommend people who love the story of sleeping beauty, ballet and theatre to go see it.

(Although I do recommend not taking someone under the age of 10 as there are parts which could be disturbing.)

Review Sleeping Beauty Wales Millennium Centre by Julie Owen-Moylan

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We are so used to the Disney versions of our traditional fairytales that we forget they come from a dark place. Tales of babies being cursed at birth, young women being locked away or made to sleep for 100 years. I am, it has to be said not a natural lover of ballet. I sometimes find it a little sterile for my personal tastes, however there is something about Matthew Bourne’s productions that I absolutely adore.

The theatre is plunged into darkness, a crack of thunder sounds and the menacing outline of Carabosse appears, played superbly by Adam Maskell. This is a lavish production, a return to the gothic roots of this fairytale. Bourne takes us on a journey from 1890 ( the year this ballet was first performed) through to the present day. It’s a twisting turning adventure through a dark ride. From the birth of the baby Aurora and her subsequent spiriting away to an underworld where she sleeps for 100 years, everything is beautifully choreographed. There is not one wasted movement. The thing I particularly love about this production is that the stripping away of some of the traditional elements of ballet puts the dancer’s skills totally in the spotlight. I can see the muscular physicality of their movements, the sheer hard work of their effortlessness, the way they communicate with every single part of their bodies. It is a stunning feast of dance and the dancers themselves are superb. The title role is played with elegance and power by Ashley Shaw and having watched her on stage I can only be excited at the prospect of her taking the lead in Bourne’s next production The Red Shoes which will be coming to the Wales Millennium Centre in 2017. Ashley is more than ably supported by Dominic North as Leo and Christopher Marney as Count Lilac together with a cast of exquisite dancers.

This stunning production uses a lush opulent set design to convey a dark gothic Victorian age and an Edwardian garden party before thrusting us into a stark underworld and a sinister costume ball. The use of puppetry for the baby Aurora is a stroke of genius introducing some lighter notes of comedy at the beginning of the ballet before unleashing a duel between the fairy kingdoms with a vampire thrown in for good measure all swept along by Tchaikovsky’s score. The whole production is a wonderful spectacle returning the tale of Sleeping Beauty to the place it truly belongs.

Review Tom The Musical by James Briggs

Tom1A thrilling new musical has hit Cardiff Bay this week in the form of Tom Jones: The Musical. Presented by Theatr na nÓg/TNN and performed at the Wales Millennium Centre, Cardiff. It is long overdue that the pop sensation from Treforest, South Wales gets the ultimate honour of a show telling his story. As I was born in the 90’s it was only as I got older that I began to find out about Tom Jones and his wonderful music. As a young boy I would always hear his music playing on my mothers CD player (she is quite the fan!). When attending the musical I was well aware of his best hits but not so sure about his story and how he rose to fame. I must say the opening to the musical came as a surprise when the Narrator said “There’s not a bar he didn’t walk into or a chip shop window he wasn’t pushed through,” which I must say came as quite a shock. As Tom Jones’ story began to unwind in front of the audience we saw him at a young age already in good voice but working in a paper mill. He strived to be just as good as his father and provide for his family. The progression from this young boy to the superstar he is now was really something to be admired.

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The musical focuses on the early years of Tom Jones’ life. The star of the show is Kit Orton who plays the teenage Tommy Woodward later to become Jones. We see the relationship blossoming between Tommy and his girlfriend Linda, whom he married and had a child with at the age of just 16. We see the early gigs with his band The Senators in Welsh valley’s working men’s clubs and the regular occurrence of local raffles offering a 12lb turkey as the main prize.

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Kit Orton has too been given a fantastic voice of his own. However many attending the show including myself were going with Tom Jones’ voice in mind for the most famous songs and so it took some adjusting but by the end of the show the audience are up dancing and singing with him, as though Orton was actually Tom Jones. Those early years didn’t feature Tom Jones’ most memorable hits, but Orton was able to deliver plenty of toe tapping covers from the swinging sixties. There was even a very brief blast from The Kinks with ‘You Really Got Me’ showcasing the excellent talent of the on stage band.

As good as the show was there was a part of me left feeling the first act of the musical seemed a little slow. I think that an inclusion of some of Jones’ famous hits could have been used to help tell the story a little better. Many of the first act featured music composed by other musicians opposed to the hits of Tom Jones and so left the audience wanting to hear more of Tom Jones’ songs opposed to covers. There was also the inclusion of the struggles with Tom Jones’ then manager Gordon Mills and him almost going bankrupt to make Tom Jones a star.

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It was the end of the show that really got the audience going. Suddenly the staging changed from a set representing Tom Jones as he was much younger to how a concert would look today. A large rig lowered on stage full of lights and the party really began! The finale was a medley of Tom’s hits which instantly got loud cheers and applause from the packed audience. The auditorium changed from theatre to pop concert with everyone up dancing and singing. Favourite’s for many in the audience definitely seemed to be ‘Delilah’ and ‘What’s New Pussycat’. With the show ending on a standing ovation you could tell the musical was a hit, and it most definitely was. However I can’t help but feel if there had been more inclusion of Jones’ hits during the production the audience would have been even more impressed. There are no boots bigger to fill than that of Tom Jones’ his booming voice is most definitely a one off but Kit Orton does a wonderful job. This is most definitely the musical for any Tom Jones fan but more so if you would like to find out the story of how he rose to fame.

Tom: A Story of Tom Jones The Musical is currently showing in the Wales Millennium Centre until the 12th March 2016 and then tours the UK.

http://www.tomthemusical.co.uk

Review Priscilla Queen of the Desert by Tanisha Fair

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I recently attended a performance of Priscilla the Queen of the Desert at the Wales Millennium Centre, Cardiff and I thought it was incredible!
The lead role was played by the brilliantly talented Jason Donovan as the character of Mitzi and I was slightly apprehensive at first as I was not sure how he was going to portray a convincing drag queen, but gosh was I wrong! He gave a wonderfully touching and convincing performance. I also absolutely fell in love with Bernadette played by the lovely Simon Green. His performance helped melt everyone’s hearts when he sang his rendition of  ‘True Colours’. I also wanted to mention the amazing amount of sass from the extremely talented Adam Bailey as the character of Felicia. His character was nothing but flawless and I think most probably gave a lot of the audience dance envy from his triple threat talents.
The backing trio of singers had the voices of angels providing the backing for every song in the musical. It truly made the performance spectacular, especially from the moment the orchestra starts playing with a beaming disco ball and lively music which sets you back into the 90’s with upbeat tunes that will get you moving in your seats. The costumes are incredible and outrageous and if you love drag queens I think you might be slightly jealous of some of these very unique, to say the least, costumes.
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This production is by far the best I have seen in a while as you cannot stop smiling throughout the show. There were moments that I found it very difficult to stay still in my seat, it really made me want to put on a pair of ridiculously high sparkly heels and get up on stage with the cast. All in all I completely and utterly fell in love with them and wished they were my friends. It’s energetic and fantastic fun. This production is definitely one to go and watch. It’s an absolute party from start to finish. It truly does take you on an emotional journey. The productions storyline not only makes you laugh but allows you to understand some of the pains that these characters went through to continue to do want they were born to do. I think this gives us all the message of how no matter how difficult the dream is or how long it takes you to reach it, you should never give up.
A truly inspiring performance from the whole cast and crew the amount of work that has been put into to this production means I thought it was utterly brilliant!

Interview Jukebox Collective

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With the exciting news that Jukebox Collective have recently become a new Regularly Funded Organisation funded by Arts Council Wales. As well as supporting their young dancers to perform in Groove on Down the Road at the Wales Millennium Centre. Young Critics Wales project coordinator Guy O’Donnell caught up with Liara Barussi, Company Director and Zoe Munn, Development Manager to discuss the companies past present and future plans.
 Hi both, thanks for taking the time to chat,  firstly can you tell me about the background of Jukebox Collective?
Jukebox Collective is a creative company based in Cardiff, focused on the delivery of the highest quality street dance education, performance and consultancy. The creation of Jukebox in 2004 was a reflection of the increase in demand, as well as the need to provide an outlet for some of the most talented young dancers in the UK.  Over 10 years since its creation, we still keep the core emphasis on nurturing fresh young talent up to professional level, as well as producing high-class work for stage and screen.
The Jukebox mission statement is – “Founded on the principle of excellence in street dance being a right for all, our mission is to inspire, create and educate through street dance and hip hop culture”.
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Thanks I wonder if you can tell us how you apply this in practice?
We apply this through the development of a multi-strand approach: Participate, Theatre, Creative Services and The Academy. The approach developed is based on a deep knowledge of the dance forms taught with a growing understanding of the different avenues for dance. By bridging the gap between community and professional work, we provide the platform to support talent from grassroots through to professional. We continue to work with respected industry artists to inspire dancers and support our vision of excellence and education being accessed by all.
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The company has its own premises and has held events like the Social Saturday’s can you tell us more about the intention behind these events?
Jukebox is all about sharing and exchanging dance, and these events are needed to create a sense of community within what we do. It’s important to keep an open door and have free public events so that anyone can access what we do.  We want to get people together, to enjoy and exchange, to have fun and to explore something different. We want people to leave with memorable experiences and a taste of what dance can bring to them. These events allow us to reach out to new people, introduce dance styles that may be unfamiliar, and to showcase that street dance forms are a vibrant and vital part of the cultural narrative and to local communities. The get together’s are also a chance to encourage collaboration between dancers as well as with other art forms.
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Liara you and Jukebox Collective have been very involved in the annual Breakin’ the Bay Weekend at the Wales Millennium Centre. It appears the WMC have been very supportive of Hip Hop culture. I wonder could you tell us more about your relationship with the WMC and involvement in this event?
Yes, I have been involved in curating the festival since its creation, over 10 years ago. We support Breakin’ the Bay to enable the Welsh dance community to become internationally recognised, as well as educating, inspiring and connecting them with other dancers across the world. This year we focused on sourcing some of the freshest national & international talent in Europe including dancers from France, Switzerland, Germany, Holland & Sweden. Jukebox’s reach on the International Hip Hop scene has attracted dancers from around the world to spectate and participate in the annual event. It’s the perfect opportunity to celebrate Hip Hop culture and all its diversity and bring it to the center of Wales. This year we also introduced a new “Experimental’ category, not only specific to this event but to the local dance community. This was very exciting and showcased a dynamic approach to street dance fusion.
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Arts Council England have invested funding in Breakin Convention which takes place at Sadler’s Wells and companies such as Zoo Nation to support their touring. We note that Jukebox company members have just been involved in Zoo Nations ‘Groove on Down the Road’ (which also forms part of Cardiff Dance Festival) at the WMC 13-22 Nov. Could you tell us more about your involvement in this performance?
It’s great to see not only Arts Council England but also the theatre venues across the UK welcoming street dance and making it available to mainstream audiences.  The involvement gives further opportunities to local youth to develop professionally and consider a career in street dance theatre. The Groove on Down the Road production features Jukebox Collective dancers – Jo-el Bertram, Shakira Ifill playing ‘Little Wiz’, and Renee Brito playing ‘Wicked Witch of the West’. We are delighted to participate and work in collaboration with Zoo Nation.
Arts Council Wales have recently named Jukebox as a Regularly Funded Organisation, congratulations! Can you tell us what led the company to apply?
Thank you! We applied as we felt with the support of ACW we could collaboratively grow the organisation to its full potential. Becoming a Regularly Funded Organisation provides us with more opportunity to produce creative work and to realise initiatives that support and celebrate talented creatives. We will also be able to plan further ahead and work more strategically. We are looking forward to developing this partnership and creating some fresh new work.
Your work supports a wide demographic of participants, I wonder if you think your organisation works with young creatives who wouldn’t otherwise be engaged in mainstream arts in Wales?
Yes, absolutely, we attract a diverse group of participants with our programs, and continue to have a point of view that talks to all people, regardless of location, gender, race and income. We are able to relate to a diverse group of people and cultures through their shared common interests. This commitment to equality and diversity is at the heart of all the work we do.
Welsh Assembly Government culture minister Ken Skates has been supportive of your company, Liara could you tell us more about your relationship?
The progressive discussion that the Minister is encouraging is very exciting, and the support really highlights the progression of our arts community in Wales. We are seeing the Senedd opening up to hear younger voices in the arts, and I’m very excited to be a newly appointed member of the Welsh Government’s Arts and Creativity Forum.
  What are the long term plans for Jukebox?
We will focus on creating and expanding our dance Academy as well as continuing to produce compelling high quality dance productions. We want to keep creating opportunities and working closely with the local community, as well as touring professional work, and creating bespoke work for special events and campaigns. We are keen to support the development of young creatives in all aspects of performing arts. We want to work with local businesses and form partnerships to support all the strands of our work, aiming to build a healthy, sustainable company.
My aim with the creative work is to build a collective of dancers who develop a language that can be pushed to the very edges of expressive, aesthetic and visual possibility. I want to make collaborative work that pushes the language of dance to new, deeper levels – exploring the edges of possibility through movement and expression.
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And finally how do I find out more if I want to get involved?
To get involved in any strand of the company, from professional development and performance or just for fun, if you have collaboration in mind or would just like to hear more about our work, you can contact zoe@jukeboxcollective.com.
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Keep a look out for our new website, which will be launching in January 2016.
www.jukeboxcollective.com

Review Annie WMC by James Briggs

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Annie the Musical is set in a rough girl’s orphanage in New York in 1933 and follows the rags-to-riches journey of 11-year-old orphan Annie, one which takes her to the top of American society where she and her optimism influences many orphans, adults and even the President Franklin D Roosevelt.
The main star of the musical tour is Strictly Come Dancing Judge Craig Revel Horwood. His performance couldn’t be any further from his judging persona on Strictly as he donned a frock for the part of the bully Miss Hannigan, the orphanage ‘mother’. Well we can safely say he has earned the right to be as harsh as he is on Strictly Come Dancing because he can act, dance and most definitely sing! When he made his first appearance in the show with his high heels and swinging hips you could see from the audience’s reaction we were in for a good night.
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Craig Revel Horwood is supported by a very strong cast who have been moulded to perfection. Alex Bourne as billionaire Daddy Warbucks was perfect casting and he was suitably strict when he needed to be but yet soft-centred as the plot unfolded, with a passion it seemed for dancing.
Holly Dale Spencer was superb as Warbuck’s ever helpful and faithful secretary, who helps Annie to get out from the orphanage to live in his luxurious mansion.
It is also very important to mention the brother of Miss Hannigan, Rooster and his villainous cohort Lily. Rooster is played with convincing style and comic cunning by Jonny Fines and Lily by Djalenga Scott brings their relationship to life. The two come up with a dastardly plan in which they pose as Annie’s real parents in an attempt to bag a $50,000 reward.
The true and rightful star of the show was Annie herself. Played by the extremely talented Madeleine Haynes. Her voice was powerful and had a great vocal range. Annie the musical is littered with difficult ballads and she pulled them off with ease.
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Due to the amount of shows that take place Madeleine is one of three Annie’s in one of the three teams of orphans in the show. I think it would also be right to mention all of Team Roxy because they did a fantastic job Rosanna Beacock (Molly), Scarlett Flannery (Pepper), Ashley Gold (Kate), Connie Burgess (July), Amelia Love Coleman (Duffy) and last but not least Lissy Mant (Tessie).
The dance routines throughout by the entire cast were second to none, although what else would you expect with Craig Revel Horwood choreographing.
It would be wrong to finish this review without of course mentioning the character in the show that impressed the audience with her skills, Amber, the highly talented dog who plays Sandy.
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In the words of Craig Revel Horwood this show was “Fab-u-LOUS Darling!” and deserved the standing ovation from the Millennium audience. Make sure you get yourself over to see Annie on tour because if you do you can “Bet your bottom dollar that tomorrow” you’ll have fun