Charlotte Campbell – Merry Christmas to You EP

If there is one Christmas release that I would urge you to go out and buy this year, it would be Charlotte Campbell’s EP ‘Merry Christmas to You’. The name may not ring a bell. But the voice will certainly chime with those looking to evoke the gentle spirit of the festive season. In this four-song collection, Charlotte brings a positivity and warmth that wraps around you like a blanket. Her vocals are perfectly understated – no grandeur or overegging of the Christmas pudding (if you’ll pardon the terrible pun). Instead, one finds a simplicity and grace in songs that will be familiar to most. Campbell has pressed her own unique mark onto ‘Have Yourself a Merry Little Christmas’, ‘Merry Christmas Everyone’ and ‘Silent Night’. The former is nostalgic in its output, sounding like an old vinyl record being played in front of a roaring log fire. The latter has choral overtones that blend well with Campbell’s folk-pop sensibility. Joining these three classics is an original, written by Campbell herself, and surely deserving of wider airplay. ‘Merry Christmas to You’ is in keeping with modern tradition whilst capturing something anew of the season as experienced in her urban context. Its chorus is incredibly catchy and is just the tonic for those feeling a little down as the dark nights begin to draw in and the cold wind begins to bite. She may be unsigned, but that is only one more reason to support this record. ‘Merry Christmas to You’ is a festive gem. The perfect present for this Christmas.

Originally written for Building Our Own Nashville on 7th December 2018.

Cinderella – Venue Cymru ***

You are invited into a world of pure imagination for Venue Cymru’s 2018 pantomime. Cinderella is an enchanting effort from both cast and crew. Whilst never completely whisking us away to another world, it nevertheless casts a few magical spells that will delight young and old alike.

Carly Burns plays a bubbly and bright Cinderella. Her Prince Charming comes in the form of Tom Parker from The Wanted. Together, they make a delightful pairing. Ably assisted by Herbie Adams as Buttons and Natalie Winsor as the Fairy Godmother, it is clear that this show is about one thing: having fun. The smile on the face of Parker is particularly infectious. It is obvious that he is relishing his role, even if he does come up short in the acting department. The director makes sure that Parker plays to his strength though. This pantomime is more musical than in previous years, and it is the leading man that benefits. “Come Alive” is perhaps the highlight of Parker’s musical performances, although his duet with Burns on “In Your Heart” comes a very close second.

One of the most magical moments of this pantomime arrives just prior to the interval. With her invitation to the ball now in pieces thanks to her ugly sisters Tess and Claudia (see what they did there) it appears that Cinders’ hopes of meeting the Prince are dashed. That is, until Winsor pops up with her wand to save the day. Her spell works wonders. It results in a truly mesmerising transformation on stage. Cinders’ rags suddenly become a magnificent gown. Two real-life ponies enter stage right pulling an elegantly decorated carriage. The scenery changes to become a snowy white backdrop. This is what dreams are made of.

This is the ultimate fairy tale scene. Along with the music, it makes Cinderella an enjoyable show. Throw in some cheesy jokes, the odd satirical quip, and some sexual innuendo, and you have the essential pantomime mix. The problem comes when you put a bit too much of the latter into the bowl. There is such a thing as overegging the pudding. Ventriloquist Dawson Chance (Baron Hardup) does just this. He may start out with good intentions. But, ultimately, every one of his routines seems to descend into crudeness. There is a very fine line to walk with such humour. And Chance fails to walk it. Some of his material may have worked thirty or forty years ago. But times change. Some things are best left in the past.

Overall, Cinderella has to be one of Venue Cymru’s best pantomimes of the last couple of years. Everything seems to have come together nicely, from the choreography to the set design, costumes to the props. Not everything is perfectly executed in the final piece. But there is still enough to dazzle and delight this festive season.

To book tickets, click here.

Originally written as part of the Young Critics North Wales scheme on 10th December 2018.

Midland – On the Rocks Tour

They were one of the highlights at Country 2 Country 2018. And now Midland are ending the year on a high here in the UK with their first headline tour a complete sell out. Last night, they stopped off at Gorilla in Manchester to perform to a packed and raucous crowd. They delivered a stunning set, full of energy and rabid enthusiasm. It is one of the most intense country gigs I’ve experienced this year.

Before the trio stepped out on stage however, another rebel-rousing country singer came on to warm up the crowd. A long-time friend of Midland (he was also their tour manager for 18 months until recently), the bearded and flat-capped Desure ensured that the night got off to an electrifying start. The audience were drawn forward, their noise levels muted, as soon as he began his set. He held them captive throughout, with a voice cut from the same cloth as David Gray and a musical style surely influenced by Bob Dylan. Songs ‘Kick Rocks’ and ‘Los Angeles’ were the highlights in a tremendous half hour of dark and whimsical storytelling. Finishing with the toe-tapping crowd pleaser ‘Forever Be Mine’, this rough-and-ready talent set us up nicely for the main event.

Midland sure know how to build anticipation among their fans. With a synthesiser resonating ever more loudly around the room as the lights slowly dimmed, the excitement became ever more palpable. It finally exploded into full-blown singing as a reworking of ‘Take Me Home, Country Roads’ suddenly began. Its resolute ending sent the audience into hysterical clapping, evolving into wild screams as Mark, Cameron and Jess took to the stage. Taking advantage of the hyped-up atmosphere, they began with the crowd-pleasing song ‘Check Cashin’ Country’. Not wanting to expend all the energy in the room too early, they then slowed down the pace with ‘Burn Out’ and ‘Electric Rodeo’. The red lighting that accompanied both songs added to their ambient tone, and helped to bring the audience down to a more sedate level before things really kicked off.

‘The Gator Boys’ pushed the noise levels up again, Cameron getting caught up in the wild reception of the audience so much that he temporarily forgot the lyrics, much to the amusement of his fellow band members. We were then treated to a new song from their still-in-progress second album. ‘21st Century Honky-Tonk’ was a beautiful bluesy number that led seamlessly into ‘Fourteen Gears’, the band’s first-ever release. Mark ended the song with a nod to Alan Jackson. Covers of Springsteen and the Rolling Stones followed. Before ‘Altitude Adjustment’, Mark prescribed John Denver to anyone having a bad day, year, or even a bad life. The trio are clearly rich in terms of musical influences; their brand of honky-tonk brings together a host of genres that are infused with old style country and western as well as a whole lot of soul.

Midland ended their main set with the crowd-favourite ‘Make a Little’. Throughout, the band revelled in guitar solos and instrumentals. And it was at its peak here. After bowing out stupendously with a rip-roaring cacophony of electric, bass and acoustic, they returned to the stage for an almighty encore. ‘Drinking Problem’ was something of a hymn for this Friday night congregation, who belted out the chorus with gusto, their hands held high and beer glasses in the air. It was only the 10pm curfew that stopped the band from carrying on. They had time to just squeeze in what I believe was Don Williams’ ‘Falling in Love Again’ to end an electrifying night on a graceful note.

If you can catch Midland live, it is worth every penny. They are entertainers as well as fabulous songwriters and musicians. The future is looking ever brighter for these Texas cowboys.

Originally written for Building Our Own Nashville on 1st December 2018.

Lucy Grubb – Dear Walter EP

On listening to ‘Dear Walter’, the second EP from Lucy Grubb, one cannot help but be transported to the rivers and grasslands of the Norfolk Broads. She may be influenced by a traditional country and western sound but it is clear that her East Anglian roots have wrapped around her music to create a distinct English identity. There are references to Tennessee and the Mason-Dixon Line in the songs of this EP. But in its sound, there is no doubt that Grubb is firmly rooted in the UK.

The opening lines of first track ‘In Common’ draw stark comparisons with the chorus of ‘Burning Bridges’ by The Wandering Hearts. The instrumentation may be different but the vocal blend of female and male voices, to create a gently haunting sound, is incredibly similar. When the track firmly kicks in, Grubb diverts down a more countrified path than TWH, bringing in banjo and shakers. But it retains a certain folk-like quality that leads me to place Grubb under the same Americana umbrella as the Hearts.

The stripped back nature of second track ‘Storm’ means that the youthfulness of Grubb’s vocal is fully exposed. It is easy to be captivated by the beautiful simplicity of her delivery, even as her lyrics contain a perhaps surprising degree of emotional depth and darkness. There is a maturity in her storytelling that seems to surpass her actual years. One of those “old heads on young shoulders” it seems.

On hearing the opening riffs of third track ‘Not into Anyone’, my mind immediately made its way into the back catalogue of my brain and pulled out ‘Step Off’ by Kacey Musgraves. There is definitely a slower tempo to Grubb’s guitar playing when compared to Musgraves’ song, but the sound was still strikingly similar enough for me to match-make the two together in my head. This is where the similarities end though. ‘Not into Anyone’ is more a painstaking romance than a wry break-up.

The title track, which rounds off the EP, is where I think I will draw the line with comparisons with other artists. To use an analogy, if Grubb was blossoming into her own unique self through the first three tracks, then ‘Dear Walter’ is where we find her in full bloom. It is a touching ode, sung with such haunting reflection. It is a gorgeous song that completes a remarkable fifteen minutes of music from a very talented young lady. I’d recommend a listen.

Originally written for Building Our Own Nashville on 2nd November 2018.

Allelujah! – National Theatre Live

It is clear from the opening lines that Allelujah! is the work of Alan Bennett. That wry Northern humour is unmistakable. He may be 83, but Bennett remains as active as ever on the writing front. He is also, in this particular case, out to make a political statement too.

Set within the wards of a community hospital on the edge of the Pennines, Allelujah! could be described as a kind of love letter to the NHS. It follows the daily travails of patients and staff on the geriatric ward which, along with the rest of the hospital, is earmarked for closure. Despite regularly meeting targets, it seems that amalgamation into a brand-new regional health centre, as part of an efficiency drive, is inevitable. And there is a dark secret that is about to be revealed that won’t help in the fight for its survival.

What is most striking about Allelujah! is its cast of characters. They are all charming and easily likeable. The patients especially are wonderful creations, brought to life by a talented cast that includes Gwen Taylor (Heartbeat, Coronation Street) and Jeff Rawle (Hollyoaks, Harry Potter). You can tell that they are having a ball playing such funny and whimsical people, and in the process showing that age should be no barrier within the acting profession. There has been a lot spoken recently, and rightly so, about the need to support young, up-and-coming talent. But it mustn’t be forgotten that the older generation too deserve representation. Bennett delivers on this and more, for there is a serious point being made among that dry and acerbic dialogue.

It is the treatment of older people in our society that he finds most wanting. Using the Indian heritage of Dr Valentine (Sacha Dhawan), for example, he manages to emphasise the stark contrast between the two cultures’ attitudes towards the elderly. In some respects, this eclipses any political standpoint. It is a cultural problem. Yet, by highlighting civil servant Colin’s (Samuel Barnett) preference for privatisation and capitalism, Bennett seems to suggest that these contribute towards, rather than stem, the problem.

Ultimately though, it is difficult to ascertain the real views of Bennett regarding such matters on account of the competing views of the characters who, together, make up an ensemble cast. There is no lead protagonist. In fact, the closest we come to one is towards the end, when both Dhawan and Deborah Findlay (Sister Gilchrist), in turn, perform a monologue a lá Talking Heads. This is classic Bennett, and is where we find the play at its most powerful. And when Dhawan addresses the audience directly, it is also when it is most explicitly political.

The dialogue is certainly what drives this show. The set is simple, the lighting used only sporadically for effect. The musical numbers, peppered throughout, are wonderfully choreographed. The music itself is perfectly chosen. What Bennett leaves you with here is a smile on your face. It is a play to be enjoyed, even as it takes some dark turns and makes some thought-provoking points. Allelujah! is, for me, an excellent addition to Alan Bennett’s canon. It is a show that is certainly worth spending some time with.

For more info, click here.

Originally written as part of the Young Critics North Wales scheme.

Frankie Davies – Wherever I Go

Wherever I Go by Frankie Davies is a picture-perfect snapshot of country music in the UK right now. It represents a wonderful and intriguing confluence of genres: rock, pop and folk all feeding into the mainstream of country to create a truly convergent sound.

The girl from Jersey has done well with this debut album. She eases us in with the soft and sweet ‘High on Love’ before the volume cranks up, the electric guitars come out, and we rock on to ‘Not Your Game’. The direction is by no means one way from here though. We are then treated to the lovely ballad ‘Wherever I Go’, the tempo well and truly slowed down by the relaxed playing of pedal steel and a simple beat on the drums. We then stay with this laid back feel on ‘Open Road’. With its lighter vocals and stripped back sound, this errs towards the folk end of the spectrum, and positively delights in its romantic intentions. We then hit much rougher terrain with the gritty sound of ‘All My Love’, followed by the even rougher rock-ready tune ‘You Don’t Know Me’. ‘Together’ then takes us into more pop-inspired territory and nicely showcases Davies’ vocals. There are touches of Ashley Monroe and Maren Morris in there, along with a bit of Maddie & Tae for good measure. You can tell that she’s been brought up on country music. What might surprise though is that Davies doesn’t hail from its traditional heartland. Instead, that voice has been crafted from listening to country music on her home island of Jersey.

One might add Crissie Rhodes of The Shires to that list too after hearing ‘Front Row Seat’ and ‘The Sweetest Sound’. These are by far the best tracks on the album. The former is a heartfelt and truly emotional ballad that cuts deep and buries itself into your soul. It is poignant and inspiring and is the track that causes you to stop whatever you’re doing and listen. Just listen. Meanwhile, ‘The Sweetest Sound’ is just that. The chorus is especially beautiful; extremely catchy, and a stroke of musical genius. This is the song that will have the audience singing along, not just at the time, but for ages after it’s finished. ‘Travellin’ Love’ nestles nicely between these two standout tracks, whilst ‘Asking for a Friend’ closes the album in true acoustic style. A reflection on social media and the need for connection, it is an intimate track that is subtly powerful in its call for greater interaction and face-to-face communication. It is a lovely end to a stunning debut album.

Catherine McGrath may have broken through and grabbed all the headlines this year, but Frankie Davies deserves to be up there with her. Wherever I Go is the ideal album for gaining an understanding of where country in the UK is today. It is a convergence of genres that captures the experimentation that is going on among so many country artists currently. It ticks all the right boxes and announces Frankie Davies as a true force on the UK country scene.

Originally written for Building Our Own Nashville on 29th October 2018.

Featured Image (C) Frankie Davies

Liv Austen – A Moment of Your Time

I suspect that Liv Austen isn’t just a wonderful artist but a wonderful person too. Her debut album A Moment of Your Time is, in some respects, a revelation. The Norwegian-born singer has fused country, pop and rock together to produce an appealing sound. But it is in the lyrics that we find this album to be a real gem.

Within the first few minutes of listening to this album, it becomes clear that Liv Austen is a leading lady. Having given up acting to pursue a career in music, she may not be eligible for Best Actress but, on this showing, she would win Most Inspiring Female hands down. I say this because her portrayal of the no nonsense (‘Miss Nobody’), strong and independent (‘The Next Time’) woman who is not going to take any s**t from men is the perfect counter-narrative to the culture that has been, and continues to be, challenged by the #MeToo movement.

I love the message that comes from ‘Don’t Regret a Single One’, in which Austen reflects on the men that have come and gone in her life, and from whom she has learnt something every time. Unlike the perhaps-typical male attitude to simply move on to the next person without so much as a second thought for the one they’ve just left, Austen treats her male counterparts as human beings, recognising that her interactions with them, however hurtful in the end, still contain invaluable experience from which wisdom can be gleaned.

‘Window Shopping’ follows on in a similar vein. Here, Austen sticks two fingers up to a culture that would have looks and beauty mean more than character and personality. “Don’t care if you’re fit, just if we fit” nicely sums up the dominant theme of the song, which offers a refreshing perspective on what is really important when it comes to dating and relationships.

It seems that Austen has had her fair share of hurt when it comes to romance. ‘Whole Heart’, ‘Detour’ and ‘Part Time Sweetheart’ are all reflections on her experience, but they are far from wallowing in self-pity. Instead, over electric guitar, Austen delivers an ultimatum to any would-be suitors, doing so in luscious, heartfelt, and harmonic tones respectively. There may be a little heartache here, but certainly not regret; just reflections on heartbreak and a determination to take the positives out of each and every situation. Empowering is the word that comes to mind.

A Moment of Your Time requires just that. Taking some time out to listen to this album may leave you a changed person. Austen is a woman who knows herself. She takes her experiences and reflects honestly on them, positively challenging a certain cultural attitude in the process. This makes her an ideal role model for (young) women. But those who hold to a certain image of masculinity would do well to listen too. This is what makes Liv Austen positively inspiring. And I think what makes her such a wonderful person too.

Originally written for Building Our Own Nashville in October 2018.

Featured Image (C) Liv Austen

CMA Songwriters Series – St George’s Hall, Liverpool

I hope that the doorman who greeted me at St George’s Hall for the CMA Songwriters Series got to sit in on the show. When I asked him if I was in the right place, he responded hesitantly with “for the Country & Western thing? Yeah, just through here”. The way he said it made me very suspicious. The fact he added “thing” confirmed these suspicions. This man clearly hadn’t been exposed to contemporary country music. If he did sit in, I hope that he was pleasantly surprised.

This mini tour of the UK by four US singer-songwriters, ahead of Country Music Week, stopped off in Liverpool. And they performed in one of the most beautiful venues that I have ever come across. The regal architecture of St George’s Hall provided an incredible backdrop for this songwriters’ round. With gold columns behind them and a shimmering chandelier above, it seemed a bit subversive to be listening to songs whose settings were a million miles away from such a palatial space. At the same time, the concert room’s acoustics were perfect, enabling the full range of emotions conjured up by the artists to be not only heard but felt.

Kicking us off was Canadian singer-songwriter Tenille Townes. Wearing leopard-print heels, leather boots, and a black dress with gold buttons, this sassy lady has a real punkish edge to her music. It seems like the sound engineers took a bit of time to find the right levels on the microphone as her opening song, ‘Where You Are’, faded in and out. There was no doubting her exquisite vocal style though, very reminiscent of Anne Marie. By the time we came around to her again, for ‘Jersey on the Wall’, any sound issues had been dealt with, and we were able to appreciate every thick lick of her vocals around the poignant lyrics of this highly-emotional song.

In between Townes’ first two songs, we were introduced to the three other artists on the bill. Next came Chris DeStefano, whose name might not be familiar, but whose songs will be instantly recognisable to many country music fans. The man in black (and the only male on this particular bill) began with his biggest hit, a co-write with Carrie Underwood which went on to become a No.1 single, ‘Good Girl’. His clean vocals made this version a little bit less gritty than Carrie’s, but you could tell that he was particularly proud of this song. He took the prize for the longest-held note of the night too, an early but unbeatable contender that got him firmly on side with the cheering audience.

Following Chris was a lady who, I think, is destined for very big things on both sides of the pond. Kassi Ashton was full of humorous quips and asides from the off, offering us some sage advice alongside her stunning musical performances. She began with her debut single, ‘California, Missouri’, a perspective on her hometown told in a fusion style of country and hip-hop. I’m not sure the label of a ‘female Sam Hunt’ is the best description, but it captures a little of her style for those unfamiliar with her music. Ashley Campbell completed the line-up, the daughter of the legendary Glen Campbell beginning with ‘Better Boyfriend’, a song full of dry wit, before turning her hand to more reflective songs in subsequent turns. ‘The Lonely One’ and ‘Nothing Day’ followed, before a beautiful cover version of ‘Gentle on my Mind’ found the audience in a complete trance. When one gentleman in the audience sung the title line every time it came around, I couldn’t help thinking that it was the spirit of Glen joining in with his daughter. Powerful stuff.

It was great to have a real mix of the familiar and the new at this event. Although DeStefano was a new voice, his song choices were very familiar. During his next two turns, he chose to play the Brett Eldredge song ‘Don’t Cha’ (which he produced) and Dan + Shay’s ‘From the Ground Up’ (which he co-wrote). We were then treated to his first solo single ‘Wide Open’ which, if any evidence were needed that DeStefano will be ok branching out on his own, this is it. Meanwhile, Townes continued to display her tenacious sound with a ferocious rendition of ‘White Horse’ that echoed wonderfully around the auditorium. She then followed up with ‘Change My Mind’, the first time she’d publicly played this co-written song, and one which Lucie Silvas fans would have been all-too-familiar with. In between, Kassi Ashton continued to produce an astounding portfolio of material. Recently signed and having not yet released an album, if songs ‘California, Missouri’, ‘Lie with Me’, and her second single ‘Taxidermy’ are an insight into what is to come from this down-to-earth and very funny lady, then we are in for a real treat.

The final round of this songwriters round was a real belter. Townes ably closed her set list with the fantastic ‘Somebody’s Daughter’ before DeStefano busted out a real showstopper with ‘The Champion’. I wondered how anyone could follow that, but Ashton did to spine-tingling effect. ‘The Straw’ was perhaps the highlight of the night, a song that held the audience captive from start to finish. Ashton embodied the music, feeling every note and every word. Comparisons with Adele and Amy Winehouse are not generous here, but well deserved. I’m sure that even the chandelier shook a little with excitement at the beauty of her performance. It left Ashley Campbell with no choice. There was only one way to follow that and it was with her signature song ‘Remembering’, a piece that transcends its musical context and has the ability to speak into the lives of others, particularly those living with the effects of Alzheimer’s.

There could have been no finer way to finish off this wonderful night of music. By the end, the grandeur of St George’s Hall had faded away. We could have been anywhere. The focus was solely on the artists and their songs. If that doorman did sit in, my guess is that he would have been more than pleasantly surprised. This was music with a life-transforming power.

Originally written for Building Our Own Nashville in October 2018.

Kitty MacFarlane – Namer of Clouds Tour

On a cold Autumn evening, I ventured through the country lanes of North East Wales to the village of Gwaenysgor. It seems a very innocuous place to attend a gig with one of folk music’s brightest upcoming stars. Yet the small village hall, nestled in a corner just off the main road, was the perfect setting for an evening with Kitty MacFarlane. No sound system. No microphone. No fancy stage lighting. This was just Kitty and her acoustic guitar.

Hosted by the Record Journal Live, this wasn’t your average concert. In many ways, this was the epitome of a gig organised and run by people who are passionate about bringing live music to the local community. There’s something quite special about wandering in and finding your name written on a piece of paper, ready to be ticked off; being handed a cup of tea in a random mug that’s been poured out of a stainless steel teapot; entering into a hall whose tables and chairs have had to be laid out beforehand. No technology. No paid bar staff. Just a warm and friendly atmosphere into which MacFarlane’s gentle vocals and whimsical guitar chords beautifully contribute.

Beginning with ‘Only Human’, MacFarlane proceeded with a delectable mixture of stories and songs. It was a fascinating insight into both her songwriting process as well as her wider world. From it, I sensed a deep affinity with nature. There was clearly a deep connection to her local area too – the Somerset Levels. To be given a context to songs like ‘Man, Friendship’, written in response to the 2014 floods, a picture of which adorns the cover of her debut album, gave them an extra dimension. Told with light humour and gentle passion by MacFarlane meant that they became ever more compelling too. Such light humour peppered most of her anecdotes. Her passion was especially evident when it came to ‘Glass Eels’. Introducing the song, she recounted how she’d spent a day with some wildlife conservationists, studying these fascinating creatures. Such an experience clearly left its mark on her, her continuing interest in eels all too evident and somewhat infectious too. It gave a real insight into the careful crafting that has gone into each of her songs. Every one featured in this set had a tale to tell, and was sung with tender conviction.

One of the most captivating moments in this set came during her rendition of David Francey’s ‘Saints and Sinners’. With the guitar placed to one side, this was Kitty MacFarlane truly unplugged. If it wasn’t enough to enjoy the sole sound of her melodious voice, once the familiarity of the chorus had been claimed by the audience, they joined in with her to create a finish to the song that was truly transcendental and awe-inspiring. It perfectly encapsulated the emotion of the whole evening.

Kitty MacFarlane is as warm and welcoming offstage as she is on. She has received huge commendations for her debut album Namer of Clouds, and rightly so. It is a superb record that deserves your listening ear. In some respects, the twee surroundings of a local community hall is exactly where you expect her to be. To hear her live is a real treat. To be in such an intimate environment when you do is a bonus. The Record Journal has tapped into something here. They’ve kept it sweet and simple. On this occasion, it suited MacFarlane’s performance perfectly. Stripped back and laid bare, this was folk at its finest. A concert that was well worth attending.

Click here for tour dates and more info.

Originally published for Get the Chance on 7th October 2018.

Featured Image (C) Kitty MacFarlane

Awful Auntie – Venue Cymru

For anyone who enjoyed Gangsta Granny, Awful Auntie is a decent follow-up adaptation of David Walliams’ popular series of children’s books. The premise of the show is pretty simple. Stella (Georgina Leonidas) wakes up to find that her parents have disappeared. According to her Aunt Alberta (Timothy Speyer), they have died in a car crash. But as things unfold, it appears that her Aunt might not be telling the truth. With the help of her ghostly friend Soot (Ashley Cousins), Stella plots to make her escape and find out what’s really going on.

Awful Auntie sees less action and a more dialogue-driven narrative when compared to its predecessor. During the first few minutes, it seems that this is going to prove problematic. In order to set the scene, both Leonidas and Speyer engage in a lot of back-and-forth dialogue, with little movement from either of them. Although helpful to our understanding, it is not very entertaining. However, once we get past this initial phase, my concerns were alleviated. This was largely due to the return of the revolving scenery that was so terrifically inventive in Gangsta Granny. It is no less creative here, turning the confines of Saxby Manor House, where all of the action is set, into a magical place of adventure. Constantly evolving and truly dynamic, the set is without doubt the best thing about the show. It is a character in its own right, and is a joy to behold.

Leonidas brings a delightful innocence to her role as Stella. She manages to do so without compromising on the strong and assured personality of her female protagonist. Her partnership with Cousins, in the role of Soot, is a joy to watch. The two of them work really well together, creating a convincing and very likable partnership. Cousins oozes a childlikeness which comes about from both his high-pitched voice and flaccid physical movement. Whilst the twenty-something actor failed to play a boy half his age convincingly in Gangsta Granny, here, he fully resembles a young lad of around 12. His character is charming and utterly adorable. The two of them together make a fine team against Stella’s awful Auntie. And awful is perhaps the most apt word, for Speyer’s portrayal of the character fails to exude any psychopathic tendencies. He is more pantomime dame than evil woman. I don’t really understand why a male has to occupy this female role? In the same way as a male actor has been consistently cast as Miss Trunchbull in Matilda: The Musical, what is it about these characters that make directors so averse to casting actual females as them? Can only a man play a crazed older woman? In this instance, I don’t think Speyer plays one particularly well.

Overall, Awful Auntie is a lightly enjoyable show. It is pitched perfectly in the middle so as to keep its young audience entertained whilst giving parents and guardians time to sit back and appreciate the set design and camaraderie of Leonidas and Cousins. It may not be laugh-out-loud funny but it does have enough moments to make you smile. Richard James as the butler Gibbon offers some delightful moments of oddity which may be understated but add much to the show’s comic potential. Like Gangsta Granny, it is the set that is the star of the show though. Its constant unfolding of movement is truly magical. I love it.

Awful Auntie may not be the most life-changing production you’ll ever see, but as an evening out with the family, you can’t really go wrong.

Written as part of the Young Critics North Wales scheme.

For tickets and tour dates, click here.

Featured Image (C) Venue Cymru