Keeping Faith – Part of a Golden Age for Welsh TV Drama?

Having just watched the final episode of Keeping Faith on BBC Wales, I’m asking myself: Is this a golden age for Welsh television drama? Hinterland was critically-acclaimed. Bang featured in the national press. Gwaith/Cartref continues to be a marker for quality Welsh-language drama. Parch has just entered its third series. And Craith will be broadcast in the English language later this year as Hidden. It appears that one cannot move for drama made in Wales. And it’s about time too. Gone are the days when S4C was presumed to be solely for first-language Welsh speakers. Once, BBC Wales-backed dramas were so few and far between that their broadcast almost felt like a national event. Now, subtitles are no longer a barrier, in large part thanks to the phenomenal success of The Killing. Meanwhile, BBC Wales will be following up Keeping Faith with Hidden later this year.

Of course, quantity does not automatically mean quality. However, in the case of the above, quality most certainly matches the output. In terms of Keeping Faith, this has not only been reflected in its incredible cast of Welsh actors but in the gripping storyline and its atmospheric soundtrack. So, if you haven’t managed to catch it yet, here are three reasons why you should log onto BBC iPlayer and download the series:

Eve Myles

Fans of Torchwood and Broadchurch will already know the brilliance of Eve Myles. Personally, I’ve run out of superlatives to describe her acting skills. Here, she plays the lead character Faith, wife to Evan (Bradley Freegard), mother to three children, and a lawyer in her husband’s family firm. One Wednesday morning, her life is turned upside-down when Evan leaves home and disappears without trace. Over the course of the next eight episodes, we see this strong, no-nonsense woman face the most challenging emotional, professional and personal pressures of her life. In doing so, Myles produces a character of incredible complexity with seeming simplicity. She manages to wholly embody her character and, as such, Faith’s every expression is drenched in meaning. There is a moment in episode two, for instance, when her vacant stare manages to reveal a plethora of internal emotion. We see her frustration, pain, anger, sadness and confusion all packed tightly into that single expression. Only the best actors can convey so much through doing so little. This is not to say that Myles’ natural physicality does not also enhance the strength of her performance. There is a wonderful moment in episode six, in the boardroom of the law firm, where Faith’s frustration and joy is brilliantly conveyed through the movement of Myles. In this same episode, when Faith is in conversation with Gael Reardon (Angeline Bell), Myles moves so quickly from a smile to a frown that it adds a light humour to the serious nature of the circumstances. In so doing, we learn so much about her character. It is these small moments, in which so much is communicated, that make this such a standout performance. She really is one of the best actresses of her generation.

Amy Wadge

Alongside Eve Myles, the music has got to be the star of this show. It is beautifully constructed, weaving in and out of the series like the ripples of water in the opening titles. Written, composed and performed by Amy Wadge, it is gorgeous in its simplicity and captivating in its tone. It is a bit of a coup to land a woman who has written songs for some of the biggest stars in the music industry (Ed Sheeran and Kacey Musgraves among them). Yet her star quality is surely what elevates this soundtrack to become a powerful narrator within the series. Wadge has clearly spent time with the character of Faith, connecting so deeply with the character’s emotions that at times the music speaks what no dialogue could. As such, it perfectly complements Myles’ performance, even enhancing it at times. Before going out to buy the soundtrack however, I would recommend a listen to the Welsh translation, sung by Ela Hughes. If you like the originals, you will love these Welsh-language versions.

The Story

Keeping Faith is first and foremost a drama about family. The mystery of Evan’s disappearance may be the hook, but the central focus is on the family. To this end, Matthew Hall has enabled the series to steer the course of eight episodes without ever overstretching the plot twists or exhausting the narrative threads. It enables us to remain intrigued by the disappearance of Evan whilst giving us a fully formed world of characters all with secrets of their own. As a result, the central mystery becomes laced with other mysteries as the web of family affairs widens. It is not only the marriage of Faith and Evan that is put under the microscope, but those of Tom and Marion (Evan’s parents) and Terry and Bethan (Evan’s sister) too. Add a cast of corrupt police officers, a criminal underworld and a client that has feelings for Faith and there is no shortage of action. All that is left is to give a nod to some of the cast for bringing Hall’s intriguing narrative to life so vividly, among them Mark Lewis Jones (Stella), Aneurin Hughes (Hinterland) and Matthew Gravelle (Broadchurch).

Here’s to a second series of Keeping Faith, and to keeping the production line rolling on quality Welsh drama.

 

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

Featured Image (C) BBC

C2C: Country to Country Festival 2018: 5 UK Country Artists to Watch

For most people, country music evokes images of Stetsons, cowboy boots and the deserts of the Deep South. And though these are perfectly legitimate symbols, this increasingly popular genre is a whole lot more diverse than one might ordinarily assume. To gain some understanding of how broad a church this music really is, I would recommend a visit to the annual C2C: Country to Country Festival which takes place at the O2 Arena in London. Here, you will find an incredible range of sounds that might seem completely opposite to one another and yet, in the world of country music, sit happily alongside each other in perfect harmony. There is no better example of this than from this year’s event, which I have recently returned from. Within a couple of hours on Sunday night, there featured mod-inspired rock, gospel-infused folk, and bass-laden pop. In no other genre would you get such an array of musical styles playing to the same enthusiastic audience, one after the other. Yet this is the joy of country music. It embraces almost every musical style. The only necessary ingredient is good storytelling.

Country music is a genre that is growing in popularity on both sides of the pond. But its rise in Britain has been especially notable in the last couple of years. Many point to the emergence of The Shires as the starting point for the growing interest here. Indeed, their debut single Nashville (Grey Skies) resulted in my own conversion to country. Whether it began before then, there is little doubt that their subsequent success has opened a door for British country music artists, and the success of C2C has further demonstrated a huge appetite for the genre. Having attended the event for the first time last weekend, it was so pleasing to see and hear the quality of the British acts on show. Don’t get me wrong, the Main Stage concerts, featuring the big stars of American country, were incredible. Yet I was especially excited by the range and wealth of talent on show from this side of the Atlantic. To this end, I would recommend any number of review sites to read about the fabulous talent on show from across the pond. Here, I simply want to highlight five British country music acts in particular that I think you should look out for in the coming weeks and months:

Elles Bailey

Bristol-based Elles Bailey combines rock, blues and country to create a mature, soulful sound. Her high-energy performance went down a storm on the Big Entrance stage. Touring to smaller venues around the UK and Europe, be sure to check her out. You are sure to be thoroughly entertained.

Katy Hurt

Soaked in country music from a young age, Katy Hurt is now maturing into one of the UK’s finest singer/songwriters. With a debut album on the way, these are exciting times for this young female artist who is a great advocate for country music here in the UK.

Clara Bond

Having discovered Clara Bond during my early forays into Twitter, I was already well acquainted with her music before seeing her play live on the Busking stage at the weekend. Her debut EP Out of Towners is a brilliant record, full of country pop vibes and catchy lyrics. She is definitely one of my top female UK country music artists to listen to.

The Adelaides

If you love the gorgeous harmonies of Wildwood Kin and Ward Thomas then The Adelaides are sure to be your thing. These three girls create such beautiful melodies and have such a sweet rapport on stage. Be warned though. You’ll never look at jelly babies in the same way again after their song of the same name…

Twinnie

Why hasn’t this lady released an album yet?! With vocals to rival that of Imelda May or an Amy Winehouse, and a sparkling personality to boot, Twinnie is surely going to be a major breakthrough act at some point in the near future. A Yorkshire lass with a dry wit and a soulful sound, I think it’s fair to say that she’s the Kate Rusby of the country music world.

These guys are just a small selection of the fabulous talent that is emerging on the UK country music scene. Exciting times are ahead, of that there is no doubt!

Originally published for Get the Chance in March 2018.

Hold the Sunset – Raising a Smile, but not a Laugh

It seems that most new sitcoms should be given time to grow. Look back at early episodes of Blackadder and Dad’s Army for instance, and they don’t really compare to later series. Sometimes, it takes a while for the cast to gel, the writers to really know their characters, and the public to really take the programme to its heart. That’s why I have held off on casting my verdict over the BBC’s latest comedy, Hold the Sunset. Typically middle-class, it features a roster of fabulous actors that suggested it would be a sure-fire hit – Alison Steadman, Anne Reid, Jason Watkins, Joanne Scanlan, and John Cleese no less. The latter should be a mark of comedic quality. Surely he wouldn’t get involved otherwise. He has no need to. Then maybe Cleese sees something that I don’t. Maybe it’s got hidden potential, because though I waited for it to burst into life, it failed to hit any funny bones and, instead, went straight for the goodness of my heart. To that end, it never failed to crack a smile. But the laughs just didn’t come.

The premise is simple: a middle-aged man (Watkins) has a bit of a midlife crisis, leaving his wife and kids and moving back in with his mum (Steadman). For his mum, Edith, it comes at the most inconvenient time. She has just agreed to marry long-time neighbour Phil (Cleese) and jet off abroad to live in the sunnier climes of southern Europe. Yet all is put on hold as a result of Roger’s return. What ensues, across the course of six episodes, is a selection of oddball stories that give new meaning to the term ‘situational’ comedy. The situations in question are baffling to say the least, none more so than episode four’s ‘The Burglary’. It involves James Cosmo playing a one-armed ne’er-do-well who breaks into Edith’s house with the intention of getting caught. Things get a whole lot stranger when, it turns out, ‘Bob the Burglar’ is a long-forgotten flame of Edith’s. A coincidence or what? Frankly, I didn’t care. I was simply baffled, particularly by the fact that, somehow, Bob then manages to become a regular character in the series. If things couldn’t get anymore unusual, Bob is the trigger for a two-episode narrative in which Roger attempts to trick the authorities into believing that he is a carer for his mum. The assessor who comes to call in the final episode is played by the wonderful Alexandra Roache (Utopia, Accused). Again, I ask, how can this series not be funny when it’s attracting such a great cast? One things for certain, the quality of the cast is the only reason why this series doesn’t fall flat on its face. Such weak story arcs would simply crumble into pure ridicule if it wasn’t for the solid and reliable structure of Watkins et al.

One must at least give writer Charles McKeown credit for creating likeable characters. The cast do a brilliant job of bringing his creations to life. Watkins is excellent at portraying the childish petulance of Roger. Steadman is solid and reliable as his no nonsense, slightly fussy mother. Anne Reid brings a positively barmy edge to the cleaner Mrs Gale, whilst also maintaining a level of authenticity that stops her becoming a mere caricature. And Cleese brings a certain class to the well-dressed, lightly mocking character of Phil. It is the fairly rounded nature of these characters that has allowed me to at least raise a smile and quietly enjoy their company for half an hour each Sunday evening. It is just a shame that such a smile never turned into a laugh, particularly given its billing as a sitcom. Perhaps, in this instance, Hold the Sunset may have benefited from a live audience. The realist approach didn’t quite fit with its eccentric nature.

For all its flaws, I can’t help but feel that Hold the Sunset will get a second series. Its ability to raise a smile will probably count for something. It makes a change from the hard-hitting, tear-inducing storylines of Call the Midwife that we’ve recently been exposed to at any rate. If it does, I hope that McKeown can come up with some better stories. Dig into the My Family archives, if need be, for some inspiration. He has a great cast that deserve better, and will turn this into a real gem if he can. And if it doesn’t, well, I can’t say I’ll be too disappointed.

So, over to you BBC comedy commissioners. Will you hold the sunset on Hold the Sunset?

Come Back Fighting – Philippa Hanna

For many, Philippa Hanna was probably a relative unknown a week or so ago. But now that her cover of Ed Sheeran’s Perfect has gone viral, it would appear that this is no longer the case. Yet for those who have followed the 33 year-old singer, long before this latest social media storm brewed, it will come as no surprise that she seems to be taking it all in her stride. This is a lady who is marked out by her humble character and inspirational personality. She is on a mission to champion self-esteem in young people; to tell people how beautifully and wonderfully made they are. It is more than admirable. It has the potential to be positively life-transforming.

One of the ways that Philippa Hanna is seeking to do this is through her music. The opening track of her latest album Come Back Fighting perfectly captures the feel-good and inspirational message that she wants to send. Follow up track (and latest single) Off the Wagon continues this upbeat theme. It is a song that exudes sunshine, perfect for the first official day of British Summer Time. Yet don’t be mistaken. There are no fluffy pink clouds or eternally-smiling faces here. You need only listen to Getting On With Life to realise that. Hanna’s country-pop sound is firmly lodged in the genre’s tradition of down-to-earth storytelling. This is not a woman who is calling us to escapism. Instead, she inspires us to show a little more love and compassion. It is about looking beyond ourselves, and thinking of others who may be “going through battles no one sees us fight”.

It is clear that Philippa Hanna takes a lot of inspiration from her Christian faith. Thankfully, when references to such are made, they feel natural and unforced. This is not a singer who has been sucked into the world of Christian worship music and lost her sense of identity or calling. Instead, she remains outside this sub-cultural genre: a country artist who is a Christian rather than a Christian who sings country music. It may be a subtle difference. But the feeling that her faith is allowed to emerge in her songs organically, rather than being forced, is what gives them an authenticity that makes a huge difference in one’s appreciation of her experiences in life and faith. To that extent, Perfect does not feel like one of those cheesy attempts to “christianise” a popular song. Instead, in the ordinary surroundings of her dining room, Hanna simply connects with Sheeran’s song and is called, in one way or another, to praise God with it, regardless of how many views it gets on YouTube. She shares it because it is her passion. Commercial appeal never comes into it.

I first heard Philippa Hanna on Good Morning Sunday, around the time she released her 2016 album Speed of Light. Since that time, her music has slowly grown on me. She’s been lurking in the background for a while. After Perfect though, she is now firmly in my sight. I’d have loved to have gone and seen her in Manchester as part of her whistlestop tour next month, but sadly prior commitments mean that I’ll have to miss out (this time). But to those of you who can, I urge you to go. If there’s one person who can sing away the threat of April showers, it is Philippa Hanna. She is a little ray of sunshine who, in small and significant ways, is making the world a better place 🙂

For tickets to Philippa Hanna’s tour, click here.

Featured Image (C) Philippa Hanna

Great Expectations at Theatr Clwyd

To be familiar with a narrative can sometimes evoke the desire for a fresh perspective. Yet even as one anticipates the events of a classic literary text such as Great Expectations, another member of the audience might be encountering it for the first time. Therefore, ideally, the adaptation must stay true to the original whilst offering something unique. To this end, I would say that Tilted Wig Productions have done a fine job in breathing new life into one of Charles Dickens’ most famous stories. And they have done this particularly well through the use of music, costume and set design.

For my companion, this would be his third theatre production of Great Expectations. This, alongside the viewing of many film and TV adaptations from down the years (his particular favourite being the 1989 production, which notably starred Anthony Hopkins as Magwitch), obliged me to ask for his humble opinion after the show. One of the most striking features for him -indeed for me too – was the simplicity of the set. Compromising a three-dimensional, metal-framed box, with a wooden-slatted wall across the back, and two sloping platforms to the front and right, this was a very basic stage. One of the advantages of such a rudimentary set-up was that it enabled the fluid movement of the actors. Another advantage was the ability to transition seamlessly between scenes. It is no mean feat to take on a narrative of such scope, with its broad array of settings, and recreate such different worlds in such a limited space. With the creative use of lighting, director Sophie Boyce Couzens and her team manage to do so, and with seemingly relative ease. We were both mightily impressed by the scale of this production.

One of the shows that this production evoked for me was the National Theatre’s Jane Eyre. In some senses, Great Expectations was essentially a miniature version of this. Both the set and the use of folk music are employed in similar ways, but on a much smaller scale in Great Expectations. Yet the quality is on a similar par. In terms of folk music, there may only be one musician in the cast of Great Expectations, but composer and performer Ollie King manages to evoke such realism with his accordion that no further instrumentation is needed. With a few simple notes, he creates an atmosphere, evokes a setting, and produces an emotion. It is an incredible skill for which he deserves all recognition. Alongside King’s music, there were also some interesting sound effects produced by the other actors, using a plethora of everyday objects shelved on one side of the set. These diegetic additions wonderfully complimented the action on stage, adding to the atmosphere and setting brilliantly. Again, simplicity was a striking feature in the use of sound. And for this production, simplicity becomes a mark of its quality.

Finally, I would like to nod handsomely to the costume makers. With most of the actors playing multiple parts, the choice of a base layer of clothing for each of them, onto which one or two items can be slipped on and off at each turn, allows for maximum flexibility, contributing to the seamless transition between scenes that I have already noted. Moreover, the transformation of Pip (Sean Aydon) from a blacksmith’s apprentice to young gentleman of the city is profoundly simple. It requires only the buttoning up of his jacket, the addition of a coat, top hat and bag, to completely change the character’s social class. I couldn’t believe the effectiveness of such minimal changes. The piece de resistance however, has to be the wedding dress of Miss Havisham (Nichola McAuliffe). It is glorious in its tapestry, magical in its setting, and beautifully faded to reflect the character’s frozenness in time. It perfectly matches the commanding and slightly offbeat performance of McAuliffe. Considering the anticipation that came with this – Miss Havisham is my favourite character in Great Expectations, and one of my favourites in Dickens’ collection – it certainly didn’t disappoint.

Overall, Tilted Wig Productions, in association with Malvern Theatres, have produced an adaptation of Great Expectations that is marked by simplicity. Yet this simplicity is not akin to low quality. The set may be basic, but it allows the actors a freedom to creatively engage in storytelling. The music may be stripped back, but it evokes atmosphere and emotion incredibly well. The costumes may be simple, but the ability to transform characters by the drop of a hat or the fitting of a jacket is extraordinary. They manage to achieve so much by keeping it so simple. It makes for a beautiful adaptation that finds that wealth is not the maker of a show. Instead, with a little bit of ingenuity, it is love that creates something truly special.

Originally published for Get the Chance on 28th February 2018.

Featured Image (C) Theatr Clwyd

Crazy For You – Venue Cymru

Amidst the freezing temperatures and howling wind of North Wales this week, an electrifying performance is taking place in the warmth and comfort of Venue Cymru. The Watermill Theatre have brought their hit production of Crazy For You to our cold climes. And it is worth bearing the snow and ice in order to catch it*. Prepare to have your heart lit up with a feel-good soundtrack, and to lose yourself in its escapist narrative. With music by the masters of the musicals song, George and Ira Gershwin, this is sure to be a fun-filled night out that will leave you positively on fire for more of the same. I challenge you not to enjoy it!

One of the highlights of this particular production is the actor Tom Chambers. Most recognisable from his TV roles in Holby City and Father Brown, here he plays Bobby, the son of a banker and a wannabe Broadway star. Putting on an accomplished New York accent, Chambers brings plenty of humour to the role. He also portrays a level of innocence in Bobby that manages to place him as a dreamer without him ever becoming naïve. It is so easy to be won over by his charm and wit. The multi-talented Chambers does not just treat us to some fabulous acting. He also demonstrates his amazing prowess as a dancer and instrumentalist. Throughout the show, we see and hear his impressive tap dancing skills. We are also treated to his playing of various instruments. Despite his limited ability in this when compared to other cast members, he nevertheless tries his hand at the drum, the double bass, and, perhaps more unconventionally, the spoons. There is not much this man cannot do. As a result, he is the perfect star of the show.

Chambers is closely matched by his two female co-stars, Claire Sweeney and Charlotte Wakefield. We don’t get to see as much of Sweeney as her billing might suggest, yet when she is on stage, she is a force to be reckoned with. As Irene, Bobby’s supposed fiancée, she is commanding, brash and fabulously sensuous. It is a shame that we don’t get to see more of her. Thankfully, this is not a problem with Wakefield. She is pretty much the co-lead with Chambers, giving a brilliant performance as Polly, Bobby’s love interest. She fuels her character with passion and determination, bringing a steely and strong-willed nature that defies any potential for Polly to simply be the passive and do-eyed girl. She is equal to Chambers in the choreographic department whilst exceeding him with her strong singing voice. Her solo performances are a real treat for the ears. However, it is the ensemble pieces that are the musical highlights of the show. “Who Can Ask For Anything More” is a masterclass in musicality whilst “Slap That Bass” is fabulously fun. This latter number comes complete with some outstanding choreography as well as a star turn from Ned Rudkins-Stow (Moose) on the double bass. It really will “slap away your trouble”.

If you’re looking for a bit of razzmatazz then Crazy For You fits that brief perfectly. It is uproariously fun and unashamedly upbeat, ideal for washing away those winter blues and warming the cockles of your heart. I cannot recommend it highly enough as a prescription for a tough day or against an air of negativity. So escape into a world of sassy sequins, tremendous tunes and heaps of hilarity and happiness. Brave the cold weather for a bit of fireside joy. You won’t regret it. I promise.

*health and safety pending, of course!

Originally written as part of Young Critics North Wales. Click here for more info and tickets.

Jekyll & Hyde – Venue Cymru

There is an audible gasp from the audience as a man enters through a door wearing a blood-soaked shirt. Tearing it off, he throws it at the woman who has been awaiting his return. In no uncertain terms, he tells her to get rid of it. Meanwhile, he pulls a clean white substitute out from a nearby drawer, slipping it on without a second thought. The audience let out a nervous laugh. One assumes at the convenience of such an action. But the man’s resemblance to a certain scything Ross Poldark might also have had undue effect. We are far from the Cornish coast here, however. Instead, Black-Eyed Theatre have encamped us to 19th Century London, where The Strange Case of Dr Jekyll and Mr Hyde takes place. The story is a melting pot of ethical dilemmas. Yet even as it provokes deep thought, it does not rest on the ambiguities that arise from such matters. At its heart is a gripping narrative, driven by the decisions of its four main characters, and twisting and turning from the consequences of their actions. It certainly makes you think. But it also thoroughly entertains.

The man of the above sequence is one Edward Hyde. He is the creation of one Henry Jekyll. Close to a neurological discovery that could change the face of medical science, he is abruptly stopped in his tracks by his close friend and colleague Hastings Lanyon (Ashley Sean-Cook). He has a serious issue with the unethical methods of Jekyll’s experiments. Threatened with exposure, Jekyll is forced to experiment on himself, resulting in the emergence of this brutal and murderous character. Jack Bennell is the person tasked with switching between two sides of the same man and he does so with aplomb. There is a clear distinction between the benign and broken speech of Henry Jekyll and the confident, arrogant swagger of Hyde. Whilst the former uses his stick for support, the latter swings it about like a sword. Indeed, one of the most striking scenes in this production is where Hyde, fully embodied for the first time, sets upon a passer-by and bludgeons him to death. The slow-motion choreography, complete with precise movement, subdued lighting, and the emergence of a blood-red background, create a horrifically compelling set-piece that deserves the greatest of plaudits. It is this brutality which is laid incredibly bare throughout the second half, as Hyde begins to take over the body of his frail other. Needless to say, it can get violent at times – hence the age restriction – but it is not too overly graphic either. The music does a great job of emphasising this brutality and violence. Tristan Parkes has produced some wonderful compositions that also help create suspense. There is a real sense of foreboding in the low-playing violins, the hard-hitting drumbeat, and the repetitive screeching of two piano keys. Moreover, the dissonant sound of Paige Round’s folk harmonies, over Hyde’s looming darkness and despondency, make for a clever piece of theatre, cruelly playing with the emotions of the audience. Extraordinarily compelling.

Given a new lease of life by Black-Eyed Theatre, The Strange Case of Dr Jekyll and Mr Hyde is an exhilarating adaptation of Robert Louis Stevenson’s tale. It may turn slightly melodramatic towards the end courtesy of Eleanor (Round) and Hyde’s romantic links. Otherwise, it is a largely absorbing, thought-provoking piece of theatre. Its aesthetic realism is something to behold, and its soundtrack adds perfectly to a chilling narrative. One thing’s for sure, it is a positively gripping formula that will allow you to indulge your dark side. That’s certainly better than acting on it, don’t you think…

Originally written as part of Young Critics North Wales.

The Weir – Mercury Theatre @ Theatr Clwyd

Whilst on holiday in Ireland a couple of years ago, a visit to the low-lying valley of Glendalough found us walking through the stone ruins of a monastery. On this particular day, the mist had come down. There was rain in the air. For a popular tourist destination, there were few people around. It was still. It was quiet. There was something about the place that gave off a mystical, otherworldly vibe. It is little wonder then that belief in the supernatural is a prominent feature in Irish storytelling. It is certainly a fixture in the stories told by the characters in The Weir. The Mercury Theatre, in a co-production with English Touring Theatre, has decided to revive Conor McPherson’s play to mark its 20th anniversary. It is a decision which should be celebrated, not only because of the exceptional quality of the script but because it speaks some important truths into issues currently bubbling up in contemporary society.

The audience is invited into a small town pub in rural Ireland where we are witness to the folkloric tales and ghostly stories of a couple of regulars. They are prompted to delve into the art of storytelling by a newcomer to the village. Beneath such paranormal content however, lies a much deeper and darker level of human thought and emotion. As the stories open up to reveal dark and unsettling truths, it prompts this female stranger to share a secret from her past. She has a story of her own, and its truth will shake them all. So disconcerting are the stories that they tell, several members of the audience (at least around me) clearly felt the need to react in the form of whispered commentary to neighbours or the placement of a hand over a mouth. Such audience reaction was clearly in relation to the stories, yet such impact is as much down to the delivery of these stories as their content. In this respect, much applause must go to the actors on stage. In particular, Sean Murray (Jack) was so captivatingly brilliant that one could have heard a pin-drop inside the auditorium. A large slice of recognition must also go to the production team, particularly Madeleine Girling (Designer) and lighting designers Lee Curran and Dara Hoban. To present a cross-section of the pub, where the lines between the stage and the stalls were blurred, I found, had the effect of assuming the audience as part of the action. We were, in effect, sat inside with these people, the attentive listeners to their gripping narratives. As each story was told, the gradual reduction of light caused an acute focus which made such attentiveness all the more palpable. It also created an atmosphere that became increasingly eerie and unnerving, culminating with the actors speaking under a single spotlight, and accompanied by the occasional single sharp note of a violin. Truly engrossing.

One of the fascinating elements of McPherson’s play, from a contemporary perspective, is the impact of a female presence upon the typically-masculine world of the boozer. It is clear that Brendan, the pub’s owner, has not had to bother accommodating for a female visitor for some time, if ever. He has to dash through to his living quarters to source a bottle of wine, then has to promptly serve it in a pint glass, and later must announce that the women’s toilets don’t work. This haphazard, unaccommodating state of events is taken humorously by the audience, yet despite these light-hearted observational moments, like the character’s stories, there is also a deeper level of social commentary that speaks to the ongoing problem of gender inequality evident in traditionally male-dominated institutions. It is fascinating to see the subtle and gradual shift that takes place in these men once Valerie (Natalie Radmall-Quirke) has entered their midst. Themes of loneliness, fear and loss start to come to the surface in a less-mediated way. Vulnerability and emotional capacity open up. Suddenly, there is a glimpse of raw reality. The masculine ideal begins to crack. It is subtly powerful stuff.

If you want to be entertained, challenged, moved, and inspired then The Weir will certainly tick all of those boxes, and more. It combines pathos and humour exceedingly well. It invites the audience to inhabit its world and become utterly engrossed in its content. The stories told may be unsettling but they are gripping too. The cast excel in creating an intimate atmosphere that draws the listener in and has them hanging on every word, helped by the inspired set design and excellent use of lighting. It reminds you of the simple power of oral storytelling. So step away from your screen. Turn those electronic devices off. And experience the thrill of immediate, live storytelling.

Originally published on 14th February 2018 for Get the Chance.

 

The Wandering Hearts – Wild Silence

Following on from the success of The Shires, The Wandering Hearts are surely the next big breakthrough act in the world of British Country Music. On the evidence of their debut album, Wild Silence, it would be hard to argue otherwise. The recipients of the ‘Best Emerging Artist’ at last week’s Americana Awards have produced something of incredible scope. Here are twelve tracks that seamlessly flow into one another – a musical river of harmonies carving its way through a landscape of various genres and musical arrangements. The inclusion of such a vast array of influences into their songs could so easily have gone wrong. Yet far from a cacophony of sounds, here we have an album that triumphs in the audio equivalent of cocktail making. It shakes together a number of musical ingredients to create a drink bursting with flavour. Such a diverse recipe – including folk, rock, pop, country, and bluegrass – in the wrong hands, has the potential to be a disaster. Yet The Wandering Hearts have created something that packs an authentically tasty punch. It is an incredible and delicious sound.

This four-piece group are far from one-trick ponies. The album takes us on a journey through a soundscape that twists and turns at regular intervals. It is not only between each song, but within each song too, that such changing of musical direction and pace takes place. Opening track “Rattle”, for instance, begins with the floating harmonies of Tara Wilcox and Tim Prottey-Jones. Then, with a single drumbeat, the gravelly tones of AJ Dean-Revington are introduced and we are suddenly exposed to heavily-laden rock. The switch from one style to another is unexpected. Yet it is far from disjointed or off-putting.  Similarly, “Laid into the Ground” begins as a sea shanty before rising to a crescendo of electronic rock. Again, it is unexpected, but surprising alluring. It seems that The Wandering Hearts have refused to sacrifice their multifarious influences in favour of one over all others. Instead, they have sought to incorporate all of them to one degree or another. As a result, it makes for a hugely enjoyable album that defies categorisation.

An inability to generically label The Wandering Hearts makes it hard to offer up comparisons. However, as I listened to Wild Silence, I couldn’t help thinking of Rend Collective. Both band’s albums are of an eclectic nature, and there is a definite similarity between the vocals of their female leads. There is also an ethereal quality to Wild Silence that is produced in a similar way to that found on the albums of Wildwood Kin and The Pierces. In all of these cases, it is the vocal harmonies of their members that manage to evoke such a transcendent sound. Certainly, during the title track for instance, I found that I was transported out of myself somehow. Not so much ‘our only sound’ as a holy sound.

I cannot speak highly enough of The Wandering Hearts. They have produced a stunning first album that deserves to be lauded with every award going. Wild Silence blends together an assortment of styles to create something that is distinct and hugely enjoyable. It is certainly my new favourite thing. Whether you’re a lover of the great outdoors or someone who loves to party on a Friday night, you are sure to find something that fits your mood here. Wild Silence is a musical selection box, full of tasty treats. I urge you to go and unwrap it now, and experience its beautiful, almost sacred, sounds.

Originally published on 10th February 2018 for Get the Chance.

Featured Image (C) The Wandering Hearts

Early Man – An Ode to Football

Some say there’s nothing better than football on a Saturday. And when you’re able to watch it from the warmth and comfort of your local cinema, I’m inclined to agree. It certainly beats a wet and windy afternoon sat shivering in the stands of The Racecourse in Wrexham. As a supporter of the current National League table-toppers (up the Reds!), I’m used to cheering on the underdog. So the situation in the film Early Man is one I’m very familiar with. In the latest offering from director Nick Park and his Aardmann crew, we find the plucky cavemen of the Stone Age taking on the might of the Bronze Age. It is Manchester City versus Ashton Town – the magic of the FA Cup on the big screen. Here, the non-league minnows are represented by the lovable Doug (Eddie Redmayne) and his motley crew of rabbit hunters. Having lived peacefully in their idyllic forest, they are suddenly forced to flee to the barren edges of the Badlands thanks to the heavyweight machinery of Lord Nooth (voiced by an unrecognisable Tom Hiddleston). He has come to mine their land for precious metal, and nothing is going to stand in his way. In the face of such a threat, Doug has no choice but to challenge the rich governor to a winner-takes-all encounter. And in typical Aardmann style, the battle in question is unashamedly British. No blood-and-gore violence here. This fight will be settled through ‘The Beautiful Game’.

As I’ve come to expect from the films of Nick Park, I had a smile across my face from beginning to end. The opening scene was typical of the nuanced British humour that is laced throughout the film. Understated, quirky, clever – I have no other descriptions, other than a comparison with the genius of Monty Python. Once or twice, there were elements that completely matched the best of their absurdity, and had me close to tears (of laughter, I hasten to add) as a result. Children will love the slapstick nature and musical sequences. Adults will titter at the more mature references that pepper the script. But no matter what the age bracket, one cannot fail to appreciate the beautiful craftsmanship that has gone into the set. The establishing shot of the forest is one such moment. The colours are bold and bright; the shrubbery is expertly detailed. It completely overwhelms you. Welcome to the magic and realism of Aardmann’s work. The witty and observant characterisations only add to this production’s quality. The voiceovers were all well-chosen and seemed a natural fit for the characters onscreen. I didn’t find myself playing ‘Guess the Celebrity’ as I do with some animations. Instead, I was immersed in the story enough so as not to get too distracted by the recognisable dialects (though who can fail to invest a bit too much attention in the nasally tones of Richard Ayoade).

If I had to describe this film, it would be as ‘an ode to English football’. On one level, it could rightly be seen as a commentary on the state of the modern game. There are the overpaid professional stars, the extortionate entrance fees, and the huge stadium. There is even a very comical take on VAR, which I thought was a stroke of genius (whether intended or not). On the other hand, it is a tribute to that most working-class of sports. The have-a-go attitude of Doug and his Stone Age companions, along with their lack of resources and makeshift training facilities, is a representation of those in the lower reaches of the English football pyramid. Here is where the raw love, passion and commitment for the game are truly seen, far from the bright lights and big money of the Premier League. No wonder we cheer them on here.

For the football fan, Early Man is a reminder of football’s soul. I can’t help but feel that Park and his team have a real, rose-tinted affection for the game. As a fan myself, I found the two commentators in particular to be really good value, Rob Brydon channelling his inner John Motson and Jock Brown to great effect. I can see how these little touches might get lost on those who have no interest in football though. As a result, it might be fair to say that Early Man is a little more niche than previous productions. Wallace & Gromit and Chicken Run had much more universally recognisable British humour in their content. Nevertheless, for me, Early Man continues a tradition of great Aardmann films. They might not have the big bucks of Disney and Pixar but, like their Stone Age counterparts, Aardmann are still able to give their big-spending rivals a well-fought match.

Originally published 4th February 2018 for Get the Chance.