Reflections – Hannah’s Yard

After their delightful debut album Beginnings, Hannah’s Yard are back with a beautiful follow-up in the shape of four-track EP Reflections. Comprising of three covers plus an acoustic version of one of their original songs, Reflections is the perfect showcase for lead singer Hannah Layton Turner’s angelic vocals. Having demonstrated her ability to write fantastic lyrics on Beginnings, Reflections proves that she also has the voice to match. You can certainly hear the maturity in her voice now compared to 18 months ago, when Beginnings was released. On Reflections, we find a much more assured, complete and confident vocal performance that is central to its success. Opening track Blackbird is the ideal example of this. Drawing on Paul McCartney’s 1968 original, the decision to replace the guitar with the piano is a stroke of genius as it compels us to focus more intently on Hannah’s voice. This combination beautifully evokes Ellie Goulding’s similar treatment of Elton John’s Your Song, a modern classic when it comes to successful covers, in my opinion. Certainly with Blackbird, this combination makes for a more emotionally raw song than the original version. It also causes the lyrics to come into sharper focus. This is definitely the case with the second track, Better Together. With the tempo slowed right down, in comparison to Jack Johnson’s original version, we pay much closer attention to the lyrics. It gives a new dimension to the song whilst remaining as a tune that can best be described as ‘relaxing’. But whilst Johnson takes you to the shady palm trees of a Californian summer, Hannah soaks you in a bath of luxurious bubbles at the end of the working week. It is hard not to get lost in her captivating voice. Indeed, I did just that during the third track, a cover of Randy Newman’s Feels Like Home. It is a brave and bold choice given its origins. Yet Hannah does an admirable job, even if the level of poignancy isn’t quite the same as the original (though this would be difficult for anyone to achieve). Final track Never Gonna Say I’m Sorry provides the ideal ending to this highly reflective EP. As an acoustic version of her original, it leaves you in a seriously contemplative mood. But it also leaves you in no doubt as to Hannah’s potential to write songs that stand up well alongside some very big hitters in music’s history. After the fabulous fireworks of Beginnings, Reflections is a sidestep into the slow lane. It is a captivating record built on the firm foundations of Hannah Layton Turner’s gorgeous vocals. It causes you to reflect and contemplate in a way that few other records do. So if you’re looking to wind down after a hard day of work, or seeking to escape the constant roll of news on your social media feed, I recommend that you press play on Reflections. It has the power to stop everything. For fifteen heavenly minutes at least.

Click here to sample Reflections on Spotify.

Click here to find out more about Hannah’s Yard.

Shrek: The Musical – Venue Cymru

If you can’t wait for the start of pantomime season, then I would highly recommend a visit to see Shrek: The Musical. We may not be getting a happy ending to a summer of high temperatures and searing heat. But the return of rain is perhaps the perfect magical ingredient to tempt you indoors for this happily-ever-after love story. It features a colourful cast of fairytale characters who are guaranteed to put a smile on your face.

The show begins in true fairytale style: a giant book opens up to tell the backstory of our green ogre protagonist, Shrek. As the narrator brings us up to the present day, we find Shrek happy in his solitary existence, living beside his beloved swamp. But his peaceful life is interrupted when a bunch of fairytale creatures is banished to his home by the comically-evil Lord Farquaad. In an attempt to win back his privacy, he agrees to rescue the Princess Fiona for Farquaad, with a little help from his comic sidekick Donkey. But his quest does not quite turn out as he expects.

This adaptation of the animated film is a joy to behold. Designer Tim Hatley has created a truly magical experience. The costumes and puppets transport you right into the heart of its wonderful world. They are visually arresting and simply awe-inspiring. It is the level of detail that is most striking. The character of Pinocchio (Joseph Dockree), in particular, is portrayed beautifully as the wooden boy. Dockree displays arms and legs that are furnished precisely to look like wood, grains and knots included. Meanwhile, the dragon may as well have broken through the cinema screen such is the likeness to her animated equivalent. Not since War Horse has a piece of onstage puppetry fascinated me so much. Its movement was sublime and utterly seamless. Even the additional detail of flickering eyes struck me as being wonderfully inventive. The whole thing was breathtakingly stylistic and magnificent in scope.

The prosthetics that transform Steffan Harri into the ogre are superbly done; the continual transformation of Amelia Lily (Princess Fiona) between white-skinned human and green, bulging ogre, even more so. From the humorous sight of Samuel Holmes scrambling around on his knees as he portrays the small stature of Lord Farquaad, to the playfulness of Marcus Ayton’s actions as Donkey, there is very little at fault when it comes to the visual spectacle of Shrek: The Musical. Where there is room for improvement, I would say, especially in the first half, is in the dialogue. For fans of the film, the well-known quotes from the original screenplay can all be found in the script of David Lindsay-Abaire. The problem is, taken out of their original animated context, some of them simply don’t have the same effect in this live-action adaptation. They may raise a smile at their familiarity. But they tend to fall flat when it comes to their comical intentions. Surrounded by more, and better, original songs after the interval, the dialogue improves. It feels more at ease with its musical context, more flexible and inventive than the rather mechanical dialogue of the first act.

Overall, Shrek: The Musical is a feast of fun. It resembles a high-budget pantomime at times, but this is no criticism. Holmes is the perfect pantomime dame in the guise of Lord Farquaad. Shouts from the audience now and again cause the actors to lose their nerve or respond with some humorous aside. This only makes for a more enjoyable show. It takes nothing away from a production that is packed with the most incredible visual effects and the most irresistible costumes. The rain may have dampened the end of summer, but Shrek: The Musical will help to keep the sunshine in the memory just that little bit longer, whatever your age.

Click here to find out more and book tickets.

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

Featured Image (C) Venue Cymru

Talk of This Town – Catherine McGrath

Catherine McGrath represents the next stage in the UK country music revolution. I say this because it is not just BBC Radio 2 that are championing her. Scott Mills and others have been playing the 21-year-old’s music over on Radio 1 too. Her debut album Talk of This Town is bursting with the kind of country-pop that made a certain Taylor Swift known to the mainstream. In that case, it might not be one for the country music purists. But for those of us who like the lyrical emphasis and authenticity of the genre, McGrath serves up a real treat.

Talk of This Town is essentially the soundtrack to the past three years of her life. Adopting a heart-on-sleeve approach to her storytelling, McGrath is open, honest and vulnerable about her relationships. It has the effect of making them relatable in such a way that even I, a 27-year-old male, could find solace in some of her songs. I say this because their themes resonate beyond the boundaries of their mostly romantic settings. For example, opening track ‘Talk of This Town’ presents the image of a person who doesn’t quite fit in (tick), who has been continuously shot down (tick), and whose dreams are waiting to be burned down at the first signs of fear or failure (tick). The more I listened to this song, the more I could see myself in it, and the more I gained inspiration from McGrath’s ultimately positive outlook.

The further one goes into the album, the more McGrath’s honesty and vulnerability transcend the catchy pop riffs of her songs. They may be coated in music that makes you want to dance, but contained within are raw and revealing emotions that are comforting, hopeful and inspiring in equal measure. For example, ‘Just in Case’ is underpinned by uncertainty, ‘Dodged a Bullet’ reveals hidden emotional scars, and ‘Thought It Was Gonna Be Me’ is a harsh lesson in heartbreak. This latter song is beautifully complimented by its predecessor ‘Wild’, the epitome of McGrath’s blend of honest storytelling and infectious country-pop music. ‘Wild’ is probably the standout track on Talk of This Town, followed closely behind by ‘Lost in the Middle’, which has the most stupendous chorus. Both tracks are heavily-laden with guitars, whilst the addition of the banjo gives each a sprinkling of country and western flavour. This seems to be the favoured musical mixture for McGrath, and it works well, despite what country music critics such as David West and Duncan Warwick might argue.

Talk of This Town is a wonderful collection of songs that might be influenced by the sound of Taylor Swift but are written from the heart of Catherine McGrath herself. They are a beautifully blended set of country-pop songs that draw comparisons not only with Swift but Kelsea Ballerini and Maren Morris too. There is a Kacey Musgraves-like honesty to her storytelling that definitely leans towards the hopeless romantic of Musgraves’ Golden Hour. Yet despite this emphasis it remains hugely relatable, largely because McGrath presents her experiences in such a way that the themes contained within them become identifiable beyond their specific context. She is the misfit, the outsider, the odd-one-out, always playing second fiddle and pretty much without luck. Yet in spite of her experiences she remains positive and inspired. You need only listen to the music that she combines with her lyrics to realise this.

Catherine McGrath is a real talent. She is going to go far, not just because she is making great music but because she is a genuinely lovely person too. The response to the release of Talk of This Town was evidence enough that she is fast winning a legion of fans. Her autumn tour will surely be the last in which she plays the UK’s smaller venues. The larger arenas beckon. It won’t be long before this talented (for so long supporting) artist becomes a regular fixture at the top of the festival bill. And she truly deserves it.

Originally written for Get the Chance on August 4th 2018.

Featured Image (C) Catherine McGrath Music

Moving On – The Rising

To attempt to define The Rising would be a mistake. They do not fit into a specific genre of music. I listened to their latest album off the back of a label that read: “country rock band”. Of course, this evokes a certain kind of sound. And whilst it does appear on the album, there are also songs that did not fit this particular brand of music. What Moving On does is take us on a journey through a soundscape that includes pop, rock, country and punk. It stops off at the pop bands of the early noughties whilst winding its way through the world of country-rock. The vocal style of lead singer Chantelle McAteer reminds me of a young Avril Lavigne, mixed with a bit of Pink and a touch of Carrie Underwood. She may not possess the strongest voice in my opinion, but that did not stop me from nevertheless enjoying this album once I’d decided that it was best to fling my preconceptions out of the window and treat the music for what it is, rather than what it was advertised as being.

It is highly likely that you will find at least one song to like on this album. Whether it is the commercial radio-friendly pop of ‘Forgive and Not Forget’, the country and western swing of ‘Back to Me’, or the boogie woogie vibes on ‘Reasonable’. It is fair to say that this band is not defined by genre but dip in and out of the sounds that they think will work best for the stories that they wish to tell. And I think that’s probably why they are labelled as a country band. Because it is about the stories first-and-foremost. Featured here are mainly narratives centred around romance and heartbreak. For example, ‘Even the Stars Fall for You’ is a gorgeous ballad that draws lightly on the sound of country music without losing its middle-of-the-road pop tones. Meanwhile, ‘Take a Hint’ and ‘Love Is’ produce a more hard rock sound in keeping with the aching emotion at the centre of their respective narratives. They seem to draw heavily on the songs of Carrie Underwood, and could be described as darker versions of a Catherine McGrath lovesong.

My personal favourite track on Moving On is ‘Yellow House’. It contains some fabulous lyrics which are woven beautifully with some rocking riffs. This is where The Rising hit the top, showcasing their desire for authenticity mixed with great music. Following close behind is final track ‘Roundabouts’, which again contains some great lyrics sung in a pop/punk vocal style. The only downside to it is that its running time, just short of six minutes, is a bit too long. It outstays its welcome slightly but it is, nevertheless, the perfect song to end this eclectic album.

To fully appreciate the genre-bending sound of The Rising one needs to throw any preconceptions out of the window. If you’re expecting a certain sound, then one song might fit your criteria but others will be some way short of the mark. It makes them more vulnerable to critical judgement from critics who may want to box them into a particular corner. But I think this is unfair. If I was hard-line about my country music listening, I probably wouldn’t rate this album half as much as I would listening to it simply on its own merit. But why should it receive less acclaim simply because it does not fit the conventions of a particular genre that, clearly, for certain songs, The Rising weren’t making them to fit into in the first place? Therefore, I judge this album on its own accord. And it is an album which, for their first, is rather good. It might start off a bit shaky but, once it finds its rhythm, there are some great tunes to enjoy. Some might overstay their welcome, but on the whole, their sound and lyrical content provide for an engaging listen. Moving On is a decent follow-up album for this Irish band from their 2014 debut Coming Home. It is also a great platform on which to build and move on (if you pardon the ironic expression) to better things.

Click here to find out more about The Rising.

Featured Image (C) The Rising

Fame: The Musical – Venue Cymru

I really wanted to hate Fame: The Musical. I really did. But the predecessor to High School Musical and Glee just wouldn’t let me. I started off slouching in my seat and watching through gritted teeth. But by the end I was stood up and clapping along to the encore. What makes it so addictive is a combination of stunning choreography, strong performances, and a narrative that is not afraid to deal with sensitive subjects alongside the more typical romance of the coming-of-age genre. So despite my initial reservations, the end result found this 27 year old male confessing that Fame was, actually, very good.

Set in New York’s High School for the Performing Arts, the opening scene is very much like an advert for the next series of Britain’s Got Talent. We get a musical montage of instrumentalists, singers, dancers, and actors, all of whom are auditioning for a place at the school. Before we know it, these young hopefuls have all won a scholarship to study under the tutelage of Miss Sherman (played by Mica Paris) and her staff. It is a speedy set up that allows for the large ensemble of characters to be quickly introduced. It works extremely well, though the danger is that such a large number of characters could result in a lack of narrative focus or bland stereotypes. Not so here. As the narrative slows to a timelier pace, the ability to spend quality time with each of these characters is not at all hindered by their quantity. Yes, there is the establishment of major and minor characters in order to not overwhelm the audience. Yet even these secondary figures are fleshed out to such an extent that they become familiar enough to care about. What binds their stories together and keeps the narrative moving forward is the music. The music is the key ingredient in ensuring that we don’t get lost in the myriad of storylines that are happening on stage.

The music also plays a key part in the amazing routines that take place on stage. Choreographer Nick Winston is the man to credit for turning my pre-show frown upside down. He has put together a series of spectacular dance scenes which are executed brilliantly by the whole cast. Full of energy, creativity and precision, it was a joy to watch every one of these sequences. They also played a big part in further establishing the identities of each of the major characters, from sex-mad Joe’s I Can’t Keep It Down, to Miss Sherman’s poignant These are My Children, to dyslexic Tyrone’s Dancing on the Sidewalk. Though I would quibble with the appropriate nature of the former given today’s social context – Albey Brookes’ Joe, for me, now belongs firmly in the past – there is still much that remains relevant here. Through the songs and dances of the various characters, Fame confronts issues of race, sexuality, drug use and, of course, identity. It seems to do so with sensitivity even as it leans ultimately on the side of happiness and fun.

After 30 years, Fame still retains a fair bit of sparkle. This is in large part due to some sublime choreography and a highly energetic cast. It also contains a number of excellent vocal performances, not least from Mica Paris, whose finale encore ends the show on a scintillating high. Weaving numerous narrative threads without ever losing the plot, Fame is a dazzlingly brilliant show that peruses some dark corners even as it bathes us in light. I so wanted to hate it. I really did. But in the end, I admit, I found it to be very good.

Click here for more information and tickets.

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

Featured Image (C) Venue Cymru

 

Hidden – A Dark Welsh Crime Drama

When one looks back over 2018, Keeping Faith is sure to come out on top in the world of Welsh television drama. It has been a huge success. Its latest stop on its incredible journey is primetime BBC One. It goes from strength to strength, and will certainly deserve all the accolades that come its way. In amidst all the hype of this brilliant series however, it has been easy to overlook another Welsh drama that has been airing over the past two months on BBC Wales and BBC Four respectively. Produced by the creator of another Welsh hit drama Hinterland, Ed Talfan, Hidden has been allowed to bubble away below the surface of Keeping Faith’s success. I would suggest that this is primarily because it is a crime drama. And though I would agree, to a certain extent, with some of the groans that accompany the thought of yet another one hitting our screens, it does at least offer something a little different. There is a slight spin on the achingly familiar.

The twist in Hidden’s tale is the revelation of the killer at the outset. The opening scene sees a girl running through the woods, pursued by an unknown man. This girl is subsequently found dead. The investigation that unravels across the whole of the series centres on finding this girl’s killer. Such a task is given to local detectives Cadi John (Sian Reece Williams) and Owen Vaughan (Sion Alun Davies). But whilst they are in the dark over the killer’s identity, the viewer is given unprecedented access into the life of Dylan Harris, played brilliantly by Rhodri Meilir. A strange, sensitive and brutalised figure, Harris lives with his mother and daughter in an old farmhouse deep within a forest of the Snowdonia National Park. It turns out that he is a serial abductor of young women. Having let his latest catch go, we witness his unsuccessful attempt at abducting a local farm girl. Then, as the pieces of the drama’s puzzle start to come together á la The Bridge, he claims the life of long-suffering student Megan Ruddock (a standout performance from Gwyneth Keyworth). What follows is a tense thriller that follows both the police investigation and Harris’ narrative simultaneously. As a result, it involves the viewer deeply in its various twists and turns over the course of its eight episode run.

Despite the fact that the central crime isn’t particularly original, Hidden remains worthy of some praise for the performances of two of its central actors: Rhodri Meilir and Gwyneth Keyworth. Episode four in particular, which is wholly focused on Dylan and Megan, is a deeply uncomfortable yet utterly compelling hour of television. It is made so by their noteworthy performances. Firstly, Meilir brings a vulnerability and gentleness to the role of Dylan that will be recognisable to fans of the sitcom My Family, in which he played the hapless Alfie. Yet this vulnerability and gentleness are subverted as a result of the abuse Dylan has suffered at the hands of his mother (Gillian Elisa). As a result, they manifest themselves in an extremely dark and dangerous way, far from the comforting confines of the Harper household. Meilir manages to express such complexity at the heart of his character in such a way that the viewer is both sympathetic yet repulsed by him. To extract such opposing emotions is testament to Meilir and his ability to play such a broken and complex figure. Meanwhile, Gwyneth Keyworth produces an emotionally raw performance as Megan, a student whose mental anguish (outwardly shown in the form of self-harm) is exacerbated by her abduction. It is an incredibly challenging role that Keyworth manages to embody wholeheartedly. As a result, she is powerfully believable as Megan. It is easy to forget sometimes, in the course of the series, that what is witnessed is a dramatic reconstruction. Keyworth plays it in such a way that it seems horribly real. For me, it is one of the most engrossing performances in a British TV drama this year.

With a stunning backdrop that shows off the bleak, mountainous terrain of North West Wales in all its magnificent and austere glory, Hidden may not be revolutionary but it is still worth watching. With some excellent performances from the cast and a slightly different take on the conventional crime narrative, it has enough going for it to keep viewers coming back for more. If you like your crime dramas dark and disturbing, then Hidden is certainly for you. It may not be Keeping Faith but it nevertheless showcases the fantastic talent coming out of Wales at the moment at every level, from production to acting, storytelling to editing. This is very exciting. With hopefully more fantastic ‘Made in Wales’ dramas to come, the Welsh TV landscape looks like going from strength to strength.

Originally published for Get the Chance in July 2018.

Featured Image (C) BBC

Americana Night @ The Llangollen Fringe

It may be stripped down and laid bare compared to its international predecessor, the Eisteddfod, but the Llangollen Fringe has much to offer. After the big guns of Alfie Boe, Kaiser Chiefs and Van Morrison took to the stage at the Pavilion in front of hundreds last week, this week sees a host of much smaller, intimate events happening across the scenic Welsh town. One of those I had the pleasure of sitting in on on Saturday, as Americana took to the stage in the quaint, modern setting of the local town hall. “Americana” is a term that stretches across a  large part of the music spectrum, encompassing a number of similar, overlapping genres. Here, we had the opportunity to hear some country, with local band Blue Genes, and folk (of a kind), with headliners Laura Cortese and The Dance Cards.

In all honesty, it was the supporting act, Blue Genes, that caused me to purchase a ticket for this event. Being a country music fan, I couldn’t resist the opportunity to hear live this local trio who I first came across via YouTube. Consisting of mother, father and daughter, Blue Genes can most definitely be described as a family band. And perhaps it is that family connection that makes their voices blend together beautifully to create some stunning harmonies. In particular, their cover of ‘I’ll fly away’ was wonderful to listen to, the red and yellow lighting proving to be the perfect visual accompaniment. Their individual voices are not bad though either. In particular, daughter Megan’s are amazingly mature considering her tender age of 14 years. When mum Kay first announced this fact, you could hear the shocked whispers in the audience. Her voice is certainly well beyond its years. Evoking the likes of Alison Krauss and Cam, it was a pleasure to listen to her solo performances on ‘Tomorrow’s Due’ and ‘As Long as I Breathe’. This latter song was simply breathtaking, whilst the cover of Cam’s ‘Burning House’ was a brave choice but it was pulled off with aplomb. If you want to hear a star of the future, look no further. (A solo album, it seems, is already near to completion.)

Blue Genes were the perfect warm-up act for the headliners, Laura Cortese and The Dance Cards. Hailing from Boston, MA, it was their first time in the North East of Wales, and they received a rapturous welcome from the audience. It was an applause that was well-deserved as they served up some fabulous original material. All four members were kitted out with their chosen stringed instrument – a cello, bass, and two fiddles – with all four offering a sweet vocal sound that, when blended together, had the potency to melt even the hardest of hearts. There was, though, a distinct punk edge to their music too, which produced a feeling of strong-willed feminism beneath the gently flowing tunes of their folk songs. What I really enjoyed as part of their set was the stories they told in between. It was very conversational for a music gig, and all the better for getting to know them. By the end, you could sense the genuine warmth in the room for these four girls who, as a finale, called for the lights to go out so they could sing their final song acapella in amongst the audience. It was beautifully intimate and the perfect way to end the night.

To talk of Laura Cortese and The Dance Cards as a folk group is potentially problematic. This is because they push the boundaries a little with their physical expression and punk edge. In that sense, Americana is perhaps a better tag. But it doesn’t really matter what category they fall into, other than one labelled “excellent music”. These ladies are fabulous and will hopefully gain a large UK following as a result of their festival appearances this summer. Like Blue Genes, they certainly deserve wider recognition. And recognition must also go to the backstage team who put on a very professional and superbly produced evening. Don’t be fooled by the bright lights and star names appearing at big arenas. Sometimes, it is the simple touches made by a small band of enthusiastic and committed local people that provide for a wonderful night. The Fringe team certainly delivered in that regard. So if you have some free time this week to catch a show, I would most certainly recommend it. If the music is anything to go by here, the rest of the programme is shaping up to be fabulous.

Click here for more info and tickets.

Featured Image) Llangollen Fringe Home Online

Harmless Like You by Rowan Hisayo Buchanan

“At noon, the girls from Copy went out and came back with tuna salad sandwiches that they ate while perched on the top of the white radiator banks of the reception room.

‘Hi.’

They ignored her. At the end of the day young men showed up in the waiting room to collect: Alice, Maybel, Claire, Wanda, and the rest. She called the copy pool to announce their dates had arrived at the office. Each girl flounced to the door without a wave. Was it because she was young? Japanese? Yuki thought about quitting.”

Yuki is a girl who doesn’t feel like she belongs. Born to Japanese parents and brought up in New York, she neither relates to her Japanese heritage nor fits in with her American peers. When her mother and father announce their plans to move back to Japan, she chooses not to go with them. Instead, she moves in with her only friend, the confident and cut-throat Odile. Unlike her bold and brash friend, Yuki lacks the self-belief to pursue her desired career as an artist. Eventually, Odile leaves to pursue a career in modelling. Yuki is left alone.

Buchanan’s debut novel is a fascinating and challenging read. It pries open that gaping hole in all of us that desires to belong. Sad, poignant, tinged with hope, if you have ever felt out of place or feel like you don’t fit in, then Yuki may be a character you can relate to.

“Yuki circled back to her son. “I love you,” she said a last time.

She might be gone for a whole month. She might even be gone for two or three…. She just needed to find somewhere clean and clear to think. She would find a way of loving that didn’t maim. Then as soon as she was worthy of these people, she’d come back.”

Originally written for The Reader as part of their ‘Read of the Week‘ segment on 13th June 2018.

Featured Image (C) The Reader Organisation

Jo Whiley & Simon Mayo – The New Radio 2 Drivetime Show

Give it time. That’s what they asked for. And it was only fair. But two months on, and I am still reading letters in the Radio Times lamenting the demise of the Drivetime show, as was, on Radio 2. How much time do you give someone to bed in? Is it still too early to judge? Maybe, but I thought I’d give my current verdict on the state of play.

If you didn’t know, back in May, BBC Radio 2 had a bit of a schedule revamp. It led to Simon Mayo, of said Drivetime show, joining forces with Jo Whiley (of the as was 8-10pm slot) for a brand-new three hour show featuring the best in new music, guests from the arts, and regular features. Much like the rest of the Radio 2 listening family, I didn’t quite understand the reason behind the move. If it ain’t broke then don’t fix it, as the old adage goes. And this was certainly the case with Drivetime. The camaraderie between Simon, Matt and Bobby Pryor was wonderfully natural. It felt like spending two hours every evening eavesdropping on a family get-together. Laughter aplenty; fun always to be had. So why change it? In an interview with the Radio Times, the head of BBC Radio, Bob Shennan, explained:

The changes we’ve made have been in order to make sure we keep fresh and relevant for all audiences. You have to keep replenishing at the younger end, but not in a way that deprives anyone.

Speaking as a younger listener (of 27 years old) I would say that the Drivetime show was fresh and relevant to all audiences. You could tell this not only by my listening to it but by the number of children and families ringing up to ‘All Requests Friday’. In a sense, the show represented the best of family entertainment: ‘Homework Sucks’ for the kids, ‘Confessions’ for the adults’, and lots more in between. So why change it? One of the suggestions I have heard mentioned is the need to get a female voice into the prime-time schedule. In terms of equality, I can understand this. But the problem is that this move feels like a shoehorn. And the reason is because it probably is. In my opinion, it would have made far more sense to give one of the current presenters a P45. (Personally, I much prefer Sara Cox of a morning to Chris Evans, and Jo Whiley has done a fine job filling in for Steve Wright in the afternoons before now). Better still, and simply undergo changes naturally, as has been the case with The Blues Show. Incidentally, the choice of Cerys Matthews as the retiring Paul Jones’ successor has been a wise and inspired one. Instead, we are left with an enforced change that doesn’t sound like it will ever be undone. Bob Shennan, in the Radio Times (7-13th July edition), again:

I’m delighted that two of Radio 2’s most popular presenters, Jo and Simon, are now presenting a brand-new show each weekday, which I’m confident will become one of the network’s most listened to shows.

I sincerely hope that he’s right. There is still time to be proved wrong. But, again, how long do you give it?

It’s not terrible by any means. The sessions that they have had with musicians such as George Ezra and Lily Allen have actually worked really well. They are probably the most natural part of the show. The ‘New to 2’ slot is definitely a winner (with extra brownie points from me for their inclusion of Catherine McGrath and Ward Thomas so far!). But the Confessions, although still entertaining, are just not quite the same without that camaraderie I initially mentioned. There’s something quite flat about it all. Plus, the extra hour that the show is on for doesn’t seem to count for anything. The old Drivetime was tightly packed and beautifully ordered. Now, there is far too much space. As a result, there ends up being a lot of back-to-back tracks which, in and of itself, isn’t necessarily a bad thing. But when you enjoyed the conversation between the three presenters and the regular features in between the music, then to replace it with near wall-to-wall music isn’t exactly an improvement.

I know that many listeners to the specialist music shows on afterwards have also had a problem with their later start time of 8pm. For some, this is now too late. 7pm was the perfect time for them, and to some degree, I am inclined to agree, although it’s not made a huge difference for me personally. On the other hand, as an avid listener to Bob Harris Country, it’s actually been rather wonderful to hear that a whole new bunch of listeners have tuned in and discovered country music as a result of the later start time (one assumes that this has been similar for other 8pm specialist music shows too). I’m all for more converts to country in that sense!

Perhaps the most puzzling and pointless segment that, in a way, sums up the feelings of many towards this new show though is the box of badges given out to interviewees and ‘End of Days’ players alike. For an audio-only medium, I find this idea most bizarre. As bizarre as the decision to revamp the Drivetime show actually. But as much as we can all wish for it to go back to normal, the reality is that it’s now gone. Finished. Matt isn’t coming back. The showstoppers won’t be returning. I will, of course, carry on listening. It will take more than this to cause me to divorce my beloved radio station. And who knows, perhaps, once I get over the loss of the old, the new will start to grow on me a lot more. Give it time, and maybe we’ll come round. Maybe it’s still too early to judge. Perhaps it is only right that we give them even more time. In any case, what is the alternative? The Jo & Simon show, it seems, is here to stay.

Check it out for yourself here.

Home I’m Darling – A Theatr Clwyd/National Theatre Co-Production

Travelling along the sun-drenched roads of North Wales in the heat of an early July evening, I wondered whether it was the right time to be going to sit in a theatre. But Home, I’m Darling is worth suffering a bit of sweat for. It may have been warm in the Emlyn Williams Theatre, but that did not stop me from thoroughly enjoying Laura Wade’s brand-new play. With a sizzling set, a bunch of colourful characters, and a blooming good narrative blossoming with resonant themes, this is a must-see for the summer.

As I entered the auditorium, I gasped with amazement at the sheer size and scope of the set. To be greeted by a full scale model of a house was not what I expected. I was positively overwhelmed by the sheer level of detail in its interiors and furnishings. The work of designer Anna Fleishle and her team is nothing short of remarkable. It transports us immediately into the world of the 1950s, where we meet a “sickeningly happy” couple played by Katherine Parkinson (The IT Crowd, Humans) and Richard Harrington (Hinterland, Lark Rise to Candleford). Parkinson plays the doting housewife to Harrington’s sporting gentleman. Set to the music of Mr Sandman, there is an air of pristine perfection about this opening scene. The song exudes a dream-like state in which these two characters exist and, indeed, as Harrington’s Johnny pops on his hat and coat, takes his lunchbox packed by Parkinson’s Judy, and kisses his wife goodbye, it all feels rather like a Sunday afternoon TV movie. So when Parkinson pulls out an iPad from a drawer, it creates a moment of dissonance that reverberates on the saccharine glass of this play’s squeaky –clean window.

Parkinson gives an accomplished performance as Judy, an idealist who delights in the idea of immersing herself in the 1950s by becoming a full-time housewife. It is not just the décor that oozes a nostalgic charm. Along with some incredibly elegant dresses, Parkinson’s slightly RP-toned accent and gliding movement paint a picture of a simple existence far removed from the complications of modern life. Judy is a woman who has chosen this life of frugality and servitude. Parkinson has her defend this choice with the kind of razor-sharp wit that is a staple of her acting persona. Even the impassioned speech of her feminist mother (Sian Thomas) seems to have little effect on her. It is a succinct and timely reminder of all that women have fought for over the past 100 years. It may not have broken through the resolute edge that Parkinson provides Judy with, but it was powerful to hear as an audience member. Such a resolute appearance is marked by an air of vulnerability however. Judy has lost herself in the pursuit of her ‘50s dream. It is left to Johnny to help her find herself again. Harrington invests warmth and loving care into his character. He could not be further removed from his troubled and brooding character in Hinterland. When he does get angry, it is a tone that will be familiar to fans of the BBC Wales crime drama. It seems that anger is what Harrington does best. Yet there is a distinctly soft side to Johnny that shows another side to Harrington’s acting ability that I’ve not seen before. It was refreshing to see, and proves his worth as one of Wales’ finest contemporary actors.

Sadly, we don’t get to see near enough of another of Wales’ finest. In my opinion, Sara Gregory is up there with Eve Myles in terms of her acting ability and characterisation. Her turn as branch manager and Johnny’s boss Alex in Home, I’m Darling is short but unsurprisingly sweet. She brings a professional charisma and expert flair to her character that makes her a formidable force for the short time she is on stage. When her, Parkinson and Harrington are together, it is one of the most electrifying scenes of the whole play. Kathryn Drysdale and Barnaby Kay complete the cast, both giving solid performances as husband and wife duo Fran and Marcus. Such is the quality of their characterisation that they could easily be the lead characters in another story. It is testament to Laura Wade’s writing that, instead, we have them occupying this space as minor, but no less significant, characters to Parkinson and Harrington’s leads.

Due to move to the National Theatre in London later this month, Home, I’m Darling is worth catching if you are in or around North East Wales. Director Tamara Harvey and her team have again excelled themselves with a production that is just as, if not even more memorable, than 2017’s Uncle Vanya. The set is certainly as iconic as the one created for Uncle Vanya, and the cast that has been assembled is again oozing with quality. Katherine Parkinson feels like she was made for the part of Judy. Richard Harrington is brilliant as her husband Johnny. Sara Gregory and the rest of the cast are given characters that could quite easily be lead parts in an alternative version of events. Massive credit must go to Laura Wade for creating such an inventive and mesmeric play. She has created something that perfectly encapsulates the zeitgeist, and that includes the weather at present. Amidst the current spell of sunny weather, it is worth venturing indoors for an evening in order to see this wonderfully colourful creation.

Originally published for Get the Chance in July 2018.

Featured Image (C) Theatr Clwyd