October 2018 etc

Again, much theatre-going in the past few weeks – largely themed around female talent, as it happened. There was Alan Harris’ “This Incredible Life” at Chapter, starring Welsh legend Sharon Morgan as a feisty former journalist afflicted by dementia; two touring productions at The Other Room – Isley Lynn’s startlingly frank, vaginismus-oriented “Skin A Cat”, and “Lands”, from Antler Theatre, a friendship-themed comedy-drama with a clever trampoline motif; “Street” and “Izzy’s Manifestos” a double-bill of monologues by Susan Monkton and Kevin Jones at A.J.’s Coffee House; and, on a somewhat more epic scale, the all-female version Nigel Williams’ adaptation of William Golding’s “Lord Of The Flies” at the Sherman.

"Lord Of The Flies" (photo: Sam Taylor)

Added to this, there was Alun Saunders’ “Tuck”, a musical drama about mental health issues amongst the drag-queen community, which kicked off the latest Performances For The Curious season at the Wales Millennium Centre; plus, again at the The Other Room another Kevin Jones play, the darkly nostalgic (well, 1990s) “Cardiff Boy”, which is turning out to be one of the most-praised productions of the year. Then there was National Dance Company Wales’ “Roots” at the W.M.C.’s Dance House – three short pieces intended to provide a painless introduction to contemporary ballet.

"Cardiff Boy" (photo: Kirsten McTernan)

The biennial Artes Mundi Prize has returned to the National Museum of Wales. This time round, it comprises two video installations (Bouchra Khalili’s take on Jean Genet’s supportive visit to see the Black Panthers in 1970; a fairly static piece by Apichatpong Weerasethakul; two 3D installations (Anna Boghiguian’s reflections on the steel industry; a tapestry twinned with a circular metal construction from Otobong Nkanga), and what I found the most immediately appealing exhibit – Trevor Paglen’s photography which finds ironic beauty in defence/aerospace technology.

The Made in Roath Festival was also taking place – I was lucky enough to be part of a well-attended Roathbud screening of short films, with “The Good Girl”.

"The Good Girl" by Lucy Logsdon from OTHNIEL SMITH on Vimeo.

There have also been a couple of visits to the cinema. I was impressed and moved by the latest remake of “A Star Is Born”, Bradley Cooper’s directorial debut (he also co-wrote the screenplay and some of the songs, and stars, of course). The style is quite cine-verité, and he and Lady Gaga are both highly convincing as Jackson, the alcoholic country-rock star on the skids, and Ally, the struggling, insecure club singer with whom he hooks up. There are some excellent supporting turns, especially from Sam Elliot as Jackson’s much older half-brother. The musical performances are believable as well, with Jackson’s rootsy “authenticity” cleverly contrasted with Ally’s shift from earnestness into choreographed commercial pop. Inevitably, there are few surprises in terms of narrative, but it still hits home, emotionally.

I also went to see Steve McQueen’s “Widows”, his adaptation of the 1980s’ TV series which I never saw) about the wives of slain robbers carrying out a heist. Stylishly done, if a little slow to begin with, with a script which deftly (but unsubtly) links organised crime with urban power politics. Some excellent performances, too, led by powerhouse Viola Davis, but with Elizabeth Debicki luminous as an abused woman finally finding herself, and Daniel Kaluuya as an extremely unpleasant bad guy.