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.

"On Bear Ridge" / "American Nightmare" / "Say When" / "The Creature"

Cardiff’s August theatre drought (Edinburgh Festival-related) came to an end with the launch of the autumn season at The Other Room – The Violence Series starting with Matthew Bulgo’s “American Nightmare” (an expanded version of a play I worked on at the venue’s Young Artists’ Festival a couple of years ago); a futuristic vision of war and technology. There was also Robert Bowman’s “Say When”, a solo piece about male body-image/weight issues and their relationship to environmental concerns. Equally in tune with straight-from-the-headlines concerns, but rather more elliptically, is Lucy Gough’s “The Creature”, a take on extreme youth criminality told through the prism of “Frankenstein”.

"American Nightmare" (photo: Kirsten McTernan)

The undoubted highlight, though, and the nation’s most high profile production for a while has to be Ed Thomas’ “On Bear Ridge”, from National Theatre Wales and The Royal Court Theatre, featuring Rhys Ifans’ first ever appearance on the main stage at the Sherman Theatre – more war and dystopia, but with a distinctive and surreal rural Welsh accent. One waits, agog, to see what the London audience will make of it.

"On Bear Ridge" (photo: Mark Douet)

Edinburgh Fringe Shows / Homeless World Cup

This is the time of year when all theatrical activity ceases everywhere except in Edinburgh, so I thought I might as well flag up my reviews of those productions I’ve seen in Cardiff which are playing on the Festival Fringe – all of them solo shows, as it happens.

Carys Eleri’s multimedia take on love and loneliness, “Lovecraft” returns, last year’s run having been curtailed due to a bereavement; National Theatre Wales are showcasing two of their N.H.S. monologues, including Rachel Trezise’s abortion-themed “Cotton Fingers”; Dirty Protest are offering Sian Owen’s Newport odyssey “How To Be Brave”; Jonny Cotsen muses on his experience of a lifetime of deafness in “Louder Is Not Always Clearer”; and the Royal Welsh College of Music and Drama are bringing Benjamin McCann’s apocalyptic “Grit”. There’s also a non-Welsh show which played at The Other Room: “Laurie Black – Space Cadette”.

 

Carys Eleri (Photo - Kirsten McTernan)

Meanwhile, in Cardiff, the Homeless World Cup, backed spiritual and financially by Welsh actor Michael Sheen has been happening, which was well worth popping down to see in the city’s Bute Park, whether to check out the four-a-side sporting action, or other events, including musical entertainment in the evening. On Thursday, I managed to see the much-acclaimed relative indie newcomers Mellt, who were very impressive; as well as one of the finest bands ever to come out of Wales, The Joy Formidable, led by charismatic guitar heroine Ritzy, who mentioned that they were marking their tenth anniversary. Some very powerful, emotional songs, anchored by some jazz-tinged bass-playing; with the genial mood enhanced by the rabble-rousing drummer. Lovely stuff.

The Joy Formidable (with Michael Sheen side of stage)

"Cotton Fingers" / "Twelve Cabins..."

In the past couple of years, National Theatre Wales has received some criticism for their apparent reluctance to stage actual plays in actual theatres, as well as for a perception that they weren’t doing enough with the public money with which they have been entrusted. Thus, it was good to be part of a full house in the Arena at the Sherman, to see Rachel Trezise’s “Cotton Fingers”, a monologue first performed over three nights last year in West Wales as part of the company’s celebration of 70 years of the National Health Service. In it, Amy Molloy engagingly plays a young woman from West Belfast, forced to travel to Wales for the termination of an unwanted pregnancy. A much-needed reminder of continuing struggles.

 

Amy Molloy (photo: Craig Fuller)

Most recently, at Chapter, I saw “Twelve Cabins Twelve Vacancies”, a show spinning off from the fact that director/performer Chris Durnall’s father died on the same night that Alfred Hitchcock’s “Psycho” premiered on U.K television (in 1968), and the effect that this connection may have consciously or sub-consciously had on his subsequent life. Intriguing, especially for film nerds.

Macbeth / Les Miserables / Storm 3 / Bottom / Camp Be Yourself / Motown / How To Be Brave

Last year, my birthday trip was to London to see the National Theatre’s “Macbeth”. Inevitably, less than a year later, it arrived in Cardiff, albeit with an entirely different cast, so I took the opportunity to experience it again at the Wales Millennium Centre. Famously given what might be termed a “chavvy” styling, the touring version seemed a little less barking mad than the original production – but still enjoyable and action-packed.

Michael Nardone as Macbeth (photo: Brinkhoff-Mogenburg)

Talking of barking madness, I was fortunate to be invited to review a preview performance of a Brexit-themed “Les Misérables” from August 012 at Chapter; drawing parallels between the battle of Waterloo and Britain’s relationship with the rest of the European Union – typical organised chaos from director Mathilde Lopez.

"Les Miserables" (photo: Studio Cano)

European identity was also in the subtext of “Storm 3: Together And Alone” from National Theatre Wales in Newport; Mike Brookes’ adaptation of Simone De Beauvoir’s “The Ethics of Ambiguity”; a bit of a hard slog, but a talented young Welsh cast.

"Storm 3" (National Theatre Wales)

More unambiguously entertaining was “Motown The Musical”, back at the Wales Millennium Centre; using the life-story of Berry Gordy Jr as a hook on which to hang some spectacular performances from that remarkable songbook.

"The Supremes" in "Motown The Musical" (photo: Tristram Kenton)

I also enjoyed the final two performances in the Spring Fringe season at The Other Room: “Camp Be Yourself”, an American summer-camp spoof from Box Theatre Company; and Willy Hudson’s “Bottom”, about the contemporary gay experience.

"Camp Be Yourself" (Box Theatre Company)

And, most recently, courtesy of Dirty Protest Theatre, Siân Owen’s “How To Be Brave”, a heartening one-woman play about being supported through tough times, performed in front of a community audience in the heart of Newport, the city which inspired it.

Laura Dalgleish in "How To Be Brave" (photo: Kirsten McTernan)

Roberto Devereux / Awakening / Peeling / The Full Monty / Shrew etc

There’s nothing like a spot of variety. On successive evenings at the end of February I watched a one-man play recreating a fictional kids TV show, a traditional 19^th century opera given a steam-punk visual flourish, and a trilogy of contemporary dance pieces, one involving spectacular mirror-based illusionism.

Justin Teddy Cliffe’s “Tigerface” – a piece about the importance of not letting go of your childhood dreams - was part of the Spring Fringe season at The Other Room, in which the very clever “Bummer And Lazarus”, a kind of canine take on “Waiting For Godot”, also featured.

Joyce El-Khoury (photo: Bill Cooper)

The opera was Donizetti’s “Roberto Devereux” from Welsh National Opera; a piece with which I was previously unfamiliar. This is his take on the story of Queen Elizabeth 1^st and the Earl of Essex, and featured a remarkably intense lead performance from Joyce El-Khoury as the vengeful monarch. In contrast, a couple of weeks later, again in the Wales Millennium Centre, came the touring version of “The Full Monty”, which was probably a closer adaptation of the angry “steelworkers turned male strippers” film than the largely female audience was expecting.

"Afterimage" (photo: Rhys Cozens)

The dance show was “Awakening” from National Dance Company Wales, comprising their now-classic “Tundra”, alongside the magical “Afterimage”, and Caroline Finn’s pagan-ritual-influenced “Reveller’s Mass”. This was in the Newport Riverfront, where the following week I saw Taking Flight’s revival of Kaite O’Reilly’s “Peeling”, about three actresses with disabilities reflecting on tokenism and much else.

"The Taming Of The Shrew" (photo: Mark Douet)

In addition to this was the Sherman’s “The Taming Of The Shrew”, which was free-wheeling fun featuring a strong largely female cast, although Jo Clifford’s gender-swapping Shakespeare rewrite didn’t really solve the problems of the play’s inherent sexism; and Meltem Arikan’s “Y Brain/Kargalar”, a lyrical two-hander in Welsh and Turkish about memory, exile and reinvention.

Then there was the Creative Conversation, hosted by National Theatre Wales, a day-long “Devoted and Disgruntled” discussion event, which was meant to be about the future of Welsh theatre in general rather than criticisms of the company; although a few inevitably surfaced. Still, it was good to be in a room with lots of people who love the art form.

"And Suddenly I Disappear" / "35 Times" / "The Awkward Years" / "Vincent River" / "Let's Talk About Death, Baby" / "La Traviata" / NTW Letter

Another amusing month of theatre-reviewing, starting with Kaite O’Reilly’s “And Suddenly I Disappear” at Chapter, a multimedia disquisition on attitudes towards disability, taking in both the U.K and Singapore; a trip to Newport to see the touring revival of Mercury Theatre Wales’ “35 Times”, taking on marital abuse; Matthew Bulgo’s “The Awkward Years” at The Other Room, featuring an excellent solo performance from Lauren O’Leary as a young woman on the verge of self-destruction; the unfamiliar location of Jacobs Antiques Market to catch Philip Ridley’s surprisingly conventional tale of homophobic violence, “Vincent River”; back to Chapter for “Dick Johns – Let’s Talk About Death, Baby”, the sort-of sequel to his “What Mid-Life Crisis” show from 2016; and most spectacularly, the Welsh National Opera’s re-staging of their first ever show at the Wales Millennium Centre, Verdi’s “La Traviata” – a rare chance to see a popular classical opera in a period setting.

"The Awkward Years" (photo: Kirsten McTernan)

Added to this, I was one of the signatories of an open letter to National Theatre Wales, questioning their work-rate and artistic policies, which turned out to be somewhat newsworthy, and may actually have some impact, hopefully positive.

"Eczema" / Edinburgh

My most recent theatre reviewing experience provided my first opportunity to experience the acoustics at the B.B.C.’s Hoddinott Hall at the Wales Millennium Centre. This was “Eczema!” –  part of National Theatre Wales season celebrating 70 years of the National Health Service, and a rare Cardiff appearance by the company. A clever collaboration between writer Maria Fusco and composer John Harris, performed by popular actor Rhodri Meilir.

Rhodri Meilir (Photo: National Theatre Wales)

As ever, I won’t be going to the Edinburgh Festival, but at least I’ve managed to see Cardiff productions of a few shows from Wales which will be running on the Fringe, namely “The Flop”, “Tremor” and “Lovecraft”. I will be monitoring reviews with great interest.

"The Girl With All The Gifts" / "Wonderman

It goes without saying that filmmakers’ takes on the "Zombie Apocalypse", vary widely, from the cheap and nasty to the broadly comical, blatantly political and gravely sophisticated. Colm McCarthy’s "The Girl With All The Gifts" (written by Mike Carey, adapting his own novel) falls into the latter category, although many of the familiar tropes are securely in place – head-splattering gunshots, desolated urban landscapes, spurious scientific explanations etc.

The focus, however, is on the eerily centred child, Melanie, wonderfully played by Sennia Nanua, whom we first encounter in a secure research facility, along with dozens of other young virus-carriers; as well as  Glenn Close’s  ruthless scientist, Paddy Considine’s hard-assed guard/soldier and Gemma Arterton as her much-loved teacher, Miss Justineau. Needless to say, they soon find themselves on the road, in search of salvation.

Were it not for the robust language, and the customarily ridiculous level of gruesomeness, this might almost be a children’s film, since Melanie is the primary heroine/villain, and it is the discovery of other children amongst the zombified (or, rather, fungus-infected) hordes which leads the narrative into unexpected territory.  McCarthy makes good use of his transformed locations (including, apparently, my home town of Stoke-On-Trent, which will have needed little work done), and there are even hints of dark humour as Considine’s Sgt Parks gradually rediscovers his humanity.

The heart of the piece, though, is the relationship between Melanie and Miss Justineau, which is beautifully handled; and it is this which gives "The Girl With All The Gifts" the edge over most entries in this over-subscribed genre.

"The Girl With All The Gifts"

A more playful eeriness was, of course, the hallmark of the work of Roald Dahl, whose centenary was celebrated in Cardiff, the town of his birth, recently. The highlight was the huge “City Of The Unexpected” extravaganza, which saw dozens of Dahl-themed characters and vignettes taking over the city-centre; although the excellent weather led to vast crowds, which were largely unmarshalled. A more contained and satisfying spectacle was “Wonderman”, a show at the newly-opened Tramshed venue, in which Gagglebabble conflated several of Dahl’s sinister stories for adults, in their unique gig-theatre style. A great success, despite a few sound problems.

A Giant Peach at Cardiff Castle

Dirty, Gifted and Welsh 2016 / "Meet Fred" / "St. Nicholas" / "Hail Caesar"

I attended the latest “Dirty, Gifted and Welsh” event, a festival of new writing put on by Dirty Protest Theatre Company, in collaboration with National Theatre Wales at Cardiff’s Angel Hotel. There were plenty of scratch performances, but I focussed on the panel sessions: one involving the BBC’s Helen Perry on breaking into radio drama; another in which writers Alan Harris, Kath Chandler and Matt Hartley discussed building relationships with theatre companies and the value of play-writing competitions; and visiting dramatist Bryony Lavery discussing her varied career and writing process. All very thought-provoking. Later on, there was a presentation of nine short plays by writers established and new – there was a wide variation in quality, and some editing would not have gone amiss, but it was enjoyable all in all, and it was good to see familiar TV faces like Keiron Self and Siwan Morris involved. There was also a reading of Mark Williams’ “A New Hope”, a family drama based around the set of a “Star Wars” movie, which sounded promising.

My first reviewing assignment of the week was “Meet Fred” from Hijinx at Chapter – a very clever take on disability, using a foul-mouthed puppet to discuss the issue without mentioning the issue. And then there was the latest from The Other Room – “St. Nicholas”, Conor McPherson’s droll take on theatre criticism and vampirism starring the versatile Christian Patterson.

"Meet Fred"

And then there is the small matter of the latest film from Joel and Ethan Coen. “Hail Caesar” tells the story of a day or so in the busy life of fictionalised Hollywood production executive Eddie Mannix (played by Josh Brolin), whose job it is to clean up the various messes into which his stars get themselves. Set in the early 1950s, at the same studio at which their “Barton Fink” was situated, the plot focusses on the kidnapping of George Clooney’s pompous leading man by a gang of Communist screenwriters; but the unwelcome pregnancy of Scarlett Johanssen’s baby-faced aquatic starlet, and the dubious acting skills of Alden Ehrenreich’s not-quite-as-dumb-as-he-appears singing cowboy (the “Would that it were” scene will always be funny) also figure. Looking magnificent (courtesy of cinematographer Roger Deakins), scripted and assembled with the Coens’ customary meticulousness, and with a wonderful cast (Ralph Fiennes, Tilda Swinton and Channing Tatum are especially impressive), there are moments at which the film looks as though it will turn out to be nothing more than a sequence of witty set-pieces; the plot does knit together cleverly towards the end, however. Consistently amusing, “Hail Caesar” is an only slightly satirical love-letter to classical Hollywood story-telling.

"Mother Courage" / "Iphigenia In Splott"

Two very different but noteworthy theatre reviewing assignments this week.

First up was the latest from National Theatre Wales (in the week that supremo John McGrath announced his imminent). Ed Thomas’ adaptation of Bertolt Brecht’s “Mother Courage And Her Children”, staged at Merthyr Labour Club. A remarkable all-female cast, and obviously a classic text, but the need to stage it unconventionally meant that some crucial plot points were unclear. But at least the tunes were written by Dafydd James, which meant that they were less forbiddingly “Brechtian” than one might have feared.

The next night at Sherman Cymru I saw Gary Owen’s “Iphigenia In Splott”; the link with ancient Greek myth being the concept of sacrifice. Sophie Melville gave a beautiful solo performance as the young Cardiff “skank” who explains to her fellow citizens why we should be grateful to her. Powerful stuff - cleverly staged, elegantly written and painfully relevant.

"Iphigenia In Splott" - photo by Mark Douet

“Dirty, Gifted and Welsh” / “Gone Girl”

Due to my on-going facilitator training, I arrived late at “Dirty, Gifted and Welsh”, the day-long writer-centred collaboration between Dirty Protest and National Theatre Wales, held at the Angel Hotel in central Cardiff. I was in time to catch a session on the writing process led by Louise Osborne, a vaguely theatre-oriented pub-style quiz, and an intriguing monologue by Miranda Roszkowski. Things seemed to have quietened down a bit by the time of the evening performances of the Rapid Response plays, one of which, “Effete” was my short comedy about gay marriage. It seemed to go down well, though – plenty of laughs, almost all of them intended. The general impression was of a fulfilling day for all concerned.

I went to see David Fincher’s “Gone Girl”, having read Gillian Flynn’s best-selling novel a few months ago and completely forgotten at least one vitally important plot point; this only served to enhance my enjoyment, however. The screenplay is by Flynn herself, thus the source material’s cynical take on lies and manipulation within relationships remains intact. Ben Affleck, as the man accused of his missing wife’s murder dials down his trademark shiftiness in order to appear genuinely perplexed; and Rosamund Pike is a revelation as the multi-faceted Amy. The film does slightly outstay its welcome once the more sensational elements of the plot have played out, but the performances remain cherishable. 

"Romeo and Juliet", National Theatre Wales, etc

An unusually busy week, which saw me spending a few days up in Bangor, North Wales, as part of my arts facilitator training, observing as National Theatre Wales put together an Assembly, in which a number of poets came up with a performance exploring the democratic process. Highly stimulating (further reading).

Then, back in Cardiff, two plays to review on successive evenings: “Romeo and Juliet”, Rachel O’Riordan’s debut as director at Sherman Cymru; and Lucy Gough’s adaptation of Dylan Thomas’ “Adventures in the Skin Trade” at Chapter; both innovative, and enjoyable for different reasons.

And this weekend, I have a short play entitled “Effete” on as part of “Dirty, Gifted and Welsh”, the joint venture between National Theatre Wales and Dirty Protest at the Angel Hotel in the middle of Cardiff. Should be a lark.

Not to mention the continuing adventures of my “Inside The Poetry Storehouse” film as part of Outcasting’s contribution to Cardiff Contemporary.