"Sprinkles"/"Constellations"

I finally got a chance to see “Sprinkles” – the first play from actress Katie-Elin Salt – presented as a Dirty Protest rehearsed reading at Chapter. The festive tale of a troubled young woman who gets a job as a department store elf, and is forced to face up to an unhappy past, it manages to be both poignant and scabrously funny. Having been in development for a while, it’s apparently destined to get a full run next year.

A few weeks ago, at The Other Room, I also got the opportunity to experience Nick Payne’s dazzlingly clever multiverse drama, “Constellations”, in what was essentially an amateur production (originating with The Unknown Theatre Company), although a highly accomplished one, with the play’s complexities beautifully realised.

"Constellations" (photo: Walter Hampson)

And it looks as though my first reviewing assignment of 2020 is booked in: “The King And I” at the Wales Millennium Centre. Shall we dance?

Festive Theatre Round-Up

Through accident or design, the big Christmas show at the Wales Millennium Centre this year is the touring version of West End/Broadway blockbuster “Les Misérables”, which sets the appropriate tone for the festive period. Actually, I enjoyed it a lot more than I expected to – the barricade was especially imposing.

"Les Mis" (photo: Helen Maybanks)

A few weeks ago, the season kicked off there with the touring production of “Nativity! The Musical”, Debbie Isitt’s adaptation of her successful film, which was very amusing. The actual Christmas show in the venue’s Weston Studio  is “Red” from Likely Story Theatre – an imaginative, freewheeling, small-scale tale set in the Red Riding Hood universe. The festive show on the Sherman’s main stage  is “The Snow Queen” – as clever and entertaining as is traditional, but it could have done with more magical appearances from the title character.

"The Snow Queen" (photo: Mark Douet)

"Red" (Photo Polly Thomas)

In a non-festive vein, National Theatre Wales collaborated with inclusive theatre company Hijinx for eco-sci-fi extravaganza “Mission Control” at the Principality Stadium: impressive in terms of vision, less so when it came to organisation.

"Mission Control" (photo: Main House)

Last week I attended the latest BBC Writers Room Wales Festival, held at the National Museum. As usual, Russell T Davies was a funny and inspirational speaker; and the evening event involving Rob Brydon and Ruth Jones, and focussing on “Gavin And Stacey” was a joy.

"Knives Out"

I wasn’t a big fan of Rian Johnson’s feature debut, the noirish “Brick”, but I was intrigued to experience his return to the genre, following high-profile excursions into science-fiction. “Knives Out” starts out as a classic country house whodunnit, but then strays into areas of subtle social commentary.

The story begins with the apparent suicide of wealthy crime novelist Harlan Thrombey – Christopher Plummer – the circumstances of whose death lead the police to involve eccentric Southern detective Benoit Blanc – Daniel Craig - in the investigation. Various relatives and in-laws are in the frame – Jamie Lee Curtis, Don Johnson, Chris Evans, Toni Colette and Michael Shannon all relishing the campness; with Harlan’s Hispanic nurse, Marta – Ana De Armas – a key witness.

Jamie Lee Curtis

In a classy touch, the writer/director appears on-screen at the beginning of proceedings, imploring us not to give away the denouement, but suffice it to say that the plotting is deliciously circuitous, and the visuals subtly stylish. Craig has great fun with the accent, and Lakeith Stanfield is deftly deployed as the exasperated African-American police officer, racial politics being central to the narrative.

“Knives Out” manages to be both playful and substantial; it’s a juicy treat.