Fio Declaration / "Black Panther"

I’ve spent the past couple of weeks working on a project with Fio, entitled “Declaration” – aimed at helping to increase diversity in Welsh theatre. Aside from being given some personal voice coaching from legendary actress Cathy Tyson, the highlight was the final evening, where three short plays by B.A.M.E. writers were presented at the Sherman Theatre, one written by actor Connor Allen and directed by me. My experience is detailed more fully in a piece I wrote for Arts Scene In Wales, but basically, it was valuable, enjoyable and occasionally highly stressful.

Despite my growing aversion to superhero films, I went to see Ryan Coogler’s “Black Panther”, conscious of its being a cultural landmark, as a mainstream Hollywood film with a mostly black cast, and a focus on Afro-centrism. Basically the tale of the struggle for control over vibranium, an alien element which has made the small African kingdom of Wakanda secretly potent, its massive success is a testament to how much its message of brotherhood and empowerment was needed. The cast is remarkable, and apart from the “Yonder lies the castle of my father” tone to some of the dialogue, it is very well executed. Unfortunately, I’m pretty much immune to the fast-moving CGI slickness which is an essential component of the popular appeal of films from the Marvel universe. Thus, while I wholeheartedly applaud the achievement, I have to confess that it didn’t grab me emotionally.

"Terra Firma" / "A Number" / "Woman Of Flowers" / "The Commuter" / "The Shape Of Water"

My first reviewing assignment of the year was National Dance Theatre Wales three-part “Terra Firma” at the Sherman – a welcome chance to see two pieces I’ve seen before – “Folk” and the beautiful “Tundra”, alongside the recently-developed “Atalay”. Obviously, I’m no expert in dance, but there’s plenty there, in terms of grace and skill to delight the non-aficionado.

My second was the first in the new season at The Other Room – Caryl Churchill’s “A Number”, in which a father encounters cloned versions of his adult son. A very clever and involving two-hander, handled with great assurance.

And most recently, there was Theatr Pena’s “Woman of Flowers” at the Royal Welsh College of Music and Drama – Sion Eirian’s take on Saunders Lewis’ adaptation of the story of Blodeuwedd, from the Mabinogion – a rare chance to see some pleasingly weird classical Welsh theatre in English.

Sara Gregory in "Woman Of Flowers" (photo: Holly McCarthy)

I wouldn’t normally have gone to see a Liam Neeson action feature in the cinema, but “The Commuter” is notable for featuring my niece, Ella-Rae Smith, in what turns out (spoiler alert) to be an important role. The story of a recently unemployed salesman (and former cop) who is bribed/blackmailed by criminals to track down an associate on a commuter train, it’s very slickly directed by Jaume Collet-Serra; and Neeson is more charming than he’s allowed to be in his “Taken” guise. And, of course, Ella is excellent.

 “The Shape of Water”, Guillermo del Toro’s latest film is a fable of connection and outsiderdom, featuring a magical lead performance from Sally Hawkins. She plays Elisa, a mute cleaner, in a U.S. government facility in 1960s Baltimore, who becomes entranced by a new acquisition – a sea-creature captured in South America, the study of whose biology would impact on Man’s ability to breathe in space. The period detail is impeccable, as are the performances – Michael Shannon as the saturnine bad guy, Richard Jenkins as Elisa’s gentle, gay neighbour, and Octavia Spencer as her feisty friend and work-colleague.  It doesn’t break any new ground thematically, but it tells an age-old story with great style and sensitivity, and is well deserving of all the awards and nominations which are coming its way.