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Musical

REVIEW: GREATEST DAYS – 27.6.23 CARDIFF

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Back in 2018, four prime ministers ago, a new musical based on the music of Take That was born. It was called “The Band” and the BBC did the show “Let it Shine” to discover the next big boy band for it. They were called Five to Five.

Fast forward to 2023, Take That celebrate the 30th anniversary of their first number one Pray, and “The Band” becomes Greatest Days – The Official Take That Musical!

There has been another musical based on Take That – Never Forget – which by the way, premiered at Wales Millennium Centre in 2007!

So, to Greatest Days.

It’s Manchester 1992 and its based around five 16-year-old girls for who ‘the band’ is everything.  They then reunite 25 years later, and you see how life has taken each girl down a different road.

Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, its story is nostalgic and funny. The strength of a “Jukebox Musical” can sometimes be measured in how well it would stand without the music – Greatest Days does this so well. The nostalgia you feel could easily equate to how your own life has panned out in the last thirty-one years. There’s a warmth to each character, and something familiar that feels real.

Production wise it’s brilliant.

The “band” – well put together, but as I’ve previously said, their performances don’t drive the story forward. They provide the backing track, but the main story is carried by the performances of the main ensemble – the young and current versions of each. Going back to what I said about the warmth in each character, each performance was flawless. Sometimes with touring musicals, it’s about the one person being in it, granted Kym Marsh’s Rachel is fab, but each person took you on their own journey of nostalgia. There wasn’t one stand out moment – the story and performers are the stand outs of Greatest Days.

Back in 2018 when I reviewed “The Band” I did something a little bit cheesy and included some Take That song titles in recommending this musical.

But you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.

Did I love “Greatest Days”? Sure!

⭐ ⭐ ⭐ ⭐ 

REVIEW: @ImPatrickDownes

Theatre

REVIEW: RED BY GEMMA TREHARNE-FOOSE

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out of 5 stars (5 / 5) Unmissable

I hadn’t realised how much I had needed Red until I went to see it. Although primarily a show for young audiences (Age 7+), this is a show that will entice and delight from the get-go. Inspired by Little Red Riding Hood, audiences are drawn into the wonderful world of Amazon-esque delivery couriers Jones and Groves. The two playfully navigate the mysterious woods as they struggle to deliver a special package to a cottage well off the beaten track. Along the way they encounter a curious ‘tree dweller’ chap called Peter.

Actor Connor Allen (who some regular theatre goers might recognise from the Sherman’s ‘Bird’ production) is a great addition to Hazel Anderson and Ellen Groves (who brought us the stunning production ‘The Giant That Had no Heart In His Body’). There is something so watchable and endearing about Allen’s vulnerability on stage that makes him a delight to watch. It’s also wonderful to see more creative brilliance from Director Hannah McPake, co-founder of Gagglebabble whose previous show Wonderman I had enjoyed so much.

Don’t expect big fanciful sets and props here, the magic of this show is the pictures they paint with the stripped-down set. Scaffolding becomes a tree, a cottage and  a bush, pool noodles become spider legs, an old Ikea bag turned inside out doubles as a dung beetle costume. There is wonderful interplay and energy between the cast, who riff off one another and egg each other on.

Audience members are given a ‘special briefing’ on the way in. We are now pigeons and some audience members become involved in the ‘special mission’ itself. We coo throughout the performance and at one point, we all stand up and perform some aerobics. This isn’t just a show about delivering the package and the link with Little Red Riding Hood is almost secondary to the real story of the play. That our fear of the unknown is almost primal, handed down to us by parents or others. The day after the election results (when this play opened), this feels almost intuitively timely.

“Why are you scared of wolves?” one of the characters asks. Was it the claws and the fangs and the fact they want to eat little children?

As the contents of the package are revealed, the play asks us to ponder the possibility that actually WE are the wolves, that wolves are within us all. Wolves, forests, new places, scary quests that test you and your bravery. All these can be monstrous until and unless you face your fears.

It’s subtle and clever storytelling that weaves stereotypes, myth and legends with the whimsical, silly and imaginative.

They do so incredibly well to blend all elements together in a way which will envelope you until you feel like you’re up on the scaffolding with them.

The quips, gags and clowning that Hazel Anderson and Ellen Groves add to the mix are spectacular. There are no groans or polite chuckles here. Expect gutsy belly laughs and un-self-conscious comments/suggestions shouted out from the little ones in the audience. It feels brilliantly intimate and homespun, like as if your mad aunties are doing a turn in the living room and Nan’s been on the sherry again.

Little audience members will love the montage routine, circus skills, dream beavers and jazz badgers. It’ll all make perfect sense once you have stepped into the forest. Oh…if you can’t find it on the ‘magic map’ that looks like Antarctica, it’s near Tesco Express.

Better than pantomime, with better gags and more imaginative costumes – this is a first-class family experience and definitely not to be missed.

Catch the cast of Red at the Wales Millennium Centre (Weston Studio) until 29th December

Musical

Review: Shrek The Musical at Wales Millennium Centre by Patrick Downes

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Imagine for a moment you’re back in 2001 and the only kind of computer animated films were Disney’s. They’re good but once you get past the age of 12, there seemed to be a gap in the market. That gap was filled by Dreamworks and Shrek which gave enough simple plot and humour plus additional jokes that adults would get, you have the starting of what I witnessed tonight in Wales Millennium Centre – Shrek The Musical.

Returning to Wales Millennium Centre on the latest UK tour bringing Donkey, Lord Farquaad, Princess Fiona, Pinocchio and a cavalcade of fairytale characters together with the main man himself Shrek – played by Michael Carolan. If you’re not sure of the story of Shrek – well, spoiler alert – they live happily ever after, but getting there is a rollercoaster buddy movie type comedic spectacular.

If the original Shrek had references to other cartoons, well, Shrek the musical has references to other musicals – you might just spot a Wicked reference, a Lion King bit, and Cabaret all receive some mention in passing.

The music and staging is amazing, and before those reading that previous line mock in saying “it’s no Les Misérables is it”, well, it’s not meant to be. It’s the perfect musical for children from eight to eighty. A great introduction into the world of the musical, and a fab night out for all the family.

Special mention to Samuel Holmes (Lord Farquaad) who as the baddie of the piece pretty much stole each scene he was in – wonder how the knees will cope for the rest of the run though. Laura Main as Fiona had the right balance of comedy timing and exceptional vocals, as did Michael Carolan who played Shrek at the performance I saw. Joseph Dockree as Pinocchio was another performer who seemed to steal each scene he was in – yes, he is a real boy!

For a few hours you’ll transferred to a land far far away, wonder if you know the muffin man, and in the morning, you’ll be making waffles.

https://www.wmc.org.uk/Productions/2018-2019/DonaldGordonTheatre/shrek2018/

Musical

Review The Band, The Musical, Wales Millennium Centre by Patrick Downes

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Firstly, let’s get this straight. Yes, I love pop music, yes, I love Take That (seen them live 4 times), but no, this won’t be a biased piece.
So when the it came about that the BBC did the show “Let it Shine” to discover the next big boy band for a musical I was curious to see what or how it would all turn out. The band that was created, in probably not too dissimilar a way to Take That (without Saturday night telly) was Five to Five. At the start, people weren’t too sure how this musical would pan out – would it be the story of Take That – or something like Never Forget the other Take That musical – which by the way, premiered at Wales Millennium Centre in 2007!
Actually, it was neither – It’s Manchester in 1992 and its based around five 16-year-old girls for who ‘the band’ is everything.  They then reunite 25 years later, and you see how life has taken each girl down a different road.
Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, it’s story is nostalgic and funny. You can’t call it a Jukebox Musical like so many of its type before. It has the same feel as Mamma Mia – the songs you’ll know, but the arrangements can be quite different. The nostalgia you feel could easily equate to how your own life has panned out in the last twenty-eight years. There’s a warmth to each character, and something familiar that feels real.
https://youtu.be/ZjXsDGpddlI
Production wise it’s brilliant. From the Ceefax screen at the start (How many bands did you get in the word search?), to the aircraft taking off, there’s something new you may never have seen in a touring production before – so much so, there was a technical hitch during the performance that delayed things by about 10 minutes. In all the times, I’ve been theatre going I’ve only seen this happen once before, and it’s a bit of a pain, but sometimes technology is a bugger – and as they say, the show must go on – which it did!
As “The Band”, Five to Five’s performances were good especially the harmonies. They maybe a band created for this production, but afterwards, who knows what the future holds.
https://youtu.be/v7_eqmgqWYo
Going back to what I said about the warmth in each character, each performance was flawless for both the old versions and young counterparts of each character – just might be possible though for Andy Williams as Dave to have stolen the show with his little moments at several points, and Rachel Lumberg’s performance as Rachel – there was something quite special about that too.
Now, if you do go and see this, which I will heartily recommend, don’t expect what we had at the encore – an actual Take That performance. Mark, Jason and Gary all on stage performing Hold up a Light (one of my favourite TT tunes!) together with the entire company. It made the first night in Cardiff that extra bit special.

Now I could be a little bit cheesy and include some Take That song titles in recommending this musical, but you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.
Did I love “The Band Musical”? Sure!
Catch it at Wales Millennium Centre till January 20th 2018 – after which it’s UK Tour continues.

REVIEW: @ImPatrickDownes

Music, Musical, Theatre

Review Tiger Bay The Musical, Wales Millennium Centre by Patrick Downes

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It’s quite fitting that just over 30 years since the redevelopment of the south of Cardiff began that Wales Millennium Centre presents Tiger Bay The Musical. Since 1987, what was the docks of Cardiff, and in particular, what was Tiger Bay, has changed dramatically, and this musical is a celebration of the diversity that is Cardiff now.
What’s it about? Set in 1900’s Cardiff, it follows a young woman’s determination to challenge society’s injustices, follow her heart and realise her dreams. Extreme poverty meets supreme wealth. Gangs of street children roam the docks. Coal is king. A revolution is brewing in the dark and restless world beneath the genteel surface of Cardiff’s Butetown. You could say there’s a level of current social commentary running through this.

The staging and sound are possibly the best I’ve ever seen at WMC, everything moved seamlessly on stage from one scene to another. The cast sound amazing, helped no doubt by the scoring of Daf James and the lyrics of Michael Williams, this production in association with Cape Town Opera has romance, drama, revenge, and some amazing ensemble pieces.
Back in 2011, I saw Noel Sullivan in We Will Rock You at the WMC. It was my first proper musical (that wasn’t on telly or in the cinema), and now six years later via some Dirty Rotten Scoundrels I see him again, and his voice has improved and matured. Hard to believe the same person sung an album track from Girl Thing that in turn went on to become the biggest song of 2001 (Trivia fans… that was of course Pure and Simple by Hearsay)
There is a tendency with some reviews to rave about everything – this might just end up being one of those. With talent such as John Owen Jones and Suzanne Packer, plus the aforementioned Mr Sullivan, it’s quite difficult to select a few stand out moments. Dom Hartley-Harris as Themba was just sublime. The emotion of his character was stunning to watch. But there’s no doubting tonight I saw two stars born.
Star number one is Vicki Bebb. The programme says she hails from a small village in South Wales. Well, let’s sort that out for starters. She’s from Cilfynydd, which is 3 miles outside of Pontypridd town centre. The same place that gave the world Sir Geraint Evans and Stuart Burrows – two amazing Welsh singers. Change that entry Wikipedia, there’s a third. Her name is Vicki Bebb, and going by tonight’s performance, the world is her oyster. I can say I was there the night I saw Vicki Bebb shine for the first time.
Star number two is Ruby Llewelyn who plays Ianto Louise Harvey also plays the role, but not tonight). She’s quite a little powerhouse of a vocalist and pretty much stole the show – even against John Owen Jones. In fairness the child cast were all brilliant, but for me, Louise is another one to watch for the future (once she’s gotten all her exams sorted first).
I am quite sad writing this review because it means my involvement in TBTM is now over. After blogging and talking about it for the best part of the last nine months, it’s time to say tara now – not goodbye, because I’m sure this little piece of Cardiff will travel and fly.
My advice is, if you like the likes of Oliver, Les Misérables, or even Wicked, you will love this. It’s a little piece of Cardiff past, with lot of the passion the city always had, and always will. Just imagine Les Miserables with a Kardiffian accent, and you’ll realise this is more than just a half tidy musical mind.
Tiger Bay-The Musical is on at Wales Millennium Centre till 25th November 2017.
REVIEW: @impatrickdownes

Music, Musical, Theatre

REVIEW: Beautiful: The Carole King Musical – Wales Millennium Centre by Patrick Downes

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If like me, you know a little about music, and the history of the pop song, then you can think again. People often deride modern music for being manufactured, but even way back in the late 50’s and early 60’s, the charts to an extent were the creation of just a few song writing powerhouses. The likes of Lieber Stoller, Dozier Holland, Lennon & McCartney and Goffin King were all part of the fabric that made the early days of pop what they are today. And it’s the latter partnership of Goffin King that forms the basis of Beautiful, currently at Wales Millennium Centre till 4th November.
As the website explains further; BEAUTIFUL tells the inspiring true story of King’s remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she wrote the soundtrack to a generation, with countless classics such as You Make Me Feel Like a Natural Woman, Take Good Care of my Baby, You’ve Got a Friend, So Far Away, It Might As Well Rain Until September, Up on the Roof, and Locomotion.
https://youtu.be/qde5NMy7WTU
There were countless moments for me to go “oh, she wrote that”, plus there was the time during the interval watching people sing some of the songs to try and explain the song – always entertaining. For anyone wanting to become a song writer, to watch this is certainly an education that no college or book can give you. To see some of the back story behind some of pop’s greatest hits was always going to be a massive bonus for me being such a music geek.
https://youtu.be/pEkJUxFI3jU
The performance of Bronté Barbé as Carole is quite amazing. You can close your eyes and you’d think it was the real deal. To capture the essence of someone is not easy, but somehow you have the vulnerability and the depth of character – together with a voice that provides the full package that is Carole King.
Kane Oliver Parry as Gerry Goffin shows the weaknesses that Goffin had, but also his song writing and creative processes. Amy Ellen Richardson as Cynthia Weil, and Matthew Gonsalves as Barry Mann, show also how the competitive the 60s were in terms of song writing. But out of that creativity, came friendship – and two very genuine performances from both.
It’s a well-paced production. There aren’t any times you’d be sat wishing for the next part. Musicals can sometimes suffer from being a little bit long, but at just around 2 hours 30 with an interval, that can’t be said of Beautiful.
There’s won’t be many people this won’t appeal to. If you have a love of music from the 60’s, this is for you. If you love a well-crafted and performed musical, this is for you. And if you love a night out for ages from 8 to 80, this is certainly for you.
Three things we also learnt;
1 The Locomotion was sung by Carole King’s nanny
2 Neil Sedaka was her boyfriend in high school (thus his song Oh Carol is about her)
3 She wrote The Reason for Celine Dion in 1998
It’s not too late to have one fine day seeing Beautiful : The Carole King Musical, at Wales Millennium Centre till 4th November 2017, and then touring around the UK.
REVIEW: @impatrickdownes
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Theatre

Review Jayne Eyre, WMC by Caitlin Whiteley

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out of 5 stars (5 / 5)
 
Jane Eyre is fearsome and blazing, with an inevitably symbolic of the plays presentation of temptation and restless desire, the audience succumb, engulfed by the ferocity of its cast and the boldness of Sally Cookson’s direction.

Amongst the haunting moors, trepidation is a state of being and, yet, our female heroine embodies its antithesis – fired by generational anguish, past and contemporary, Bronte – mediated by Cookson – defies the societal dismissal of the wholly feminine nature of yearning and discontent. The National Theatre’s ‘Jane Eyre’ is soaring and liberated, necessary as an, ever-contemporary, evolved feminist narrative.
https://youtu.be/2ZX6UaULjJQ
Hope, within the play, is almost embodied as a metaphorical rejection of the play’s desolate and dire setting, in its weighted suppression, through the stark opposition of the cast’s spirited elevation and weightlessness. Through Jane’s experiences of; the people she meets, the places she sees, and that which she cannot understand, she is subjected to sinisterism and character-dimming corruption – preaching a passive dignity, in  favour of her (societally embedded) feminine duty – yet, ultimately love is professed as the only true salvation. Conflicting, in nature, as she is bound through desire, love liberates Jane as simultaneously she is chained to one man for all eternity. Ultimately pre-occupied by the pondering of existentially-defying love, I do wonder how the Bronte’s would respond to Love Island.

The solidity and grounding conveyed by the set band embodied an inevitability of Jane and Mr Rochester’s unity through an unbridled and innate devotion conveyed by the all-encompassing folk instrumental. Originated within, what was considered, the English ‘country’, in its expression of working-class tradition, custom and superstitions, it is mystifying and fiercely optimistic in wanderlust.
Michael Vale’s set design, earthy and raw, preaches and idolises childlike innocence, as the cast boundlessly throw and exert themselves to-and-fro the minimalistic tree house. In the pure and sanctified white sheets hanging to enmesh the space it is the projection of our own thoughts, the play’s narration and the immorality of the characters themselves which taint and stain the clean, preserved walls of the godly, proper, Victorian society that they abide to.

Dan Canham’s movement spurred and propelled its cast with agitation, injected spirit, yet, ultimately, underlined an active mistreatment and suppression of Jane Eyre. The production’s movement and instrumental accompaniment evoked and transpired a wanderlust and disquietude from Jane unto us as the continuous action pounding from the stage beat within my stomach.
The production’s frenetic energy combined with the haunting spectre of Melanie Marshall’s Bertha Mason, a raw, wretched and pitiful operatic presence, magnified the sparsity of the set, with its bare isolation that, arguably, embodies the desolate origins that drew, boundlessly, the souls of Jane and Mr. Rochester to clasp together.

The halting, sharp scenes and the multitudinous use of rough sound gave the play the same raw emotion that categorises the book as such an elegant and unflinching exploration of the human heart. In the flurry, and succession, of such striking performances, the cast achieve flawlessness in their execution of truly turbulent multi-rolling with a rejoiced creative ferment.

Nadia Clifford was a spectacle to behold brimming with the fever of Jane’s restlessness. Feisty and crumbling, neither over-bearing, Nadia created the unrelenting independence and the secret longing that characterises the eponymous heroine. Nadia’s portrayal allowed Jane to be flawed, multi-faceted in her complexity, to the extent, at which, exposing Mr Rochester as a truly rigid and canvased enigma of a man. Devastated and defeated, yet hopeful and triumphant, in equal measure, the National Theatre’s ‘Jane Eyre’ was stunning, shocking and soaring.

Music, Theatre

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

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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.

Theatre

Review Only The Brave Wales Millennium Centre by James Briggs

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only-the-brave-carousel

Only the Brave is the first home-produced full musical from the Wales Millennium Centre with Soho Theatre, Daniel Sparrow Productions & Birdsong Productions. The production is an emotional portrayal of the hardship and suffering felt by the soldiers and their families during the Second World War. The story behind the musical was utterly compelling and is based on a true account, that of Captain John Howard his wife Joy, and his friend and colleague Lieutenant Denholm Brotheridge and wife-to-be Maggie and the company who went with him during June 1944, to capture the famous Pegasus Bridge to allow British forces to cross into France once they had landed.

Only The Brave

I have been fortunate enough to visit Normandy a number of times and have seen all of the landing sights and War cemeteries left from the Normandy landings. When visiting these places it can be very emotional but you don’t really feel a connection with the graves or the people who fought and died there. This musical however brings to life the people involved and allows the audience to really feel what it would have been like for the soldiers as they flew over to France to fight the enemy. So much so there were many moments during the musical where I would forget I was in a theatre and instead in a cinema watching a movie.

Only The Brave

The characters are wonderfully written and show the hope and anxiety during the time of war. The production had many heart-in-mouth moments and tissues are essential as there are endless eyes being rubbed throughout the auditorium. Especially when one of the soldiers Wally Parr delivered his speech about the Nazi’s simply having ‘Different shirts, same heartbeat underneath,’ Another reason behind the tears flowing is of course in part because of the music composed by the brilliant Matthew Brind, who’s musical ability is second to none and has produced a simply outstanding score, with poignant songs that also have a relevance to the current events in today’s world. Some of the songs included ‘Band of Brothers,’ ‘Regret and Sympathy’ and especially ‘Only The Brave,’ which simply made the hairs on the back of your neck stand up. The mix of the performer’s voices was champagne casting and worked extremely well together.

Portraying war and fighting on stage is never easy and can sometimes look obviously pretend, however, Only The Brave was outstanding. The inclusion of pyrotechnics for the explosions was brilliant and kept the audience on the edge of their seat. The make-up was also very effective with the use of stage blood that gave the audience a further insight into the reality of war.

Only The Brave

Only The Brave was a truly prodigious, outstanding musical and a pleasure to watch. The whole team behind Only The Brave have created an audacious and aspiring production with an amazing cast including the fantastic David Thaxton and Caroline Sheen who played their characters really very well. This show is destined to do well and is a must-see with a story that is so very important and should always be remembered. The inclusion also of the real War veteran Peter Davies as John Howard (Senior) was a lovely touch and felt very fitting. A really powerful show that should be watched by all and one which I believe is destined for the West End.

Only The Brave is currently showing at the Wales Millennium Centre until Saturday 02 Apr 16 and is simply a must-see for all!

https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/OnlyTheBrave/?view=Standard

Theatre

Review Henry VI Omidaze by Kaitlin Wray

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HenryVIheader
Omidaze… I think their company name pretty much sums up this performance. Yvonne Murphy, director and executive producer took on a challenge with Henry VI, one of Shakespeare’s confusing and pretty long histories and made it thoroughly engaging. With an all female cast they have broken many of the existing traditional theatre conventions and it was completely worth it. The show was performed in the roof space of the Wales Millennium Centre, where during every scene they move the audience into a different space. Even though my knees were hurting by the end of the performance it was a perfect way to keep the audience engaged.
Before I saw this production I was hesitant that an all female cast could take on the roles provided in Henry VI, yet they completely proved me wrong. For the most part I completely forgot it was an all female cast. The reasons for this was that the acting was phenomenal, some of the best acting I’ve ever seen. One part that completely stood out to me was Richard Plantagenet, The Duke of York’s final scene when Queen Margaret and Clifford are about to murder him. The way Sioned Jones played the Duke was outstanding, she turns from a grieving father into someone with such malice, cursing them both, a great end speech.
Hannah O’Leary, playing the role of Henry VI not only portrayed him amazingly, she did most of her speeches in the air. Using aerial rope and silk, she had the audience in bewilderment. In a lot of cases they used aerial as a way of symbolising the power balance between Henry VI and the other characters. This and the use of contemporary movement to symbolise the fight scenes is one of the reasons they  excelled in creating a theatrical masterpiece.
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Photo: Kirsten McTernan Photography and Design
Personally Henry VI isn’t my Shakespeare’s play of choice yet Omidaze Theatre Company has turned me into a complete fan. I would recommend everyone to watch this show, Shakespeare fan or not. Omidaze are challenging theatre conventions even more than we’ve ever seen and you should be a part of this experience.
https://youtu.be/e7RVwKuIGLY