Swan Lake, The Theatre Royal, Bath

 

 

 

 

Originally published on The Reviews Hub, January 2016

Music: Pyotr Tchaikovsky
Director: Marina Medvetskaya
Reviewer: Beth Steer
Stars: 4

First commissioned in Moscow in 1875 and revived as a memorial to composer Pyotr Tchaikovsky in 1894, Swan Lake has become the pinnacle of classical ballet – a fairytale masterpiece of choreography and costume, comprised of music that is loved across generations.

Maria Medvetskaya’s Saint Petersburg Classic Ballet (SPCB) brings the classic love story to the UK, and, a former prima ballerina herself, her talented cast and determined production is set to continue delighting audiences in performances to come.

Starting as a coming of age story focusing on Prince Siegfried (Vadim Lolenko), Swan Lake follows the young hero as he falls in love with a beautiful swan – Queen Odette (Natalya Romanova) – who is really a maiden that has been enchanted by an evil magician, Rothbart (Evgeniy Silaka). Siegfried must overcome temptation – posed to him by Rothbart in the form of the beautiful Odille (also Natalya Romana) – and break Odette free from the curse that traps her as a swan, only able to come alive at night.

Romana, as prima ballerina and in her dual role, is breathtaking. Her dancing is fluid, mesmerising and technically astounding, and the difference she creates between her two characters – using her body, facial expressions and, of course, some fantastic costumes – is remarkable.

Lolenko, too, is exceptionally talented, impossibly light on his feet and incredibly strong, performing complex lifts and turns with apparent ease.  As Rothbart, Silakov is enchantingly evil, adopting jerky movements and a chilling mask and costume , and brings a real sense of dynamic character to the performance.

The corps de ballet are well versed; barely stepping a foot out of line during lengthy, technically difficult routines, and the pas de trois, too, are fascinating to watch as they adopt different characters. One additional star of the show is the Jester (Mikhail Bogomazov) who, while comic and understated, is clearly an extremely powerful dancer, and brings a refreshing touch of light-heartedness to the performance.

The music is outstanding and the Hungarian Sinfonietta Orchestra are very strong, with credit owed to Vadim Perevosnikov as conductor driving the ballet along, and making the lack of spoken language almost completely unnoticeable by filling in any gaps, completing and directing the plot.

The performance perhaps falls down a little in the areas on which it chooses to dedicate time. Long periods are dedicated to showcasing the different dancers representing the range of countries who appear at the Ball, for example, while the last (and arguably best) Act feels a little rushed, a dramatic clashing of good and evil is sped through in only 15 minutes, which is disappointing given its potential for an extended, climactic finale.

That being said, the sheer amount of hard work and determination that has clearly gone into the production – all the dancers perform extended and physically exhausting routines, yet barely break a sweat or wobble mid-pirouette – is truly incredible, and brings about a performance that both first-time and veteran ballet goers are sure to enjoy alike.

Runs until 28 January 2016

Aladdin – The New Theatre, Cardiff

Originally published on The Reviews Hub, December 2015

Director: Sam Kane
Reviewer: Beth Steer
Stars: 4

After a roaring success during its run last year, the star-spangled cast of classic Christmas pantomimeAladdin is back by popular demand to Cardiff’s New Theatre.

An ‘Aladdin’s cave of unmissable entertainment’, the show packs a punch with a celebrity cast, a great set and costume design, exciting special effects and a whole lot of oh no he isn’ts. About as far from the 1992 Disney film version of Aladdin as it’s possible to be, Sam Kane’s Aladdin, the pantomime, follows the efforts of Aladdin (Ian ‘H’ Watkins, aka H from 1990s pop band Steps) to win the heart of Princess Jasmine (Holly Bluett) and escape the evil tirade of the trademark villain, Abanazar (Sam Kane).

The show is funny and tongue in cheek, with all the Christmas calamity that you’d expect from Wales’ biggest pantomime. With a cast that delights the audience – constant references, alongside several musical interludes, are made to H’s pop-star status and Genie Gareth ‘Alfie’ Thomas’ rugby-playing history – the production has the audience laughing out loud and singing along, booing the baddies from their first appearance on stage.

Widow Twankie (Mike Doyle) is the star of the show – playing up to the Cardiff audience with an exaggerated, stereotypical local accent and dialect (‘Aladdin’s stunnin’ that boy, stunnin’ he is’) and making light-hearted digs about Cardiff FC’s success (or lack of) and sarcastic quips: ‘Are you from the dark side? Swansea – God no!’ which are a storming success with the crowd.

Though the songs are not quite what you’d expect, with an array of Steps’ classics and reinvented versions of modern day chart hits, the cast performs well and gets the audience singing along in the aisles. A particularly bizarre interlude comes with the opening of the second act, as Abanazar reinvents Taylor Swift’s hit Bad Blood, proclaiming ‘Aladdin now we’ve got bad blood, although we never had mad love’ in deep, booming tones surrounded by green, spooky lighting. Aladdin and Jasmine’s love song, too, is the rather untraditional Hold My Hand, by pop singer Jess Glynne, and the Genie comes out of the lamp to the tune of Megan Trainor’s All About That Bass, proclaiming ‘every inch of me is magic, from the bottom to the top.’

Culminating in a glitzy, burlesque finale and a Welsh-themed 12 Days of Christmas song, the cast interacts with the audience and appears to be having genuine fun on stage. The special effects, costumes and slapstick humour entertain the audience, and make for a truly pan-tastic evening.

Runs until 17 January 2016 | Image: Contributed

Christmas Crackers – The Wardrobe Theatre, Bristol

Originally published on The Reviews Hub, December 2015

Improvised by: The Closer Each Day Company and Degrees of Error
Reviewer: Beth Steer
Stars: 4

Christmas Crackers – the latest improvised comedy from the Closer Each Day Company and Degrees of Error (the group behind Bristol’s cult-hit improvised soap opera, Closer Each Day) – has come to the Wardrobe Theatre, Bristol for several nights of improvised festive fun.

Promising never to be the same show twice, the ‘new super-group’ of comedians takes inspiration from the audience to create off-the-cuff skits and sketches that have the audience laughing out loud. And, as the show is created (and recreated for each performance), there is a real sense of not knowing just what exactly might happen, and that the actors are, at times, just as surprised as those watching.

Based on a family Christmas, with three brothers and two sisters, the comedians gather on the mini amphitheatre-style stage and welcome all the long-lost relatives of the audience, greeting and interacting with cousins, aunts and estranged uncles.

Using Christmas cracker jokes (each pulled with the audience) and questions from those targeted on the spot, the comedians then react to and develop little comedy-bites, in a Whose Line Is It, Anyway? style performance. It is interactive and, while perhaps a little slow to start, rolls quickly into a laugh-out-loud show, as the audience grows braver, and the comedians react to the ever more outrageous and bizarre prompts.

Hilarious scenes with improvised songs – based on Uncle Bill’s mix-tape that one of the actors finds under the Christmas tree, recreations of classic Christmas films and skits that involve audience members being the arms of the actors – turn the audience from nervously looking down and not wanting to be picked on (which can be so true of comedy performances), to everyone wanting to get involved in the fun.

Andrew Kingston, as one of the brothers, is a real stand out act – he is witty and incredibly quick, assuming different accents and cameo roles flawlessly and hilariously. Lindsey Garwood, too, as a sister, leads the charge on the over-the-top enthusiasm for Christmas, and is a talented singer and performer.

The Wardrobe Theatre is the perfect venue for such a performance – with its theatre tucked away at the back of a busy restaurant and bar – making Christmas Crackers feel like a festive treat that not too many are yet to stumble across.

With brilliant acting and a festive atmosphere, Christmas Crackers is a great – and budget-friendly – choice for a night of authentic, improvised comedy.

Runs until 19 December 2015

Shrek the Musical – The Wales Millennium Centre, Cardiff

Originally published on The Public Reviews, December 2015

Book and Lyrics: David Lindsay-Abaire
Music: Jeanine Tesori
Tour Director: Nigel Harman
Reviewer: Beth Steer
Stars: 3.5

Based on DreamWorks’ 2001 block-buster animation, Shrek the Musical is pitted as an ‘all-singing, all-dancing extravaganza’ that makes for the perfect family show for Christmas.

Shrek follows the adventures of a famously green, infamously ugly ogre – who makes a most loveable, if unlikely, hero – and his noble steed Donkey, as they attempt to rescue the imprisoned Princess Fiona from her dragon-guarded tower. This is no ordinary fairy tale rescue mission, however, in which the prince seeks out the princess in the name of true love; rather, Shrek wants to rescue his homeland – his beloved, stinky swamp – from the swathe of misfit fairy tale characters that have been banished there by the elitist Lord Farquaad.

Encountering an array of colourful characters – and a particularly aggressive biscuit – along the way, Shrek, Donkey and Fiona embark upon an adventure that twists and revisits the classic fairy tale narrative, all to the tune of much enthusiastic singing, dancing and ogre-ly behaviour.

With a very talented cast and some excellent choreography, staging and costume design, the stage production brings to life the much-loved DreamWorks animation. Dean Chisnall as Shrek is big, booming and larger than life, providing an excellent vocal performance. Bronté Barbé’s performance as Fiona is equally entertaining, and Idriss Kargbo as Donkey is witty and sassy, with well-timed delivery of funny one-liners.

The ragged bunch of fairy tale characters – Red Riding Hood, the Three Bears and the Fairy Godmother in particular – make up a brilliant and humorous ensemble, and there is an impressive level of detail in their costumes and choreography.

The star of the show is undoubtedly the diminutive Lord Farquaad – played by an exceptionally talented Gerard Carey, entirely on his knees – whose tongue-in-cheek performance elicits a laugh a minute from the audience and injects an adult level of humour in the otherwise predominantly family-oriented play.

The set design, staging and props too, deserve a mention – especially the masterful and beautifully designed puppet which serves as the love-sick Dragon, manned by four skilled puppeteers who really bring the character to life.

The songs are entertaining and have the audience singing along, particularly at the end with the whole cast rendition of the famous I’m a Believer; Shrek the Musical is one to watch this Christmas.

Runs until 10 January 2016 |Image: Helen Maybanks

The Lion, The Witch and The Wardrobe – The Sherman Theatre, Cardiff

Originally published on The Public Reviews, December 2015

Writer: C.S. Lewis
Adaptor: Theresa Heskins
Director: Rachel O’Riordan
Composer: Conor Mitchell
Musical Director: Gareth Wyn Griffiths
Reviewer: Beth Steer
Stars: 3

Based on C.S. Lewis’ traditional first instalment of The Chronicles of Narnia, Theresa Heskin’s stage adaptation of The Lion, the Witch and the Wardrobe tells the tale of four siblings who discover the magical lands of Narnia, stumbling through the infamous wardrobe and into another world.

Following the adventures of Lucy (Gwawr Loader), Edmund (Matthew Durkan), Peter (Joseph Tweedale) and Susan (Elin Philips) as they meet colourful characters and the wicked White Witch (Anita Reynolds) through the forest, Rachel O’Riordan’s direction of The Lion is a cross between traditional fairy tale and modern-day musical.

The all-singing, all-dancing (literally) cast takes turns to narrate the story, switching in and out of characters and all playing various instruments as the cleverly formulated staging sweeps them away into different scenes and landscapes. There are outbursts of song, lots of exuberant, enthusiastic exclaiming, and more than a little sense of adventure, made all the more real by the Professor’s famous question to the children, when, as he is asked about the existence of Narnia, he replies, ‘But how do you know that it is not true?’

Particularly mentionable is Reynolds’ performance as the White Witch – she is sassy and commanding, wearing a white, glittering jump-suit similar to that made famous by Elvis – and her costume, makeup and characterisation is fresh, clever and brilliantly executed.

Similarly, Keiron Self as the Professor is energetic and entertaining, injecting a sense of comedy and fun into the performance. Mr Tumnus, too, played by Pete Ashmore, is a nice re-incarnation of a much-loved literary character.

The festive atmosphere is pleasant and the show entertains and amuses in a light-hearted way. While perhaps lacking some of the gutsy camaraderie and heroic bravery conveyed in Lewis’ book, and the memorable film adaptation – Aslan (Matthew Woodyatt), for example, is more reminiscent of the scared lion in The Wizard of Oz, than the roaring saviour we typically know him as, The Lion, the Witch and the Wardrobe is a family-friendly production that is worth a watch, and will help to inspire a little Christmas spirit.

Runs until 31 December 2015 | Image: Contributed

Happy Hour: A Play, A Pie and A Pint – The Sherman Theatre, Cardiff

Originally published on The Public Reviews, November 2015

Writer: Anita Vettesse
Director: Gethin Evans
Reviewer: Beth Steer
Stars: 3.5

Founded at Òran Mór in Glasgow in 2004, A Play, A Pie and A Pint is slowly becoming known as a new way to do theatre. Boasting a selection of emerging and established artists from across the UK, and producing 38 new plays a year, the three-step programme does away with any pre-conceptions about the traditional theatre and offers what it says on the tin – a play, a pie and a pint – combined to provide the perfect post-work pick me up.

And, as the newest production to partner with the play, pie and pint in Wales, Anita Vettesse’s Happy Hourdoes not fail to impress.

Having been well received in Glasgow and Bristol, Happy Hour – and its cast of three – has arrived at the Sherman Theatre, Cardiff. A more suitable venue would be hard to find. The smaller stage of the theatre – a darkened, immersive room, seating around 100, with the front row less than a metre from the tiny stage – works brilliantly with the informal, interactive production, and the audience is involved from the first line.

Set in the back room of a pub on Quiz Night, Happy Hour details a family’s attempt to give their deceased father a fitting send off – starting by bringing his ashes, stored in a shoebox, to the pub where he was once landlord. While tracking a grief-stricken family of three and their attempts to overcome the deep-set tensions and sense of bitterness underlying their relationships, the play explores – in a strikingly dark yet comic way – the intricacies of family life.

Anne Lacey as Anne, the mother, is particularly startling – giving an exceptionally realistic performance of a dismissive yet brutally loving mother figure who holds unachievable expectations and believes that problems can be solved by ‘opening the window, changing the sheets or, better still, going for a brisk walk’. Kay (Hannah Donaldson) and Tom (Stephen McCole) play siblings at opposite ends of the spectrum – one a debt-riddled homoeopath, the other an eternal missionary – who, despite their differences, are brought together by their situation and that rare, long-lasting sense of sibling loyalty.

The play is humorous and daring – with certain punchlines making the audience gasp – and touchingly comments upon the subtleties and difficulties involved in family relationships. The actors are talented and convincing, and the direction well executed; Happy Hour definitely makes for 45 minutes well-spent.

Grease – The New Theatre, Cardiff

Originally published on The Public Reviews, November 2015

Book, Music and Lyrics: Jim Jacobs and Warren Casey
Director: Richard Tunley
Musical Director: Rob Thorne Jr.
Reviewer: Beth Steer
Stars: 4.5

A cultural classic since 1978, musical screenplay Grease has been captivating audiences across stage and screen for decades. Featuring a pair of Elvis-era star-crossed lovers, Grease tells the story of Rydell High School’s coolest kids: the swaggering T-Birds and the sassy Pink Ladies. Set in the ‘50s, it’s a tale fuelled by teenage rebellion, rock and roll and, of course, the automatic, systematic, hydromatic car – Greased Lightning itself – all taking place to an outstanding soundtrack.

Though Grease has been around a while – with the musical’s songs and medley mixes taking a firm hold of many dance floors throughout the country – Richard Tunley’s stage production feels new, fresh and exciting. Of course, the story and the songs remain the same but, rather than running the risk of feeling stale, they are lively, imaginative and entertaining.

Rhian Peake as Sandy is vocally stunning – she manages to bring a new feel to the songs and really brings Sandra Dee to life. Tom Elliot as Danny is similarly talented; he plays with his character and exaggerates Danny’s trademark swagger in a way so as to be amusing and subtly ironic.

The choreography (directed by Nicola Boyd Anderson) is outstanding – there are many complex dances with the whole ensemble performing different parts and sections, and each dancer manages to portray their own story at the same time as being part of the wider rabble.

From the opening song the talent is apparent, and the performance of Grease is the Word sets the precedent for the clever, entertaining and enjoyable duration of the play.

What really makes Orbit Theatre’s production of Grease stand out is the sheer spread of the talent across the cast. Of course, Sandy and Danny are brilliant vocal leads, but the other characters – all of the Pink Ladies and the T-Birds – are equally strong.

In particular, Rizzo’s (Helena May Harrison) performance is powerful – her version of Worse Things I Could Do is as much touching as it is feisty. Similarly, Jan (Laura Phillips) has a very strong voice and performs her role brilliantly.

While the vocal talent and top quality acting make the production a great watch, what really separatesGrease from other musicals is the sheer amount of fun the characters (and the cast) appear to be having. From the sleepover scene to the hand jive contest to the leather-clad finale, Grease makes you want to be, and feel, involved and, with the whole cast singing We Go Together, the audience cannot help butchangitty-chang-shoo-bop along with them.

Runs until 7 November 2015 | Image: Contributed

Blud – The Other Room at Porter’s, Cardiff

Originally published on The Public Reviews, September 2015

Writer: Kelly Jones

Director: Anna Poole

Reviewer: Beth Steer

The first production from new Welsh theatre company, otherMother, Blud is an hour long exploration of the values society places on cultural roots, celebrity, gender and loyalty.

Written by BBC Wales Drama Award winner Kelly Jones, Blud features two actresses – Francesca Marie Claire as the conflicted and dedicated Rita and Olivia Elsden as her younger sister, Lou. Anna Poole’s direction has the women bounce off of one another – sometimes literally as they scrap and fight – and there are moments of humour, anger and sadness.

The intense atmosphere of the performance is somewhat magnified by its location – Porter’s Other Room, a tiny space hidden behind red velvet curtains at the side of one of Cardiff’s most hipster drinking spots. With a capacity of around 20, and in total darkness for much of the performance, the venue is completely immersive, though this does not make for an altogether comfortable viewing experience.

Blud hints at several themes and clearly has deeper messages to portray than the surface storyline of rival football clubs. It is an interesting attempt to provoke questions about modern day society, though it is a little clumsy in its knitting together of these ideas. It is relatively confusing in the path it takes – more disjointed than avant-garde – and definitely not an easy performance to sit back and enjoy. Worth a go, but expect to leave the performance with more questions about what it’s about than you had before you went in.

Runs until 18 September 2015.

Annie – The Wales Millennium Centre, Cardiff

Originally published on The Public Reviews, August 2015

Based on the book by: Thomas Meehan
Music: Charles Strouse
Lyrics: Martin Charnin
Director: Nikolai Foster
Reviewer: Beth Steer
Stars: 3.5

A classic tale of an orphan’s rise from rags to riches – escaping the clutches of the infamously tyrannical Miss Hannigan along the way – Annie is a firm family favourite when it comes to musicals.

And, for fans of Thomas Meehan’s book or the 1982 film adaptation, Nikolai Foster’s stage production will not disappoint.

Starring Strictly Come Dancing’s judge Craig Revel Horwood as the brilliantly terrible Miss Hannigan, and with a revolving cast of different teams of children playing Annie and the kids, the story of the famous orphan is brought to life on stage.

As the kids launch into Hard Knock Life, charging around the carefully crafted set and stomping their little boots in a perfectly timed dance routine, the stage is set for a brilliant show.

Their talent is astounding – particularly considering that some cast members are as young as nine, and that Annie herself is only eleven – and their performance as an indignant band of orphan scoundrels is witty, convincing and warm.

Vocally, the child cast shines – in fact their performances are, as a whole, more impressive than those of the adult performers on stage.

The set, dancing, music and acting are all well presented and fluid – the scene changes are clever and seamless, and the choreography is amusing and cohesive. The ensemble in turn represent New Yorkers, waiting staff, sailors and occupants of “Hooverville”, and they adopt their various roles convincingly and without fault.

Alex Bourne plays a touching Daddy Warbucks and Jonny Fines an amusing anti-hero, Rooster. A real star of the show – and hero for the audience – is Amber, the Labradoodle, who plays a brilliantly well-trained Sandy, the stray. The interaction between Sandy and Annie is heart-warming, and the dog-actor is undeniably gorgeous.

An evening of entertainment well worth spending, Annie combines moments of wit, sadness and humour, all set against the backdrop of the politically challenging Hoover-era New York, chronicling the vast homelessness, poverty and disgruntled attitudes of the time. Franklin Roosevelt is even featured, and told by Annie that the answer to America’s problems is simply to look towards “tomorra”, which is, after all, “only a day away”.

The Crwys

Originally published on The CDF, May 2015

It’s getting to that time of year when, as the sun is (reluctantly) shining and Cardiffians are heading outside wearing a few less layers than they’ve become accustomed to, people start getting the urge to resume their drinking habits outside, rather than in. As everyone knows, there is no better place to do this than at a pub with a really good beer garden.

One of the best – and most conveniently situated – is The Crwys, on Crwys Road.

Easily accessible from Cathays, Roath and Pen-y-Lan, The Crwys – which gets its name from the Welsh word for ‘cross’, presumably because it sits on a cross roads – is part of the Brains chain, and offers some good pub grub and a wide selection of beers, ales and ciders for bargain prices.

Open from 11.30 am – 11 pm most days, and a little later on weekends, The Crwys’ beer garden is large, bright and airy, and gets the sun for most of the day. The neat decking, expanse of tables and chairs that seats up to 150, and array of sun umbrellas means that you can happily sit outside and wile away some hours with friends on a sunny weekend afternoon.

During rugby and sporting matches, or popular student events, The Crwys can become very busy and crowded, with a really lively atmosphere. What’s more, the Brains chain often rolls out special offers during sporting seasons, meaning you can sit outside with a burger and chips for as little as three pound twenty-five, and a pitcher of strongbow or lager for a tenner.

If it’s a sunny breakfast you’re after, The Crwys have started rolling out a breakfast menu and plan to open earlier and serve this until midday – meaning that you can enjoy toast and jam for 99p, a bacon sarnie for £2.50 and the interesting sounding breakfast club sandwich for £3.50 – all while sipping your morning coffee and enjoying the sun.

Whereas the beer gardens of some pubs seem like an after thought or additional extra, The Crwys’ garden is part of the pub’s appeal, and is central to its offering and popularity. With its low prices on both food and drinks, and large sun-trap garden where you’re likely to find a space, given its size, The Crwys is definitely one to bear in mind when you get your next craving for a cider in the sun.