Stalin Paddington Lehrer Dance Maiden Tiger Glass

Armando Iannucci’s “The Death Of Stalin” is even more brutally funny than one might expect from a famed political satirist, since it is based in verifiable fact. It depicts the jockeying for political position following the protracted passing of the post-Revolutionary Soviet leader, with Simon Russell Beale brilliantly loathsome as security chief Beria, and Steve Buscemi on excellent form as Kruschev, the voice of reason. The casting is flawless as a whole, with Jeffrey Tambor, Andrea Riseborough and Jason Isaacs also especially effective. Furthermore, it avoids the trap of being about a lot of men shouting in darkened rooms via some witty camerawork, not to mention all the shootings. Perhaps the most shocking element, however, is the depiction of Stalin’s popularity amongst his people – which may or may not impact on the film’s chances of ever being shown in Russia.

There were more reflections on dictatorship in Fio’s production of Ariel Dorfman’s “Death And The Maiden” at The Other Room, in which a former political prisoner confronts the man she suspects of being one of her torturers; very tense and nightmarish.

Lisa Zahra in "Death And The Maiden" (photo: Kieran Cudlip")

A tad more light-hearted was Adam Kay’s “The Remains of Tom Lehrer”, in the sophisticated surroundings of the Ffresh Restaurant at the Wales Millennium Centre – an excellent show, in tribute to the work of one of the cleverest – and darkest - musical satirists of the 1950s and 1960s.

There have been several other notable events at that venue in the past couple of weeks. The ambitious, large-scale musical “Tiger Bay”, set in multi-cultural Cardiff in the early part of the 20^th century, boasted an impressive cast and score (and a slightly puzzling sub-plot), and seems to have been a hit with local audiences.

"Tiger Bay" (photo: Polly Thomas"

Most recently, there was the visit of the Clod Ensemble with “Under Glass”, in which we are put in the role of scientists, observing the lives of several individuals in glass cases, as though they were specimens. Very clever, if occasionally obscure.

There was also “Roots”, at the Dance House, round the back of the Centre – in which the National Dance Company of Wales offered four short, diverse, and very satisfying pieces, as part of Cardiff Dance Festival 2017.

Also part of the Festival, but at Chapter, was a double-bill comprising Liz Roche’s “Wrongheaded” – a piece rooted in the politicisation of women’s bodies, particularly in Ireland, but, obviously universally applicable – and Laïla Diallo’s “In This Moment”, a solo rumination of the concept of our experience of time. Also striking was a piece which contained only a modicum of actual dance – “Hardy Animal” by Laura Dannequin, in which she reflected on her experience of chronic back pain and its effect on her career and self-perception.

"Hardy Animal"

The latest “A Play A Pie and A Pint” production at the Sherman was “The Burton Taylor Affair”, which was a well acted but disappointingly shallow take on the lives of two great actors. Somewhat more inspiring was an evening of playlets and music put on at the nearby AJ’s Coffee House by Gareth Ford-Elliot’s Eno Theatre.

Perhaps the highlight of the month, if not the year, was “Paddington 2” – a beautifully cinematic and warm-hearted return to a universe in which a small, well-meaning bear can wander about spreading light wherever he goes. Excellent performances from Hugh Grant, as the pantomime villain, and Brendan Gleeson, too. Jolly fun, with a lightly handled theme of positivity and inclusiveness.

"The Weir" / "Told By The Wind" / Roathbud 2016

Being a part-time/amateur theatre critic certainly throws up some startling contrasts.

Last week, I was privileged to see the Sherman’s production of Conor McPherson’s modern classic “The Weir”, all about the power of story-telling, and full of profane, quicksilver Irish wit. And the very next night, at Chapter, was The Llanarth Group’s “Told By The Wind” featuring dancer Jo Shapland – all about quietude and stillness, apparently within a relationship, influenced by Japanese “Noh” theatre. I have to say I found the former more entertaining and trenchant, but “Told By The Wind” had its moments.

 

"The Weir" - photo by Nick Allsop

The annual Made In Roath arts festival has taken place this week, livening up the neighbourhood. Since it is run by unpaid enthusiasts, not everything which is advertised actually materialises, but Roathbud, the evening of film screenings by local artists is always reliable, and this year I was proud that my aria film “In Limbo” was part of the programme. It’s always good to see one’s work on a big screen, and in the company of an indulgent audience.

"The Hunting Of The Snark" / "Star Trek Beyond"

Sherman Cymru’s family offering for the summer holidays is an adaptation of Lewis Carroll’s nonsense mini-epic “The Hunting Of The Snark”, with a lively cast of six, including on-stage musician. Great fun, with lots of topical references, although the fact that it focuses on the relationship between the Banker and his son (a character invented by writer Annabel Wigoder) means that any grander themes with which Carroll may have been toying seem to get lost.

"The Hunting Of The Snark" (photo: Mark Douet)

The weekend saw a visit to the National Museum of Wales, and the exhibition focussing on the Battle of Mametz Wood during World War 1, at which many Welsh soldiers fell. There is much memorabilia, poetry and art, most strikingly the painting “The Charge of the Welsh at Mametz Wood, 1916”, by Christopher Williams. Also showing is an exhibition of the work of legendary children’s book illustrator Quentin Blake which, seemed barely less dark, given his long association with the morally complex work of Roald Dahl; his illustrations for Michael Rosen’s “Sad Book” are particularly stark. Also somewhat downbeat, although inspirational in intent, is Shimon Attie’s vivid video-photographic tribute to the people of contemporary Aberfan, which was famously struck by tragedy in 1966.

“The Charge of the Welsh at Mametz Wood, 1916”, by Christopher Williams

 “Star Trek Beyond”, even though its release is tinged with tragedy following the awful death of Anton Yelchin (“Chekov”), is every bit as heartening as its immediate predecessors, despite the replacement of director J.J. Abrams by Justin “Fast And Furious” Lin. Relationships are foregrounded, as the U.S.S. Enterprise, having been lured to a distant planet, is attacked and the crew separated. Idris Elba plays the villain whose motivation (somewhat topically) is to subvert the Federation’s ethos of peaceful co-operation. The visuals are predictably spectacular, but it is the warmth between the crew-members which leaves the most lasting impression.

"Belonging" / "A Sunny Disposition" / "Bird"

Recent reviews for the British Theatre Guide - as usual, a varied and stimulating lot.

First up - "Belonging/Perthyn" at Chapter; Karin Diamond's take on two different families' response to dementia.

Next: "A Sunny Disposition"; a late addition to the Insomnia season at The Other Room - Nicola Reynold's debut play, a sobering monologue about addiction, performed by Neal McWilliams.

"A Sunny Disposition" (photo: Aenne Pallasca)

Finally: "Bird" - Katherine Chandler's award-winning script finally brought to life at the Sherman; featuring an impressively raw performance from Georgia Henshaw as a teenage girl leaving the care system.

"Bird"

Cardiff theatricals have much to boast about.

"Jem & Ella" / "What Mid-Life Crisis" / "Constellation St." / "Fear Of Drowning"

Another stimulating couple of weeks of theatre-reviewing.

It began with “Jem & Ella”,   at the Sherman - the latest phase of a continuing father-daughter dance/theatre project, co-created by choreographer Jem Treays and his twelve-year-old daughter Ella. It could have been a rather sentimental, tear-jerking exploration of their relationship but for the high quality of the movement on display.

 

Jem & Ella (photo: Jorge Lizalde)

Then came “Dick Johns – What Mid-Life Crisis” at Chapter, in which the actor also known as Dick Bradnum hosted an amusing cabaret-style show based around middle-age, as a vehicle for a number of his short stories.  Odd to watch a show in which someone who is younger than oneself meditates on his advancing years; but at least I won some chocolates in the pub-style quiz.

Then there was the latest from The Other Room – Matthew Bulgo’s “Constellation St.” Four monologues, each presented on a different, meticulously designed set within the tiny venue at Porter’s Bar; each focusing on inter-linked, troubled lives. Well up to their usual standard, although the nature of the presentation, with the audience split into groups to experience the segments in a different order, ingeniously managed as though it is, means that one will always miss out on one of the story-strands.

Most recently there was P.R.W. Jenkins’ “Fear Of Drowning” back at Chapter, a runner-up in the 2012 Wales Drama Award, and the first production from Black Sheep Theatre. Basically two plays in one – a romantic comedy and a surreal environmental anti-buddy movie - so a tad unclear in its narrative intentions, but featuring some excellent comic performances.

 

Fear Of Drowning (photo: Kirsten McTernan)

This last was experienced only an hour after I had heard the news of the passing of one of my true musical heroes, Prince; which followed hard on the equally untimely and shocking loss of Victoria Wood. There seems to be a lot of sneering when the word “grief” is mentioned in connection with the deaths of celebrities; but if someone has made a positive contribution to your life, even from a great distance, losing them is undeniably distressing.

"Mr & Mrs Laughton" / "Cosy" / British Dance Edition

The “A Play, A Pie and A Pint” programme, from Glasgow’s Òran Mór, paid its third visit to Cardiff’s Sherman Cymru last week, with “Mr and Mrs Laughton”, Michael-Alan Read’s play about the marriage of legendary actors Charles Laughton and Elsa Lanchester; a relationship which was somewhat complicated by his homosexuality, not to mention his egotism. Obviously, at less than 40 minutes, there were many areas that weren’t addressed (mostly to do with their work) but the performances were powerful, and it was very entertaining. Sadly, however, the inclusive drink option (the “Pint” element of the deal) didn’t include cider (although the cheese pie was tasty).

Less fun, but probably more momentous was “Cosy”, the latest from Kaite O’Reilly, in the  Weston Studio at the Wales Millennium Centre. A family drama, this focusses on Sharon Morgan’s elderly Rose who brings together her bickering daughters in order to inform them that she wishes to take her own life before ill health robs her of the ability to make the choice. The fact that the central character is painted as a not especially caring mother makes it quite hard to empathise, but it was all very well done, with Sara Beer shining as her sarcastic, disabled friend who is less well disposed to euthanasia.

Candoco (photo - Hugo Glendinning) 

Most recently was another event at the W.M.C., this time in the main arena, as the British Dance Edition, an international trade show for the contemporary dance industry hit town. Mostly consisting of invite-only showcases for producers and promoters, there were a couple of public performances, including the one I attended – a triple bill featuring National Contemporary Dance Wales (with “Tuplet”, a piece I saw a few weeks ago at the Sherman), Candoco, a company which integrates disabled and non-disabled performers, and the internationally renowned Hofesh Shechter Company. All quite fascinating, and only occasionally baffling. There was another treat beforehand, in the foyer area – a piece by Reckless Sleepers, which consisted of five women destroying the chairs they were sitting on using saws, which seemed to be an unlikely crowd-pleaser.  

"The Glass Menagerie" / "Sand" / "Folk"

Three contrasting reviewing assignments in the past few weeks: Tennessee Williams' classic family tragedy "The Glass Menagerie" in Newport, featuring a heart-breaking performance from Eiry Thomas; the latest offering from The Other Room, Nick Gill's nuclear war-themed "Sand", starring Sara Lloyd-Gregory; and my first attempt at reviewing a dance piece, with "Folk" from NCDW at Sherman Cymru. All highly effective, with the caveat that "Sand" tends to state the obvious, albeit very eloquently.

Sara Lloyd-Gregory in "Sand" (Photo by Aenne Pallasca)

Wales Theatre Awards / "Henry VI"

Last weekend saw the latest Wales Theatre Awards ceremony at Cardiff’s Sherman Theatre, which I was delighted to attend as part of the judging panel and a representative of the British Theatre Guide. A very well-attended and jolly affair it was too. The Other Room was a big winner, coming away with four awards, but the plaudits were spread quite widely, indicating, once more, the depth of talent in Wales. My write-up of last year’s event was mentioned on-stage, which was rather embarrassing, but no harm done.

Hannah O'Leary as Henry VI (photo:Kirsten McTernan)

Doubtless the production I attended a couple of days ago will receive a lot of votes this year – Shakespeare’s “Henry VI” as abridged and directed by Yvonne Murphy, presented by her Omidaze company, and staged in the usually inaccessible space below the roof of the Wales Millennium Centre. It is a promenade production with a very strong all-female cast, and the lead played by an actress trained in aerialism, thus almost constantly suspended on ropes, reflecting the character’s other-worldliness. Very impressive, if somewhat taxing on both brain and knees.

“The Lion, The Witch And The Wardrobe” / “Saturday Night Forever”

If my calculations are correct, I’ve reviewed 31 plays this year; 29 of them for the British Theatre Guide. Mostly jolly fun, and the responsibility of having to write about a performance certainly helps one to concentrate on the experience, even if it’s somewhat frustrating to be a mere spectator. Still, one is grateful for the opportunity to learn from the expertise (and mistakes) of others.

The big Christmas show this year was Sherman Cymru’s production of “The Lion, The Witch And The Wardrobe”, with a cast including, as now seems customary, some fine actor-musicians. It’s quite magical despite, or perhaps because of, the lack of life-like animal costumes and special effects. The awkward fact that C.S. Lewis’s theme is Holy War can’t be avoided, however.

“The Lion, The Witch And The Wardrobe” (Photo by Mark Douet)

Somewhat less festive was the touring revival of Roger Williams’ “Saturday Night Forever” at Chapter, a production of which I remember seeing in 2001. One of several recent object-lessons in handling a one-person play, it’s not a happy tale, being about tragedy befalling a relatively new gay relationship. An excellent central performance, though, and imaginative but simple design and direction make it a rewarding experience.

“Happy Hour”

My latest reviewing assignment for British Theatre Guide was “Happy Hour” at the Sherman Cymru, in partnership with Glasgow’s Òran Mór. This is a highly accomplished debut by Anita Vettesse, albeit in a familiar setting – a family coping with the aftermath of a bereavement; on this occasion a publican’s widow and her two adult children bickering over money, affection etc. 

"Happy Hour" (photo by Leslie Black)

This was a guest production from the “A Play, A Pie and A Pint” initiative. Apparently the Òran Mór stage 38 lunchtime productions a year, without losing money; the Sherman played it in the early evening, and if social media is anything to go by, did good business over the five day run. I’ve said this before, and doubtless will again, but surely it is not beyond the wit of one of Cardiff’s many creative entrepreneurs to team up with a suitable team of sponsors and bring such a scheme here. After all, no-one who walks the streets of this fine city would be able to deny our love for both pies and pints…

"The Drowned Girl" / "Yuri" / "A Doll's House" / The Other Room

I’ve had three diverse but satisfying theatrical review assignments in the past few weeks, reflecting the variety of work which is available in Cardiff – the intimate, bijou “The Drowned Girl”, a semi-autobiographical one-woman show performed by author Kelly Jones; the freewheeling, extravagant, mid-scale “Yuri”, a translation of a surreal French comedy about childlessness; and Sherman Cymru’s main stage production of Ibsen’s “A Doll’s House”. All very well executed and highly enjoyable, although I found the Ibsen particularly revelatory and surprisingly exciting.

Leila Crerar in "A Doll's House" (photo by Nick Allsop)

Following this, it was interesting to attend, as part of The Other Room’s Blue Sky season, an open Manifesto meeting in the city’s first purpose-built pub theatre, at which the team who run the company discussed their work to date, talked about future plans (with no spoilers), and invited those present to make proposals as regards their artistic policy. Conclusions reached included the need to make connections with other venues, to try and increase the number of new plays performed, and to commit to producing Welsh-language/bilingual work. There was frank discussion of their perceived failings and difficulties  – principally involving  less than full houses for some pieces – but there was much support in the room for the company, and appreciation of the fact that it has already developed a distinctive identity.

"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

"Mermaid" / "Little Sure Shot" / Poetry Storehouse

Two British Theatre Guide reviewing assignment on consecutive nights this week; both shows aimed at young audiences.

Firstly, “Mermaid”, from Shared Experience at Sherman Cymru; Polly Teale’s contemporary take on Hans Christian Andersen’s “The Little Mermaid” – some dazzling aquatic-themed movement, but there were some issues with the intersecting narratives, and I found it slightly ironic that in a piece about female empowerment, the most interesting character was a man.

Next, at the Royal Welsh College of Music and Drama, “Little Sure Shot”, Lucy Rivers’ musical take on the story of cowgirl superstar Annie Oakley; also with a vaguely feminist empowerment theme. Very well done, but shockingly poorly attended. The first televised Welsh election debate was taking place in the larger performance space in the same building – probably less edifying.

 Little Sure Shot (Farrows Creative)

This week, I notched up my 50^th video for verse taken from The Poetry Storehouse. It’s been a wild ride.

"The Noisy Person I Am" - by Christine Potter from OTHNIEL SMITH on Vimeo.

Dirty Protest. Hijinx. Leviathan. Howard Barker. Harri-Parris. BFI Launchpad.

A couple of weeks ago now saw a Dirty Protest double-header – one night in Aberystwyth followed by a repetition of the programme at the Abacus Rooms in Cardiff. Themed “The End of the Line”, it was a dazzlingly varied selection of short plays, largely by West Wales-based writers (Meredydd Barker, Lucy Gough, Branwen Davies, Catrin Fflur Huws, Roger Boyle, Liz Jones, Caroline Stockford, Rachel McAdam), taking in relationships, loss, political protest – amusing, poignant, baffling; sometimes all at the same time. All acted by a striking duo of young actors: Hanna Jarman and Rhys Warrington. And I even managed to get a seat this time.



There have been a number of assignments for British Theatre Guide as well:

First, there was the launch of Hijinx’s Unity Festival a celebration of inclusive theatre, taking place in July, involving an international roster of acts, largely with disabilities. This took place at the Senedd, the seat of Welsh Government, and took the form of a spoof comedy chat-show, during which Lord Dafydd Elis-Thomas seemed not to mind being referred to as “Dave”.


Then there was the first “A Play, A Pie and A Pint” production at the Sherman Cymru – “Leviathan”, Matthew Trevannion’s three-hander set in the Valleys. An excellent, dark-toned family comedy. And the pie wasn’t bad either.


And the second production from The Other Room – Howard Barker’s “The Dying Of Today” – rooted in Ancient Greek wars, but eternally relevant. My first Barker – fiercely intelligent, but not as forbidding as I had feared (and I even managed to sneak a Sex Pistols reference into my review).


Most recently there was “The Harri-Parris: The Big Day” - Llinos Mai’s very entertaining comedy musical (and sequel to “The Leaving Do”, which I didn’t get to see) set amongst an eccentric West Wales farming family, which saw a rare Tuesday night full house at Chapter.


And in the midst of all this was the BFI Launchpad event (also at Chapter), arranged by Ffilm Cymru Wales, focussing on aspiring filmmakers, with particular references to black/minority ethnic writers, directors and producers. It was worth the £20 cost of entry to get three contrasting, but broadly complimentary assessments of my latest screenplay from experienced professionals; but I also managed to catch a programme of fascinating shorts from Film London, and meet some interesting people.

"Grav"/ Aphex Twin

Been mostly writing. And rewriting.

I got to review a play for British Theatre Guide – “Grav”, a biography of rugby player Ray Gravell, at Sherman Cymru, featuring an excellent solo performance by Gareth John Bale.

And found the time to make a few more poetry films; as well as making use of some music offcuts from Soundcloud, possibly posted by Aphex Twin, and combining them with burlesque footage from the New York World’s Fair in 1939-40, taken from the Prelinger Internet Archive...

Dali Swimsuit from OTHNIEL SMITH on Vimeo.

More Festive Theatre / Wales Arts Review

I’ve been lucky enough to see three plays in the past week and review them for the British Theatre Guide.

First up was the most lavish – Sherman Cymru’s main stage revival of Dominic Cooke’s version of “Arabian Nights”, first produced in the late 1990s in London. Very colourful and impressive, creating a folk-troupe-telling-stories ambiance by casting talented actor-musicians.

Next it was the unfamiliar environment of the Park Conservative Club on Cardiff’s City Road, for Susan Kingman’s semi-autobiographical one-woman show “I’ll Be There Now” – a tale of growing up in and away from a small Valleys town; told with great charm and verve.

And finally it was back to the Sherman, and their show for younger children, Katherine Chandler’s take on Hans Christian Andersen’s “The Ugly Duckling”; a tale with which we can all relate. Great fun, and it seemed to keep the attention of all but the very tiniest audience members.

The news came through yesterday that the Wales Arts Review has had its funding withdrawn by the Welsh Books Council and is to cease its online operation. A great shame, since impartial and intellectually ambitious discussion of the arts is essential for them to thrive, especially in such a small country, and one so riven with (artistic) incestuousness and negativism.

"In Time O' Strife" / "Roathbud" etc.

Obviously, the cultural highlight of the past few weeks, and possibly the year, has to be the Johnny Marr gig. But The Cardiff Contemporary art festival (of which my “Inside The Poetry Storehouse” film was a small part), has also been enlivening the city – the excellent John Peel portrait below is part of the co-incident Empty Walls project.

The Made In Roath Festival has been happening, too. I went to the now-annual Roathbud screening at The Globe, which was the usual entertaining mixed bag, including some amusing mini-shorts from comedian Marek Larwood, some likeable no-budget local documentaries, a two-hander starring Boyd Clack and Rhodri Hugh, and a screening of Ryan Andrews’ star-studded “Little Munchkin” (2011). And the allied Cardiff Open exhibition has  been taking place at the former Blockbuster Video store on Albany Road – full of good stuff.

My most recent British Theatre Guide reviewing assignment was National Theatre of Scotland’s revival of Joe Corrie’s miner’s strike drama from the late 1920s “In Time O’ Strife” at Sherman Cymru – enlivened by punk-folk music and angry dancing, but still somewhat downbeat, given the unhappy ending.

I’ve had a go at compiling three recent short plays – including my “Dirty, Gifted and Welsh” piece into a Kindle download. This is the trailer:

"Crazy Gary's Mobile Disco" / "Wendy Hoose"

I could have sworn I’d once attended a rehearsed reading of Gary Owen’s first play “Crazy Gary’s Mobile Disco”, but a few minutes into Waking Exploits’ revival of it at Chapter, the first in Wales, I realised that it was entirely unfamiliar to me. The vividness of the writing earned glowing critiques back in 2001, and the inventive direction and acute characterisations in this production, which I reviewed for the British Theatre Guide, ensured that it remains a powerful, disturbing piece about too-easily recognisable lives.

My other recent theatre-reviewing visit was to Sherman Cymru to see Scottish play “Wendy Hoose”. It was sold as a sex comedy “with a difference”, although the merest glance at the publicity material made it clear that a central theme was disability. Very funny, too, with engaging performances, although at least one person I’ve spoken to since has suggested that the writers were possibly trying too hard to be un-PC in their treatment of the issue.

In other news, my training to become a community arts facilitator has continued; and my film of Bill Yarrow’s poem “Florid Psychosis” has been accepted into the Visible Verse Festival in Vancouver, Canada – something of an achievement when one assesses the pedigree of the other pieces.

"Florid Psychosis" by Bill Yarrow from OTHNIEL SMITH on Vimeo.

"Rock Pool" / "Tender Napalm"

Two theatre reviewing assignments in two days – both two-handers, but aimed at very different audiences.

First up, at Sherman Cymru, was “Rock Pool” by China Plate/Inspector Sands – a play for families (children of three and upwards), in which a crab and a prawn get stranded in a shallow rock pool, and become friends, despite the former’s inclination to eat the latter. The next day at Chapter, I saw “Tender Napalm”, a decidedly adult drama about a couple who create a profanely violent fantasy world as a means of coping with loss; the second of two controversy-baiting Philip Ridley plays being given their Welsh premieres by Company Of Sirens.

Both with a theme of uneasy co-existence in difficult circumstances; both highly accomplished productions.

"Not The Worst Place" / "The Magic Toyshop"

I reviewed two theatre productions for the British Theatre Guide this week, both about adolescent girls in crisis, and both, in an odd coincidence, referencing the ever-controversial story of the Greek god Zeus coming to earth in the form of a swan, and seducing/raping earth-woman Leda.

The first was Sam Burns “Not The Worst Place” at Sherman Cymru; an increasingly rare example of a playwright getting results (eventually) after sending a script on spec to a theatre company. The second, Alan Harris’ adaptation of Angela Carter’s “The Magic Toyshop”, at Chapter, is an increasingly common example of a writer forming a company to produce his own work.

Two jaundiced takes on family life, one a seafront-set comedy drama with mythic overtones, one a none-more-dark fairy-tale inflected fable; both accomplished and effective.