tag:blogger.com,1999:blog-212716172024-03-13T04:36:13.020+00:00Blakeson - WriterCardiff-based film, theatre and gig reviews, cultural ramblings, whingeing, short films, etc.Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.comBlogger461125tag:blogger.com,1999:blog-21271617.post-68111181980920883562020-03-17T18:24:00.001+00:002020-03-17T18:24:26.113+00:00Carlos Acosta / Spring Fringe / The Beauty Parade / Tylwyth<br />
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Well, obviously, coronavirus panic has called a halt to all theatrical
activity for the time being (including a rudimentary project I was working on);
but at least I managed to see and review some interesting stuff before the
shut-down. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1kfMehqJEE2EBy1cSNfU-2yFwV7xWbNcH6BG4pGWqpAK8ZKlKiZRxj1OnZLoGl6aCtPG1Wlte21UszpCV8ggt-dc3FVB2DmM1u9lU_OKXqsaqdcmrEWs2ihB7f306LNmIASh2w/s1600/Acosta+Danza%252C+Rooster%252C+left+Alejandro+Silva%252C+second+left+Carlos+Acosta%252C+right+Mario+Sergio+El%252B%25C2%25A1as%252C+ph+Johan+Persson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="677" data-original-width="1000" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1kfMehqJEE2EBy1cSNfU-2yFwV7xWbNcH6BG4pGWqpAK8ZKlKiZRxj1OnZLoGl6aCtPG1Wlte21UszpCV8ggt-dc3FVB2DmM1u9lU_OKXqsaqdcmrEWs2ihB7f306LNmIASh2w/s320/Acosta+Danza%252C+Rooster%252C+left+Alejandro+Silva%252C+second+left+Carlos+Acosta%252C+right+Mario+Sergio+El%252B%25C2%25A1as%252C+ph+Johan+Persson.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acosta Danza (photo: Johan Persson)</td></tr>
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The most high-profile was legendary Cuban ballet dancer
Carlos Acosta’s company delivering a beautifully diverse programme entitled “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/acosta-danza-ev-donald-gordon-a-18870">Acosta
Danza Evolution</a></b>” at the <a href="http://www.wmc.org.uk/">Wales
Millennium Centre</a>, culminating in Christopher Bruce’s amusing Rolling Stones-soundtracked
“<b style="mso-bidi-font-weight: normal;">Rooster</b>”. Also celebratory, although
in a more sombre fashion was Kaite O’Reilly’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-beauty-para-weston-studio-18880">The
Beauty Parade</a></b>”, in the W.M.C.’s Weston Studio - an aesthetically ambitious,
multi-media tribute to female undercover operatives during World War 2. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9h_s22P9QJ_G6Zn_luRKGG6WzA3MWrlygbXTYvPG7D6-QYJSb0evVcX81JlySYWFBfICfr0i-tmruVnTzMg-FT8rVSuxR7zQhOdJOtWTJynvFZ_fOh4yvf8WHuey3jjJypwxU7Q/s1600/5_Sophie+Stone_Photo+Jorge+Lizalde.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="714" data-original-width="1000" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9h_s22P9QJ_G6Zn_luRKGG6WzA3MWrlygbXTYvPG7D6-QYJSb0evVcX81JlySYWFBfICfr0i-tmruVnTzMg-FT8rVSuxR7zQhOdJOtWTJynvFZ_fOh4yvf8WHuey3jjJypwxU7Q/s320/5_Sophie+Stone_Photo+Jorge+Lizalde.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sophie Stone in "The Beauty Parade" (photo: Jorge Lizalde)</td></tr>
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I also caught two shows in the now-truncated Spring Fringe
season at <a href="http://www.otherroomtheatre.com/">The Other Room</a>: the
likeably ramshackle “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/back-to-berlin-the-other-room-18854">Back
To Berlin</a></b>”, about the beginning of the end of the Cold War; and Katie Greenall’s
“<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/fatty-fat-fat-the-other-room-18909">Fatty
Fat Fat</a></b>”, a brave but funny look at body image. There was, in addition,
a trip to Newport’s Riverfront to see Operasonic’s enchanting “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/vehicles-the-riverfront-18845">Vehicles</a></b>”,
a small-scale opera for young people, with a science-fiction twist.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">"Back To Berlin" (photo: Dali Mia Poulsom)</td></tr>
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The big hit of the year, however, was shaping up to be “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/tylwyth-sherman-theatre-18903">Tylwyth</a></b>”
at the <a href="http://www.shermantheatre.co.uk/">Sherman</a>, Daf James
follow-up to “<b style="mso-bidi-font-weight: normal;">Llwyth</b>”, his
pioneering look at the lives of gay men within a Welsh-speaking environment. I
was delighted to note that a familiarity with the first play was unnecessary,
and while I didn’t get all of the cultural references, sur-titles meant that
most of the wit and darkness came across. Sadly, however, like most cultural
life in the U.K. and beyond, the Welsh tour has been postponed.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">"Tylwyth"<br /></td></tr>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com1tag:blogger.com,1999:blog-21271617.post-73099933397547742822020-03-01T17:54:00.001+00:002020-03-01T17:54:37.332+00:00"Wolf" / "Suspense" / "Carmen"<br />
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Two theatre-reviewing assignments this week: my first visit
of the year to <b>The Other Room</b> for a show in their Springe Fringe season of
curated work – Lewis Doherty’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/wolf-the-other-room-18817">Wolf</a></b>”
– a clever one-man parody action movie; and “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/an-evening-of-the-atrium-uni-18836">An
Evening Of… Suspense</a></b>” – two classic American radio plays, including “<b style="mso-bidi-font-weight: normal;">Sorry, Wrong Number</b>”, at the Atrium.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Lewis Doherty as "Wolf" (photo: Geraint Lewis)</td></tr>
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In between, I took advantage of the rare opportunity to see
an opera I’ve always wanted to <span style="mso-spacerun: yes;"> </span>– Bizet’s
“<b style="mso-bidi-font-weight: normal;">Carmen</b>” from the <b style="mso-bidi-font-weight: normal;">Welsh National Opera</b> at the <b style="mso-bidi-font-weight: normal;">Wales Millennium Centre</b> (from the cheapest
of cheap, restricted view tickets, in the upper circle). And a beautiful
experience it was too, in Jo Davies’ production, apparently set in 1970s Brazil.
Julia Mintzer was compellingly sexy as the titular temptress, but Peter Auty as
soldier Don José and Giorgio Caoduru as Escamillo, the bullfighter she abandons
him for were also hugely impressive, as was Elin Pritchard, making her home
debut as the disregarded Micaëla. Timeless melodies, of course, teeing us up for
the startlingly violent conclusion. Hopefully not the first major ambition I’ll
achieve this year.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-4542481173850000662020-02-18T16:54:00.001+00:002020-02-18T16:54:36.340+00:00"Parasite"<br />
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Bong Joon-Ho’s “<b style="mso-bidi-font-weight: normal;">Parasite</b>”
tells the story of a poor South Korean family, the Kims, who ingeniously inveigle
their way into employment at the home of the wealthy Park family. Just as we seem
to be settling into an amiable tale about small-time grifters, however, events
take a dark turn…<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">"Parasite"</td></tr>
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Inevitably, given the film’s huge critical and awards success,
expectations will be high. Indeed, there is nothing new in the subject-matter
of “<b>Parasite</b>” – social inequality
and family love; and the directorial style is clever without being flashy –
none of the high-tech visuals of Bong’s “<b>Snowpiercer</b>”.
The narrative switcheroo raises the emotional stakes considerably, however,
with Jaeil Jung’s score creepily evocative, without being manipulative.</div>
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Inevitably, there will be talk of an American re-make, but
it’s hard to think of a director who could handle the tale’s changes of tone
without lessening its impact – and any suggestions might constitute a spoiler.<o:p></o:p></div>
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Suffice it to say, while it is not as dazzling a piece of
work as, say, “<b style="mso-bidi-font-weight: normal;">1917</b>”, “<b style="mso-bidi-font-weight: normal;">Parasite</b>” is well deserving of the
continuing acclaim.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-42175560786850064872020-02-13T10:50:00.000+00:002020-02-13T10:50:01.808+00:00"Llyrf Glas Nebo" / "Winners"<br />
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After the traditional January drought, two theatre review
assignments came up in close succession. First up was Manon Steffan Ros’
adaptation of her best-selling Y.A. novel “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/llyfr-glas-nebo-sherman-theatre-18747">Llyfr
Glas Nebo</a></b>” (“<b style="mso-bidi-font-weight: normal;">The Blue Book Of
Nebo</b>”), a post-apocalyptic tale set in North Wales and presented in Welsh
with (on the night I attended) English sur-titles; a touching portrayal of a
mother-son relationship under impossible conditions. The next evening, also in
the <a href="http://www.shermantheatre.co.uk/">Sherman Theatre</a>, but in the
studio space, was the latest in their irregular “<b style="mso-bidi-font-weight: normal;">Get It While It’s Hot</b>” series of “<b style="mso-bidi-font-weight: normal;">A Play, A Pie and A Pint</b>”-style presentations:– Lowri Jenkins' “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/winners-sherman-theatre-18748">Winners</a></b>”,
about a relationship defined by the love of rugby; funny and poignant. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDFHZKDn3y0fSryLpAn64v5lkj6yz0qMEtyedVHcqHGsh_twpI9xZ7wQSngTWnOVhfQUouDAc3yE6WqfLx8t-zZAIKmcLKvcc4f0YlDDdcYf0tmfMSGeXIWCOKfURGdha8UzYAg/s1600/LlyfrGlasNebo.Main.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDFHZKDn3y0fSryLpAn64v5lkj6yz0qMEtyedVHcqHGsh_twpI9xZ7wQSngTWnOVhfQUouDAc3yE6WqfLx8t-zZAIKmcLKvcc4f0YlDDdcYf0tmfMSGeXIWCOKfURGdha8UzYAg/s320/LlyfrGlasNebo.Main.jpg" width="320" /></a></div>
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Incidentally, it was good to see the Sherman foyer abuzz, with
two plays on at the same time – a rare occurrence in recent years. <o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-53488009544026205092020-01-14T17:40:00.001+00:002020-01-14T17:44:32.914+00:00"1917"<br />
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Sam Mendes’ “<b style="mso-bidi-font-weight: normal;">1917</b>”,
based on a story from his family’s history, see two British soldiers, played by
George MacKay and Dean-Charles Chapman, tasked with delivering an urgent message
from a World War I trench to a nearby regiment, in an effort to keep them from
falling into a fiendish trap set by the Hun. Needless to say, there is much unfortunate
incident along the way.<o:p></o:p></div>
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The tale is told as though in a single take and in real time
(well, almost), and is thoroughly gripping, truly bringing home the horror of conflict, as well as paying tribute to the concepts of duty and comradeship.
Mendes and Krysty Wilson-Cairns’ script (along with Thomas Newman’s score) never
allows the tension to slip, even during the rare moments of apparent calm; there are
plentiful clever visual set-pieces (cinematography by Roger Deakins); and the
parade of star cameos is only slightly distracting. Beautifully realised, this
is cinema at its most powerfully immersive.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-28144885407593178962020-01-10T16:38:00.001+00:002020-01-10T16:38:09.749+00:00"The King And I" / Best Theatre of 2019<br />
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January is generally a barren desert when it comes to
theatre-going, so it was good to get an opportunity to see the touring version
of the recent Broadway revival of “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-king-and-i-donald-gordon-a-18636">The
King And I</a></b>” at the Wales Millennium Centre – my first ever live
experience of a Rodgers and Hammerstein. Very impressive and pointed, and a
reminder of the power of the American musical of the classic era. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilx6kjcrhpjEvWgTpcbQ7sMYq5bcRTNeuesnFQmma28HuHbKBmEmyyZYcqA1l-QgK2SKovmo6ummn8882ln4YAfySvBBEXQeEe4Lsv5Qn63EMLcokw-SjjEzvioCUCT8b4RirZMQ/s1600/The+King+and+I+Credit+Johan+Persson+%25284%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="953" data-original-width="1600" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilx6kjcrhpjEvWgTpcbQ7sMYq5bcRTNeuesnFQmma28HuHbKBmEmyyZYcqA1l-QgK2SKovmo6ummn8882ln4YAfySvBBEXQeEe4Lsv5Qn63EMLcokw-SjjEzvioCUCT8b4RirZMQ/s320/The+King+and+I+Credit+Johan+Persson+%25284%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The King And I (pic: Johan Persson)</td></tr>
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Meanwhile, I contributed the customary <a href="https://www.britishtheatreguide.info/features/our-reviewers-picks-of-2019-280/3">Bests
of 2019</a> piece to the British Theatre Guide; delighted to name National
Theatre Wales’ “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/on-bear-ridge-sherman-theatre-18189">On Bear Ridge</a></b>” as my
production of the year.<o:p></o:p></div>
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Over Christmas, I had my regular appointment to catch up on “<b style="mso-bidi-font-weight: normal;">Star Wars</b>”, and found “<b style="mso-bidi-font-weight: normal;">The Rise Of Skywalker</b>” to be surprisingly
coherent and dramatically satisfying – but then, I’m not immersed or particularly
invested in the culture.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-10009405056000268962019-12-20T12:19:00.002+00:002019-12-20T12:19:49.791+00:00"Sprinkles"/"Constellations"<br />
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I finally got a chance to see “<b style="mso-bidi-font-weight: normal;">Sprinkles</b>” – the first play from actress Katie-Elin Salt –
presented as a Dirty Protest rehearsed reading at <a href="http://www.chapter.org/">Chapter</a>. 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.<o:p></o:p></div>
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A few weeks ago, at <a href="http://www.otherroomtheatre.com/">The Other Room</a>, I also got the
opportunity to experience Nick Payne’s dazzlingly clever multiverse drama, “<b style="mso-bidi-font-weight: normal;">Constellations</b>”, 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.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNVHFYxHA0aTO_Bb-gVp7pN6_vzaXruDixLhoayNbPyp8JVVHmvCWBTLNlx1EA6wm28MNosBRZEa-9aaB1RI9Hc3cQHdUgcNPaHxd0PIr3Bezy5dALYAfbsz9By9oNmdvWbMXz_Q/s1600/Constellations_WalterHampson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1058" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNVHFYxHA0aTO_Bb-gVp7pN6_vzaXruDixLhoayNbPyp8JVVHmvCWBTLNlx1EA6wm28MNosBRZEa-9aaB1RI9Hc3cQHdUgcNPaHxd0PIr3Bezy5dALYAfbsz9By9oNmdvWbMXz_Q/s320/Constellations_WalterHampson.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Constellations" (photo: Walter Hampson)</td></tr>
</tbody></table>
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And it looks as though my first reviewing assignment of 2020
is booked in: “<b style="mso-bidi-font-weight: normal;">The King And I</b>” at
the <a href="http://www.wmc.org.uk/">Wales Millennium Centre</a>. Shall we dance?<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-63844635617470468652019-12-17T12:40:00.001+00:002019-12-17T12:40:21.789+00:00Festive Theatre Round-Up<br />
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Through accident or design, the big Christmas show at the <a href="http://www.wmc.org.uk/">Wales Millennium Centre</a> this year is the
touring version of West End/Broadway blockbuster “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/les-miserables-donald-gordon-a-18490">Les
Misérables</a></b>”, 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.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpa7Lfla4MktqDRE330kwVxVzHt0HenLhBryS2YUNgV6_U7adNuE0Zk2TLRWufoM-CHixuv_vRiR-qYXLhxAYrVLdMX5NeNIoEBJagUtmxgbth5F6OD_uCXnZCMrE9FgPaDBjUqA/s1600/LES+MISERABLES+TOUR.+The+Barricade.+Helen+Maybanks.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="526" data-original-width="1000" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpa7Lfla4MktqDRE330kwVxVzHt0HenLhBryS2YUNgV6_U7adNuE0Zk2TLRWufoM-CHixuv_vRiR-qYXLhxAYrVLdMX5NeNIoEBJagUtmxgbth5F6OD_uCXnZCMrE9FgPaDBjUqA/s320/LES+MISERABLES+TOUR.+The+Barricade.+Helen+Maybanks.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Les Mis" (photo: Helen Maybanks)</td></tr>
</tbody></table>
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A few weeks ago, the season kicked off there with the
touring production of “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/nativity-the-m-donald-gordon-a-18440">Nativity!
The Musical</a></b>”, Debbie Isitt’s adaptation of her successful film, which
was very amusing. The actual Christmas show in the venue’s Weston Studio <span style="mso-spacerun: yes;"> </span>is “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/red-weston-studio-18579">Red</a></b>”
from Likely Story Theatre – an imaginative, freewheeling, small-scale tale set
in the Red Riding Hood universe. The festive show on the <a href="http://www.shermantheatre.co.uk/">Sherman</a>’s main stage <span style="mso-spacerun: yes;"> </span>is “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-snow-queen-sherman-theatre-18506">The
Snow Queen</a></b>” – as clever and entertaining as is traditional, but it
could have done with more magical appearances from the title character. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdi8_WhMK7IdOasxG0f8GoPpyLrVJpU_qw5NTnkk6Gv00A_yqii5Hpxkk7_MwOI9Y-kQG8Q9H9VsrybJtZJ2YsUO9RylUTnvM9pCGl9cWgMVPVOLeIkvxbDBgxuUXYmJbTDVzCsA/s1600/01.+The+Snow+Queen+at+Sherman+Theatre.+Photo+by+Mark+Douet+650A9650.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdi8_WhMK7IdOasxG0f8GoPpyLrVJpU_qw5NTnkk6Gv00A_yqii5Hpxkk7_MwOI9Y-kQG8Q9H9VsrybJtZJ2YsUO9RylUTnvM9pCGl9cWgMVPVOLeIkvxbDBgxuUXYmJbTDVzCsA/s320/01.+The+Snow+Queen+at+Sherman+Theatre.+Photo+by+Mark+Douet+650A9650.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"The Snow Queen" (photo: Mark Douet)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb03_5tKmGan0TqnZlHBCenmNEbdlwty75OZ8aEm8Telaal1Zeoa4Bcveoi1GDOquU-7BbeUzfUiKv5cKEdm3Y3EjR1LrysddRaGwHT1qoYpQJm76kJyqztn01sP_s9NQAf8lgEw/s1600/RED1+L-R+Hazel+Anderson%252C+Connor+Allen%252C+Ellen+Groves.+Photo+by+Polly+Thomas+%25282%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb03_5tKmGan0TqnZlHBCenmNEbdlwty75OZ8aEm8Telaal1Zeoa4Bcveoi1GDOquU-7BbeUzfUiKv5cKEdm3Y3EjR1LrysddRaGwHT1qoYpQJm76kJyqztn01sP_s9NQAf8lgEw/s320/RED1+L-R+Hazel+Anderson%252C+Connor+Allen%252C+Ellen+Groves.+Photo+by+Polly+Thomas+%25282%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Red" (Photo Polly Thomas)</td></tr>
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In a non-festive vein, <a href="https://www.nationaltheatrewales.org/">National Theatre Wales</a>
collaborated with inclusive theatre company <a href="http://www.hijinx.org.uk/">Hijinx</a>
for eco-sci-fi extravaganza “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/mission-control-principality-st-18456">Mission
Control</a></b>” at the Principality Stadium: impressive in terms of vision,
less so when it came to organisation.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rptVQs5BDZZ514kFNV_BIFu0-jDgEVL70iE5GJhD12XT_awKtCBKzaV52xHNmKfydqv9QGHAZyIgPTdjdIYV_OUvVpTZAXlEvyLR-7Jnz62EFwdDRVT6iyj__IzUvTGgxkJjSw/s1600/MissionControl_Show_NTW_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rptVQs5BDZZ514kFNV_BIFu0-jDgEVL70iE5GJhD12XT_awKtCBKzaV52xHNmKfydqv9QGHAZyIgPTdjdIYV_OUvVpTZAXlEvyLR-7Jnz62EFwdDRVT6iyj__IzUvTGgxkJjSw/s320/MissionControl_Show_NTW_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Mission Control" (photo: Main House)</td></tr>
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Last week I attended the latest BBC Writers Room Wales Festival,
held at the <a href="https://museum.wales/cardiff/">National Museum</a>. As
usual, Russell T Davies was a funny and inspirational speaker; and the evening event
involving Rob Brydon and Ruth Jones, and focussing on “<b style="mso-bidi-font-weight: normal;">Gavin And Stacey</b>” was a joy.<o:p></o:p></div>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-80098881197890572412019-12-05T17:54:00.001+00:002019-12-05T17:54:34.121+00:00"Knives Out"<br />
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I wasn’t a big fan of Rian Johnson’s feature debut, the noirish
“<b style="mso-bidi-font-weight: normal;">Brick</b>”, but I was intrigued to
experience his return to the genre, following high-profile excursions into
science-fiction. “<b style="mso-bidi-font-weight: normal;">Knives Out</b>” starts
out as a classic country house whodunnit, but then strays into areas of subtle social
commentary.<o:p></o:p></div>
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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. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZPoom6uNFp_QyNfL6vo78BXneFF-FZBZlTEih8oil9GCLJs78qCkAkvPQa1KCx0vt4JiDQxC-EOZwUlUupQeuxi8-5M6y4fK25sMKL1xn7qQcO86v135dH5J-or5V4b_b1HKfNA/s1600/JamieLeeKnivesOut.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZPoom6uNFp_QyNfL6vo78BXneFF-FZBZlTEih8oil9GCLJs78qCkAkvPQa1KCx0vt4JiDQxC-EOZwUlUupQeuxi8-5M6y4fK25sMKL1xn7qQcO86v135dH5J-or5V4b_b1HKfNA/s320/JamieLeeKnivesOut.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jamie Lee Curtis</td></tr>
</tbody></table>
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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.</div>
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“<b style="mso-bidi-font-weight: normal;">Knives Out</b>”
manages to be both playful and substantial; it’s a juicy treat. <o:p></o:p></div>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-5859454832862129152019-11-14T10:37:00.000+00:002019-11-14T10:37:02.738+00:00"Hive City Legacy" / "Hela" / National Dance Company Wales<br />
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My latest batch of theatre reviews: “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/hive-city-legac-weston-studio-18394">Hive
City Legacy</a></b>” at the <a href="http://www.wmc.org.uk/">Wales Millennium
Centre</a> – a touring performance piece giving us the rare opportunity to see several
“femmes of colour” on stage at the same time in a music/dance extravaganza
focussing on issues of identity (which played to a disappointingly small
audience on the night I saw it); Mari Izzard’s bilingual psychological thriller
“<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/hela-the-other-room-18402">Hela</a></b>”,
the final piece in the dystopian Violence Series at <a href="http://www.otherroomtheatre.com/">The Other Room</a>; and the latest
collection of excellent short pieces presented by National Dance Company Wales
under the heading “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/roots-2019-dance-house-wa-18416">Roots</a></b>”
at the W.M.C.’s Dance House – as always, it’s good to see them going to the
effort of making a sometimes abstruse art-form accessible without dumbing down.
<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWZ_IRPEKKxF3LRfMMymFxjcu07m-e2JXF5e_Vdi4DVDki8QdWQ5bzzfKYZB3T9zRish9hHTZqh3DujqjM2QoUQatgR10IHc8Xjl8__5gDyvloCX6l-fRWLLiOhPYY_IkdjH0PXg/s1600/hela_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWZ_IRPEKKxF3LRfMMymFxjcu07m-e2JXF5e_Vdi4DVDki8QdWQ5bzzfKYZB3T9zRish9hHTZqh3DujqjM2QoUQatgR10IHc8Xjl8__5gDyvloCX6l-fRWLLiOhPYY_IkdjH0PXg/s320/hela_5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lowri Izzard and Gwydion Rhys in "Hela" (Photo: Kirsten McTernan)</td></tr>
</tbody></table>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-62252256658119180052019-11-03T10:52:00.001+00:002019-11-03T10:52:28.794+00:00"On Your Feet" / "Hedda Gabler" / "I Wish I Was A Mountain"<br />
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As always, my theatre reviewing “career” has thrown up some
fascinating juxtapositions. The day after the touring version of “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/on-your-feet-t-donald-gordon-a-18321">On
Your Feet</a></b>”, the highly accomplished jukebox musical based on the career
of the Miami Sound Machine (who were founded, I hadn’t realised, on the
songwriting prowess of lead singer Gloria Estefan), at the <a href="http://wmc.org.uk/">Wales MillenniumCentre</a>, I saw the <a href="http://www.shermantheatre.co.uk/">Sherman</a>’s production of Ibsen’s epoch-making “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/hedda-gabler-sherman-theatre-18328">Hedda
Gabler</a></b>”, featuring some slightly odd directorial touches, but also some
brilliant performances, especially from the women.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgFYhklaKboCN4VX6yk9RzI2046REMN4D20nPc5vwmRMHX_cZOBBmUr1MZ2jlYze3k2ntDTOEm4bZxz-MkkWXGB8Wfv3BZqNuV6VHKDFq2KdasUpzfhPWXGl3MNxisEa45iZ9gQ/s1600/Hedda_MarkDouet_7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgFYhklaKboCN4VX6yk9RzI2046REMN4D20nPc5vwmRMHX_cZOBBmUr1MZ2jlYze3k2ntDTOEm4bZxz-MkkWXGB8Wfv3BZqNuV6VHKDFq2KdasUpzfhPWXGl3MNxisEa45iZ9gQ/s320/Hedda_MarkDouet_7.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heledd Gwynn as Hedda Gabler (Photo: Mark Douet)</td></tr>
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A week or so later came Toby Thompson’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/i-wish-i-was-a-weston-studio-18360">I
Wish I Was A Mountain</a></b>” at the Centre’s Weston Studio – a show for
children with an unusually philosophical bent based, as it is, on a story by
Herman Hesse; its several pleasing aspects included the jazz-inflected score.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhpqPI3AQeEeMoRZG2af-TXcOh7OUBRGC_6XEHa5j7AaWskp_eFyfdbdKxEE9EMOLkn_XMVfE-0OEjkeaI1Ls0g2zEnIOM-Mx-ei_QrrD_lgZqkqPKI_Yg3XLwt8I9F1Y0DkqIGg/s1600/mountain_jack_offord_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="461" data-original-width="790" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhpqPI3AQeEeMoRZG2af-TXcOh7OUBRGC_6XEHa5j7AaWskp_eFyfdbdKxEE9EMOLkn_XMVfE-0OEjkeaI1Ls0g2zEnIOM-Mx-ei_QrrD_lgZqkqPKI_Yg3XLwt8I9F1Y0DkqIGg/s320/mountain_jack_offord_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Toby Thompson (Photo: Jack Offord)<br /></td></tr>
</tbody></table>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-2404211207097987952019-10-20T15:29:00.000+00:002019-10-20T15:29:21.084+00:00"Gods & Kings" / "The Story" / "Grease" / "The Invisible Woman" / Roathbud<br />
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Another startlingly diverse couple of weeks of
theatre reviewing. Starting in Newport with the mental health themed monologue “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/gods-kings-the-studio-the-18262">Gods
& Kings</a></b>”, cleverly staged as a duet between actor Robert Bowman and
sign-language interpreter Sami Thorpe; then came Tess Berry-Hart’s clever and
pointed political allegory “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-story-the-other-room-18271">The
Story</a></b>” at The Other Room, the latest in their Violence Series. In stark
contrast was a large-scale touring production of 1950s-set, 1970s-written “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/grease-donald-gordon-a-18294">Grease</a></b>”
at the Wales Millennium Centre, beautifully performed by a largely youthful
cast, if not entirely coherent plot-wise; and, in the same building, “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-invisible-w-ffresh-cabaret-18303">The
Invisible Woman</a></b>”, a lively piece about a disregarded middle-aged woman
which kicked off their Performances For The Curious season. <o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOyluJJVHdjsJqBPBROgA68HancbtksUK9NMfVPIKc4WpjOVqAKrpNJTvuuWhybAY65reB-s445-PlBdl8VKYrHGdf6pQH8cIoCpQFOz0LA8F1Apnsrm09qGi1eQpxgkQxrydyAA/s1600/kirsten_mcternan_story_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOyluJJVHdjsJqBPBROgA68HancbtksUK9NMfVPIKc4WpjOVqAKrpNJTvuuWhybAY65reB-s445-PlBdl8VKYrHGdf6pQH8cIoCpQFOz0LA8F1Apnsrm09qGi1eQpxgkQxrydyAA/s320/kirsten_mcternan_story_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hannah McPake and Siwan Morris in "The Story" (Photo: Kirsten McTernan)</td></tr>
</tbody></table>
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There’s no <b style="mso-bidi-font-weight: normal;">Made In
Roath</b> arts festival this year, but there was a Roathbud film event last
night, at which my Delia Derbyshire / John Peel film had its first public
screening, along with several other intriguing pieces.</div>
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<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/137595562" width="640"></iframe>Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-87638204258118434962019-10-08T17:08:00.001+00:002019-10-08T17:08:44.237+00:00"Joker"<br />
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I’ve long since ceased trying to keep up with comic-book
films from the DC and Marvel universes, with notable exceptions (“<b style="mso-bidi-font-weight: normal;">Wonder Woman</b>”, “<b style="mso-bidi-font-weight: normal;">Black Panther</b>”); and I only got a few minutes into the first of director Todd Phillips “<b style="mso-bidi-font-weight: normal;">Hangover</b>” movies
before wishing a horrific death on all of its protagonists. But I was drawn to his “<b style="mso-bidi-font-weight: normal;">Joker</b>”, because of an admiration for the
intensity customarily shown by star Joaquin Phoenix, “<b style="mso-bidi-font-weight: normal;">The Master</b>” and “<b style="mso-bidi-font-weight: normal;">You Were Never
Really Here</b>” being particular favourites.<o:p></o:p></div>
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In “<b style="mso-bidi-font-weight: normal;">Joker</b>”, which
is set in a Gotham City which resembles an autumn-toned New York from the early
1980s, Phoenix plays Arthur Fleck, a failing clown-for-hire and aspiring
stand-up comic who is struggling with mental health issues, under stress
through looking after his ailing mother (Frances Conroy), and afflicted by a proneness
to inappropriate hysterical laughter. Eventually, after one setback too many,
he reacts violently and unexpectedly becomes a focus for city-wide protests
against the wealthy.<o:p></o:p></div>
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An emaciated Phoenix is simultaneously vulnerable and frightening
as Fleck, and one is painfully aware that Arthur’s few lifelines – a crush on
his single-parent neighbour Sophie (Zazie Beetz), hero-worship of TV talk-show
host Murray Franklin (Robert De Niro in a clever reference to Scorsese’s “<b style="mso-bidi-font-weight: normal;">The King Of Comedy</b>”) are fragile. It is
only when he finally dons the Joker “mask” that Fleck seems fully at ease,
albeit in a somewhat maladaptive manner.<o:p></o:p></div>
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<o:p><br /></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp38gMWtJ3NpvefGS3adXPSzALI3n2Npsy7Furv9AX2_f9dTp0c-a7JuPg2cNW_XBvq3QJgwKkfmWhyVUIrY1Ai6jf0-tmX5JxrpbbEhU3MMKNv32zflNpjn3bCJI4Uo4NcxTYWQ/s1600/joaquin_joker_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="368" data-original-width="733" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp38gMWtJ3NpvefGS3adXPSzALI3n2Npsy7Furv9AX2_f9dTp0c-a7JuPg2cNW_XBvq3QJgwKkfmWhyVUIrY1Ai6jf0-tmX5JxrpbbEhU3MMKNv32zflNpjn3bCJI4Uo4NcxTYWQ/s320/joaquin_joker_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Joker" (Warner Bros)</td></tr>
</tbody></table>
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There are no super-powers on show here, and the only elements
of the tale which truly situate us in the “<b style="mso-bidi-font-weight: normal;">Batman</b>”
universe are Fleck’s problematic interactions with the Wayne family. Instead,
this is a tale of a deeply troubled man losing touch with reality, with
catastrophically violent results. “<b style="mso-bidi-font-weight: normal;">Joker</b>”
is as far from comic-book fluff as it is possible to get; one imagines that the
worried reactions of some critics stem from its incisive take on the roots of
toxic masculinity. <o:p></o:p></div>
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The bleakness on show makes it hard for one to love “<b style="mso-bidi-font-weight: normal;">Joker</b>”, but Phoenix is a truly
compelling presence, and while the message is hardly novel – bad people
sometimes become bad for perfectly understandable reasons – it is a story told
with great skill and commitment.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-79689824323911924352019-10-03T12:39:00.000+00:002019-10-03T12:39:07.400+00:00"On Bear Ridge" / "American Nightmare" / "Say When" / "The Creature"<br />
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Cardiff’s August theatre drought (Edinburgh Festival-related)
came to an end with the launch of the autumn season at <a href="http://www.otherroomtheatre.com/">The Other Room</a> – The Violence
Series starting with Matthew Bulgo’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/american-nightm-the-other-room-18140">American
Nightmare</a></b>” (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 “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/say-when-seligman-studio-18176">Say
When</a></b>”, 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 “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/the-creature-seligman-theatr-18223">The
Creature</a></b>”, a take on extreme youth criminality told through the prism
of “Frankenstein”.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm79f9rNT5H-SQaLd4FuM51Tu8xpTaFeUh-M-xHDBN0uvSyqRZlulXuxNNfCAcJQb379ZPloSHbgvQYQK3WVBmPMMZjNI8GIzqbkqOsGC5CH5iXjkajUDrX6fYhJYoS-Qfec9ww/s1600/americannightmarekirstenmcternan076.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm79f9rNT5H-SQaLd4FuM51Tu8xpTaFeUh-M-xHDBN0uvSyqRZlulXuxNNfCAcJQb379ZPloSHbgvQYQK3WVBmPMMZjNI8GIzqbkqOsGC5CH5iXjkajUDrX6fYhJYoS-Qfec9ww/s320/americannightmarekirstenmcternan076.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"American Nightmare" (photo: Kirsten McTernan)</td></tr>
</tbody></table>
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The undoubted highlight, though, and the nation’s most high
profile production for a while has to be Ed Thomas’ “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/on-bear-ridge-sherman-theatre-18189">On
Bear Ridge</a></b>”, from National Theatre Wales and The Royal Court Theatre,
featuring Rhys Ifans’ first ever appearance on the main stage at the <a href="http://www.shermantheatre.co.uk/">Sherman Theatre</a> – 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.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROidaqYiQFeZQpoB5as5x34uyB6_N1wRHLBgAxaxc_5wB3JQ_ErCw2uBwgNek1L5VqoO38J_I-oVDFRF1cpQRojGvGElSEjc9J6KNEV_wwHLk4GUzPtj9QYbhUjX1-n5dABL0tQ/s1600/onbearridge_markdouet_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="386" data-original-width="960" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROidaqYiQFeZQpoB5as5x34uyB6_N1wRHLBgAxaxc_5wB3JQ_ErCw2uBwgNek1L5VqoO38J_I-oVDFRF1cpQRojGvGElSEjc9J6KNEV_wwHLk4GUzPtj9QYbhUjX1-n5dABL0tQ/s320/onbearridge_markdouet_4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"On Bear Ridge" (photo: Mark Douet)<br /></td></tr>
</tbody></table>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-39897163512304618212019-08-24T17:31:00.001+00:002019-08-24T17:31:27.935+00:00Ash at the Cardiff Tramshed<br />
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With apparent modesty, Ash initially booked the Cardiff show
in their 2019 tour into the Globe - capacity 350, apparently - but were forced,
though demand, to relocate in across town, to the Tramshed - capacity 1000; and
by the end of the night, with the audience packed together, sardine-like, it
was clear that the trio, from Downpatrick, Northern Ireland, are still hugely
popular, 25 years on from their emergence.<o:p></o:p></div>
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Supporting were Novacub, led by Louise Bartle and featuring
her fellow Bloc Party alumnus Russell Lissack (also a sometime member of Ash) on
guitar. Very likeable melodic indie-rock, with a lightness of touch which seemed
at odds with what appear to be some angsty lyrics.<o:p></o:p></div>
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Inevitably the headliners’ set focussed on the latest album,
“Islands”, the almost-hit single “Buzzkill” being a stand-out; but with classic
debut album “1977” also well represented. Personal highlights included
singalongs to “Oh Yeah” and “Shining Light”; bass-player Mark’s crowd-surfing
during “Angel Interceptor”; and the general raucousness of the whole thing. Tim
Wheeler does not have the most powerful of voices, but he’s a charming front-man
and, of course, a gifted songwriter, whose sensitivity shines through the punkiness.
The final song in the encore was “Burn Baby Burn”, which topped off an almost
perfect evening. My fourth experience of seeing them live – hopefully not the
last.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxwpg8-HjegCLDa5pJlIq2OQvNwAp6QoiX4eE8lW-ZD9Mc_bflkNf7RvXR3reTDQ-WzdrC9HG1JHhA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-55932872219734884132019-08-21T15:53:00.001+00:002019-08-21T15:53:33.946+00:00"Once Upon A Time In... Hollywood" / "Annie" / "Club Tropicana"<br />
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Quentin Tarantino’s “<b style="mso-bidi-font-weight: normal;">Once
Upon A Time In… Hollywood</b>” is a meticulously assembled love letter to a vintage
Hollywood on the brink of change in the late 1960s. It tells the tale of a few
days in the real and professional lives of an almost-washed-up action star,
Rick Dalton – brilliantly played by Leo DiCaprio - and Cliff Booth, his even
more obsolescent stuntman (Brad Pitt), whose lives intersect (eventually) with
those of fresh-faced, optimistic Sharon Tate (Margot Robbie), and the sinister
faux-hippies of Manson family. It is leisurely, almost meditative in tone, at
least until the violent, history-rewriting climax. Beautifully done.<o:p></o:p></div>
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Most local theatre-makers appear to have disappeared off to
Edinburgh; thus, the only work I’ve got to see in recent weeks are large-scale touring
musicals at the Wales Millennium Centre. Most recently was the 1930s-set Broadway
classic “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/annie-wales-millenniu-18049">Annie</a></b>”,
<span style="mso-spacerun: yes;"> </span>which I found quite cheering; a little
less so was 1980’s pop-fest “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/club-tropicana-wales-millenniu-17996">Club
Tropicana</a></b>” – a somewhat more cynical confection.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEouOyVikqxgnLbWTjPfVVgFOwofyadluIlhQTKHZu9Ilbzc1l6Wm-2uvRhMlPo79ZRsJnh6QONjwTc3S-i8hC6SZnU4wvCYvwAjvcucdc0vCOgYV7bfRuowQe6zTNQtl7Q6288A/s1600/Annie_PaulColtas_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEouOyVikqxgnLbWTjPfVVgFOwofyadluIlhQTKHZu9Ilbzc1l6Wm-2uvRhMlPo79ZRsJnh6QONjwTc3S-i8hC6SZnU4wvCYvwAjvcucdc0vCOgYV7bfRuowQe6zTNQtl7Q6288A/s320/Annie_PaulColtas_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Craig Revel Horwood in "Annie" (photo: Paul Coltas)</td></tr>
</tbody></table>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-67948505088314110952019-08-03T11:20:00.001+00:002019-08-03T11:20:30.877+00:00Edinburgh Fringe Shows / Homeless World Cup<br />
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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.<o:p></o:p></div>
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Carys Eleri’s multimedia take on love and loneliness, “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/lovecraft-not-ffresh-at-wales-16000">Lovecraft</a></b>”
returns, last year’s run having been curtailed due to a bereavement; <b style="mso-bidi-font-weight: normal;">National Theatre Wales</b> are showcasing
two of their N.H.S. monologues, including Rachel Trezise’s abortion-themed “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/cotton-fingers-sherman-theatre-17655">Cotton
Fingers</a></b>”; <b style="mso-bidi-font-weight: normal;">Dirty Protest</b> are
offering Sian Owen’s Newport odyssey “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/how-to-be-brave-community-house-17371">How
To Be Brave</a></b>”; Jonny Cotsen muses on his experience of a lifetime of deafness
in “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/louder-is-not-a-seligman-theatr-17558">Louder
Is Not Always Clearer</a></b>”; and the <b style="mso-bidi-font-weight: normal;">Royal
Welsh College of Music and Drama</b> are bringing Benjamin McCann’s apocalyptic
“<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/grit-bute-theatre-r-17863">Grit</a></b>”.
There’s also a non-Welsh show which played at <b style="mso-bidi-font-weight: normal;">The Other Room</b>: “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/space-cadette-the-other-room-17095">Laurie
Black – Space Cadette</a></b>”. <o:p></o:p></div>
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<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3zYsDsYjjLglr6XEOo-PDDbY3nv1ew_V51bqCBxO1JititpsEFE0wM-HtbezQw6FwFf-QIPZ_dD8MmENT1eUO94YPz53cFSf-sdyk5dtyQQPu3xMSkMASPS5W9sBv-NjOaGd5A/s1600/Lovecraft+%2528Not+the+sex+shop+in+Cardiff%2529+by+Carys+Eleri_Photo+Kirsten+McTernan_006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3zYsDsYjjLglr6XEOo-PDDbY3nv1ew_V51bqCBxO1JititpsEFE0wM-HtbezQw6FwFf-QIPZ_dD8MmENT1eUO94YPz53cFSf-sdyk5dtyQQPu3xMSkMASPS5W9sBv-NjOaGd5A/s320/Lovecraft+%2528Not+the+sex+shop+in+Cardiff%2529+by+Carys+Eleri_Photo+Kirsten+McTernan_006.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carys Eleri (Photo - Kirsten McTernan)</td></tr>
</tbody></table>
</o:p></div>
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Meanwhile, in Cardiff, the <b style="mso-bidi-font-weight: normal;">Homeless World Cup</b>, 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 <b style="mso-bidi-font-weight: normal;">Mellt</b>, who were very impressive; as well as one of the finest bands
ever to come out of Wales, <b style="mso-bidi-font-weight: normal;">The Joy
Formidable</b>, 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.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3NRnZrizGDKAlsMCnp_Try4KRivA-l6Z5BGRkk0H6dRdB-Cq26H4seoozWT5Hn3NWq7MlNRkYDKgH9YEOcDaKR0c53taCXh4gaJ2mLadHweNz1DByvj8gO47DqEVtDBayo2QHg/s1600/IMG_0077a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="1600" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3NRnZrizGDKAlsMCnp_Try4KRivA-l6Z5BGRkk0H6dRdB-Cq26H4seoozWT5Hn3NWq7MlNRkYDKgH9YEOcDaKR0c53taCXh4gaJ2mLadHweNz1DByvj8gO47DqEVtDBayo2QHg/s400/IMG_0077a.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Joy Formidable (with Michael Sheen side of stage)</td></tr>
</tbody></table>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-72344923405327158782019-07-30T11:09:00.001+00:002019-07-30T11:09:54.046+00:00"Kinky Boots" / "Grit"<br />
<div class="MsoNormal">
Still running, as I write, at the Wales Millennium Centre is
“<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/kinky-boots-donald-gordon-a-17856">Kinky
Boots</a></b>”, the Broadway/West End hit stopping off as part of an extensive
U.K tour. This tale of a struggling Northampton shoe-making factory which saves
itself by starting to cater to the drag queen market features a dazzling
central performance from Kayi Ushe as Lola (aka Simon), and a mercifully
non-musical-theatre-esque song score by Cyndi Lauper. And without getting
bogged down in debate, Harvey Fierstein’s script provokes discussion about the
nature of masculinity. <o:p></o:p></div>
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<o:p><br /></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdL6Djffo-XvpJy6v_FVU-ohIFZvp5AFXbwNx6Iwf-T1lkVJHtpu2dH9OrOE_OGY1pKkE9LN8HBAf_u5vM7O_-aYKc8uF6uAqAb-noupv4mLy3QPeUsHA2EJMIs1px0mdq7Gg3Og/s1600/Kayi_Ushe_as_Lola_in_Kinky_Boots_Photo_Helen_Maybanks_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="484" data-original-width="860" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdL6Djffo-XvpJy6v_FVU-ohIFZvp5AFXbwNx6Iwf-T1lkVJHtpu2dH9OrOE_OGY1pKkE9LN8HBAf_u5vM7O_-aYKc8uF6uAqAb-noupv4mLy3QPeUsHA2EJMIs1px0mdq7Gg3Og/s320/Kayi_Ushe_as_Lola_in_Kinky_Boots_Photo_Helen_Maybanks_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kayi Ushe in "Kinky Boots" (Photo: Helen Maybanks)</td></tr>
</tbody></table>
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<br />The night after seeing this, I went to a preview of a show
at the opposite end of the spectrum in terms of scale – a one-man play on a post-apocalyptic
theme, which is being taken to the Edinburgh Festival Fringe by the Royal Welsh
College of Music and Drama. “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/grit-bute-theatre-r-17863">Grit</a></b>”,
written and performed by Benjamin McCann, is a highly accomplished production –
it will be interesting to see how the Edinburgh run goes.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-39198005986209855362019-07-15T17:05:00.002+00:002019-07-15T17:05:28.178+00:00"A Prayer For Wings" / Garbage<br />
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Last week, I paid a rare visit to Swansea, to see West
End/Broadway director Sean Mathias’ production of the play which kick-started
his career in the mid-1980s, “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/a-prayer-for-wi-volcano-theatre-17803">A PrayerFor Wings</a></b>”, performed in his home town for the first time, at the Volcano
Theatre. The play itself was beautifully performed, and stood up very well, but
one was inevitably distracted by the presence of Sir Ian McKellen and Frances
Barber supporting their old friend in that intimate, rough-and-ready space;
Kevin Allen who played the male role in the original Edinburgh production was
also in attendance. <o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Kf-q9HvQHwxCnfaS9VYmlj0hkqJc4YJV6jB2juhhZbggMLiITDY50oO2OHGgKv-q4cDfpAtT8z2bbqYJCvFpSGQ3S6oW-A2zhgisADUTUCPY485Ubnj0EjJJ8zhfFtVw_uj-TA/s1600/Director_Actors.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="633" data-original-width="800" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Kf-q9HvQHwxCnfaS9VYmlj0hkqJc4YJV6jB2juhhZbggMLiITDY50oO2OHGgKv-q4cDfpAtT8z2bbqYJCvFpSGQ3S6oW-A2zhgisADUTUCPY485Ubnj0EjJJ8zhfFtVw_uj-TA/s320/Director_Actors.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"A Prayer For Wings" production team (photo: Swansea Grand Theatre)</td></tr>
</tbody></table>
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<o:p><br /></o:p></div>
<div class="MsoNormal">
Sunday night saw a long-awaited event – the visit of Garbage
to Cardiff, several years after a previous date was cancelled when the band
went on hiatus. In support, in the Great Hall at the Students’ Union, was
DuBlonde, featuring guitar heroine Beth Jeans Houghton leading a classic rock
trio with a stripped-down, sensitively punky set, mostly comprising new
material; and she even manned the merch stall during the interval.</div>
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<o:p></o:p></div>
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<br /></div>
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The headliners were in imperious form, singer Shirley Manson
in chatty mood as she admitted being more at ease playing in a relatively intimate
space than during other recent shows. With the augmented classic line-up missing
only drummer and super-producer Butch Vig (rotator cuff injury), the set
focussed on the <span style="mso-spacerun: yes;"> </span>second album “<b style="mso-bidi-font-weight: normal;">Version 2.0</b>”, the current tour marking
the 20<sup>th</sup> anniversary re-release; but newer songs such as “Blood For
Poppies” got an airing, as well as classic early singles “Vow”, “Only Happy
When It Rains” and “Stupid Girl”. One forgets how massive Garbage were in the
1990s, with the world ready for a female-oriented, electronica-inflected take
on grunge, and Manson is certainly an authoritative but somehow relatable frontwoman.
This was a propulsive, 80-minute set, and I felt the absence of some of their
more poignant songs (“Cup Of Coffee” excepted), but it was rounded off with an ironic
encore of “When I Grow Up”, delighting a crowd many of whom were not in the
first flush of youth. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The show provided a fittingly feverish end to a day of remarkable
televised sport (England’s men winning the Cricket World Cup; Djokovic beating Federer
in the longest ever Wimbledon final).<o:p></o:p></div>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-1287147265701067172019-07-03T16:23:00.000+00:002019-07-03T16:23:05.214+00:00"Yesterday" / "Seen" at The Other Room<br />
<div class="MsoNormal">
Richard Curtis is adept at spinning an entire comedy screenplay
out of a one-line idea. “<b style="mso-bidi-font-weight: normal;">Yesterday</b>” is
his latest, based on the idea that after a freak, worldwide power-outage, only
one person – failing singer-songwriter Jack Malick, played by Himesh Patel – is
able to remember that the Beatles exist, and is thus in a position to pass
their classic songs off as his own. Patel is charmingly dorkish and even Ed
Sheeran is effective in a cameo (as himself), but the heart of the film is Lily
James as Malick’s (inexplicably single) friend/manager. There are plentiful
cheesy moments, and the premise isn’t fully explored (perhaps because this
would complicate things hugely), but the whole thing is lifted by director
Danny Boyle’s trademark visual flourishes. “<b style="mso-bidi-font-weight: normal;">Yesterday</b>” is really all about the love and power of music, though,
and it is this spirit which elevates it into feel-good territory. <o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFf6Zm4tc1YNc8M_MclFoS7ZRR9ERRBxOS2WHaOKw9M_dzallHhyphenhyphenfH1r7glMrgnEVtIrNutc_90BnTF9X6QbSLASnHOp1A0YMw_o0loNDigCFhaDSjEh5hlGOsdB5Fh-fcGW7Lsw/s1600/yesterday.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="1200" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFf6Zm4tc1YNc8M_MclFoS7ZRR9ERRBxOS2WHaOKw9M_dzallHhyphenhyphenfH1r7glMrgnEVtIrNutc_90BnTF9X6QbSLASnHOp1A0YMw_o0loNDigCFhaDSjEh5hlGOsdB5Fh-fcGW7Lsw/s320/yesterday.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Yesterday" poster</td></tr>
</tbody></table>
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I got the chance to get some more theatre-directing practice
this past weekend, working on a short piece by Mike Leitch for an evening of
readings, under the “Seen” banner at <a href="http://www.otherroomtheatre.com/">The
Other Room Theatre</a>. In collaboration with young actors Geri McNamara, Robin
Harper and T.O.R.’s Nerida Bradley, I think we managed to make the most of an
emotionally resonant script, one of diverse trio of shorts (the others being by
Nicholas Currie and Claire Boot) which played, as it turned out, to a full
house, which was very gratifying.</div>
<br />
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<o:p></o:p></div>
<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-88911990928050222322019-06-26T09:55:00.001+00:002019-06-26T09:55:05.468+00:00Tafwyl / Tate Modern<div class="separator" style="clear: both; text-align: center;">
</div>
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Every year, Cardiff hosts a festival called Tafwyl, which is
a celebration of Welsh-language culture. I paid my first visit this year, but
as someone with only a smattering of Cymraeg, made it easy on myself by
restricting myself to the Saturday night concert. Thus, I caught some melodic indie-rock
from Yr Eira, a bit of smooth electro-pop from H.M.S. Morris (whom I saw a few
years ago, supporting Songhoy Blues), and most of the enjoyably anthemic set by
Candelas, a band with which I was previously unfamiliar, but who obviously have
a large, enthusiastic following.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPbqWsswHDqg1PUB-zuGOnAJfh0U2HCI2Et8qdgoir2tHtFiboWctuke2qfQ-sIlFgT_syCzhDACamfgHY73DxDQMwAXw4DN7-hQvWIUR6PxBf60Mo7auGxaNgzQDgJhddHOrFA/s1600/Candelas_Tafwyl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="1600" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPbqWsswHDqg1PUB-zuGOnAJfh0U2HCI2Et8qdgoir2tHtFiboWctuke2qfQ-sIlFgT_syCzhDACamfgHY73DxDQMwAXw4DN7-hQvWIUR6PxBf60Mo7auGxaNgzQDgJhddHOrFA/s320/Candelas_Tafwyl.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Candelas at Tafwyl</td></tr>
</tbody></table>
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The next day, I paid one of my irregular visits to London, this
time to experience the inspirational <a href="https://www.tate.org.uk/visit/tate-modern">Tate Modern Museum</a> as a
birthday treat. As always, the exposure to a universe of ideas expressed with
love, intelligence and commitment was humbling and overwhelming. This time
round, Cildo Meireles’ “Babel”, a tower made of old-fashioned radios, made a
big impression; as did Yinka Shonibares’ room-sized installation “The British
Library”, comprising a display of hundreds of lavishly bound books, celebrating
the contribution of immigrants to this nation. The “Magic Realism” exhibition of
work from Weimar Germany was also striking. The whole experience is like taking
a holiday in other people’s minds. The gift-shops are also good. <o:p></o:p></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE1N-LSXaETzjgU_krYtU7dM57QlD2uj6VPO5pCLpWoQ1LvEOZxm8vetLIG05SEoWoLfO4ekoY9DhbJuDPFGM5HUImgzuY6JXvKaxL2O_ZngX-3ditQehh8b_64I-D76a9KSkPAA/s1600/Tate_Modern_Skyline_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="967" data-original-width="1600" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE1N-LSXaETzjgU_krYtU7dM57QlD2uj6VPO5pCLpWoQ1LvEOZxm8vetLIG05SEoWoLfO4ekoY9DhbJuDPFGM5HUImgzuY6JXvKaxL2O_ZngX-3ditQehh8b_64I-D76a9KSkPAA/s400/Tate_Modern_Skyline_2019.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">London skyline seen from Tate Modern</td></tr>
</tbody></table>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-41628641728261336492019-06-14T10:22:00.001+00:002019-06-14T10:22:44.069+00:00"Cotton Fingers" / "Twelve Cabins..."<br />
<div class="MsoNormal">
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 <a href="http://www.shermantheatre.co.uk/">Sherman</a>, to see Rachel Trezise’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/cotton-fingers-sherman-theatre-17655">Cotton
Fingers</a></b>”, 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.<o:p></o:p></div>
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<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOkcx8S2vG8nLgsR8nsL_XTH1wrFXurC5gdzwFjEeiIBxADvvFx5yJSIX19sEXec2lFXXiX1OpNhpu7DgcawsKx3UMiWnxnU0CI_T6SeE5wBy1LcJL9omloJ75NFKL8iJRuWNaQg/s1600/Amy+Molloy+performs+in+National+Theatre+Wales%2527+production+of+Cottong+Fingers.+Photo+by+Craig+Fuller..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOkcx8S2vG8nLgsR8nsL_XTH1wrFXurC5gdzwFjEeiIBxADvvFx5yJSIX19sEXec2lFXXiX1OpNhpu7DgcawsKx3UMiWnxnU0CI_T6SeE5wBy1LcJL9omloJ75NFKL8iJRuWNaQg/s320/Amy+Molloy+performs+in+National+Theatre+Wales%2527+production+of+Cottong+Fingers.+Photo+by+Craig+Fuller..jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amy Molloy (photo: Craig Fuller)</td></tr>
</tbody></table>
</o:p></div>
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<br /></div>
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Most recently, at <a href="http://www.chapter.org/">Chapter</a>,
I saw “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/twelve-cabins-t-chapter-cardif-17673">Twelve
Cabins Twelve Vacancies</a></b>”, 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.<o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-4723939938076843102019-05-30T11:14:00.001+00:002019-05-30T11:14:23.928+00:00"Rocketman"<br />
<div class="MsoNormal">
Elton John’s remarkable work in the early 1970s has been
somewhat overshadowed by his subsequent “tantrums and tiaras” public image. Thus
it is a relief to report that while Dexter Fletcher’s bio-pic “Rocketman”, co-produced
by Elton, is an all-out musical extravaganza, complete with dance routines and hallucinogenic
fantasy sequences, it also pays due homage to his musicianship.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It starts as it means to go on, with Taron Egerton’s Elton,
dressed in demonesque red costume, striding into rehab, finally facing up to
his issues; and goes on to detail his upbringing, with a distant father (Steven
Mackintosh), warmish mother (Bryce Dallas Howard with an impeccable accent), and
encouraging grandmother (Gemma Jones); early entry into the Royal Academy of Music;
life as a touring soul musician; and pivotal relationships with lyricist Bernie
Taupin (Jamie Bell), music publisher Dick James (a hilariously profane Stephen
Graham) and cynical manager and lover John Reid (Richard Madden). <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Elton’s sexuality is front and centre, his torment over
being gay – or rather, other people’s attitudes towards it – leading to isolation
and substance abuse. Throughout, his songs, imaginatively and respectfully
arranged by Giles Martin, comment on the action, with little respect played to
chronology (e.g. the relatively recent “I Need Love” soundtracks a
heartbreaking childhood moment). Lee Hall’s script is sharp, funny and cleverly
structured, with only occasional moments of cheesiness (and unavoidable
rewriting of history – Long John Baldry doesn’t even get a look-in).<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVGCTD-2ZXja4wA-94yVPjGLcSgs1chWhTVjcPGlCy9ERaZk_Rzdqhdl7Cj2jFHrpRDUlgddtQKvlwBl2vLulvl4jiGOJzPONxqYVFnr6R7vPSy2muD8qc-aBbsuoFNY_gl0oyaA/s1600/rocketman-teaser-trailer-2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="843" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVGCTD-2ZXja4wA-94yVPjGLcSgs1chWhTVjcPGlCy9ERaZk_Rzdqhdl7Cj2jFHrpRDUlgddtQKvlwBl2vLulvl4jiGOJzPONxqYVFnr6R7vPSy2muD8qc-aBbsuoFNY_gl0oyaA/s320/rocketman-teaser-trailer-2.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Taron Egerton as Elton John</td></tr>
</tbody></table>
<div class="MsoNormal">
The film belongs to Egerton, however; his Elton is often
petulant and self-pitying, but resolute in his determination to hide the shy
Reg Dwight behind multiple flamboyant onstage personas. Fletcher’s film deftly
and triumphantly walks the fine line between crowd-pleasing entertainment and
merciless character study. <o:p></o:p></div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-76919969935289719542019-05-23T11:44:00.001+00:002019-05-23T11:44:52.723+00:00"Lose Yourself" / "Robinson" / Jonny Cotsen<br />
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The theatrical hit of the moment, in these parts, seems to
be Katherine Chandler’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/lose-yourself-sherman-theatre-17591">Lose
Yourself</a></b>” at the <a href="http://www.shermantheatre.co.uk/">Sherman
Theatre</a> – a tale involving sexually promiscuous footballers and drunk young
women, which transcends its torn-from-the-headlines relevance via a witty
script and a spirited central performance. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Z4MAhCPIp0OMleE1DX1vck9ZbcDd5frD3uxEwgsiwIiwVBDTEuoKPYfBhMF-fMETKKwOgqqpK98i1v-g0vPGJW5rIdeZnsy4SSrjm6VxS_NxCCYIUHdNpHjMkb3zzcRJQ6N2Jg/s1600/lose_yourself_Aaron_Creevy_Preston_burningred.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="372" data-original-width="620" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Z4MAhCPIp0OMleE1DX1vck9ZbcDd5frD3uxEwgsiwIiwVBDTEuoKPYfBhMF-fMETKKwOgqqpK98i1v-g0vPGJW5rIdeZnsy4SSrjm6VxS_NxCCYIUHdNpHjMkb3zzcRJQ6N2Jg/s320/lose_yourself_Aaron_Creevy_Preston_burningred.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Lose Yourself) (Photo: Burning Red)</td></tr>
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Also, in recent weeks, I saw “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/robinson-the-seligman-studio-17553">Robinson
– The Other Island</a></b>”, a radical reinterpretation of the Crusoe story,
given an A.S.M.R. twist using binaural stereo relayed through headphones.
Ironically, the very next night, also at <a href="http://www.chapter.org/">Chapter</a>,
I finally managed to catch Jonny Cotsen’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/louder-is-not-a-seligman-theatr-17558">Louder
Is Not Always Clearer</a></b>”, in which he explores his experience as a Deaf
man; again, more amusing than one might have expected. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg1v13gv7y9ahQa8tKBAe34jU7BI101IEPxQEmYEZ7QH-HedPw57TPCUZtJ9UuYJxQU7EufhgyLL4YIkhyphenhyphenK8C45flawV_d6cRWs_y7mpoKcOiJvzLY5T6X70OGQKI-LHqfpUZBeA/s1600/louderisnotalwaysclearerkirstenmcternan049.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="452" data-original-width="570" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg1v13gv7y9ahQa8tKBAe34jU7BI101IEPxQEmYEZ7QH-HedPw57TPCUZtJ9UuYJxQU7EufhgyLL4YIkhyphenhyphenK8C45flawV_d6cRWs_y7mpoKcOiJvzLY5T6X70OGQKI-LHqfpUZBeA/s320/louderisnotalwaysclearerkirstenmcternan049.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Louder Is Not Always Clearer" (Photo: Kirstem McTernan)<br /></td></tr>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0tag:blogger.com,1999:blog-21271617.post-278899347884929982019-05-06T17:40:00.002+00:002019-05-06T17:40:29.491+00:00"Calendar Girls" / "Crave" / David Nash etc<br />
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The latest big touring show that I’ve been able to see at
the <a href="http://www.wmc.org.uk/">Wales Millennium Centre</a> was the
musical adaptation of nude-posing-housewives comedy-drama “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/calendar-girls-donald-gordon-a-17504">Calendar
Girls</a></b>” featuring a starry cast and not-quite-stellar tunes from Take
That’s Gary Barlow. Suitably amusing and moving, it went down very well with
the overwhelmingly female audience.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsjzQcOTfvNQIK_lfdPpd0ZUJjPUD7EkXI1IQCdLxrauIF7sg1WNGpmic-ar7X3fvqQ0vJPMV6SZdprsusO8kk8UQga_qrH97tJ5mQqt2UmwH9JrM9k-pqJ4WIoUawi0epKrAuA/s1600/CalendarGirlsPoster_edit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1157" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsjzQcOTfvNQIK_lfdPpd0ZUJjPUD7EkXI1IQCdLxrauIF7sg1WNGpmic-ar7X3fvqQ0vJPMV6SZdprsusO8kk8UQga_qrH97tJ5mQqt2UmwH9JrM9k-pqJ4WIoUawi0epKrAuA/s320/CalendarGirlsPoster_edit.jpg" width="320" /></a></div>
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Also on were two largely devised pieces: “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/saethu-cwningod-sherman-theatre-17514">Shooting
Rabbits</a></b>” from Powderhouse at the <a href="http://www.shermantheatre.co.uk/">Sherman</a> was a vaguely hallucinogenic
depiction of the experience of Welshmen volunteering to fight in the Spanish
Civil War of the 1930s, featuring an excellent live score from Sam Humphreys;
and “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/when-it-clicks-little-man-coff-17526">When
It Clicks</a></b>”, from graduate company Golden Sock in the basement of Little
Man Coffee Company – a well-acted but dramatically unsatisfying take on
Stockholm Syndrome.<o:p></o:p></div>
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The undoubted highlight of the week was Sarah Kane’s “<b style="mso-bidi-font-weight: normal;"><a href="https://www.britishtheatreguide.info/reviews/crave-the-other-room-17524">Crave</a></b>”,
produced under the Professional Pathways scheme at <a href="http://www.otherroomtheatre.com/">The Other Room</a>, and featuring a
talented cast of drama students. The play has no real narrative, and it’s a
deeply pessimistic insight into its unhappy author’s frame of mind, but it’s a
powerfully cathartic experience, akin to listening to a suite of sad songs (R.I.P.
Scott Walker).<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggcZ_yU-u0jJxERqQvPIQg653hpgf8c9yFs_AfXJpPBeEWroF5w-GbGCFVMNH4nm0v1Bv4ENNv4ePhdLQ_eGzEwprwA8ySfJ_zBk58C9cPK3vGNRZFiPhbNBN8VRsQl-KsV1zl0w/s1600/CRAVE_L_NOTEXT.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="905" data-original-width="1600" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggcZ_yU-u0jJxERqQvPIQg653hpgf8c9yFs_AfXJpPBeEWroF5w-GbGCFVMNH4nm0v1Bv4ENNv4ePhdLQ_eGzEwprwA8ySfJ_zBk58C9cPK3vGNRZFiPhbNBN8VRsQl-KsV1zl0w/s320/CRAVE_L_NOTEXT.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Crave" Poster</td></tr>
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And only today, I went to the recently opened and
impressively extensive exhibition of largely tree-based sculptures by legendary
North Wales-based artist David Nash at the <a href="https://museum.wales/cardiff/">National Museum of Wales</a>. A beautiful
evocation of the possibilities which open up when Man develops a creative
rather than destructive relationship with the natural world. And it even has a wholesome
odour about it.</div>
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<br />Blakesonhttp://www.blogger.com/profile/06591214620820018174noreply@blogger.com0