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.

Emma Swindells – Radio Silence

What a lovely little EP from Emma Swindells. Listening to Radio Silence is like wrapping your hands around a warm mug of cocoa and luxuriating in the smoothness of its contents. If you want to kick back and get lost in some folk-infused tracks, this is the way to do it. It is easy listening country turned up to the max. The cover for this latest mini-collection is quite deceptive. It finds Emma holding an electric guitar, sporting a punk-rock style look, with the EP title looking rough and ready against a black background. I was prepared for some heavy listening. Far from rocking out though, I was caught by the clean sound of her voice, the clear reception of her lyrics, and the lack of additional background noise. Yes, the title track has a rock intro and some punk influence, but nowhere near as rough-and-ready as I was expecting. Instead, this is a record that has an earthy feel, like it was recorded live on stage at a local roots festival. Intimate, stripped back, and beautifully simple, it transports me to the kinds of rolling countryside where many a Welsh folk band has risen up from. Ironic, considering that she is from the urban landscape of Wolverhampton. Yet close your eyes and listen, and she manages to catch the words and envelop them in a velvety tone, slipping them through the door of one’s ear like a freshly-poured pint of ale passing smoothly between one’s lips. It is the soundtrack to a summer’s day in the beer garden, or a winter’s night in front of a log fire. The dream-like qualities of her voice are most keenly displayed in my personal favourite track ‘Disappear’. She invokes the best of Ward Thomas‘ acoustic numbers, with the gentle sound of the acoustic guitar, simple chords on the piano, and the inclusion of some sibling harmonies, her sister Clare on backing vocals. It is beautifully atmospheric, and gets better with every listen. It is no surprise that she was voted the winner of the ‘Horizon Award’ at the BCMAs last year. The success continues with this latest EP, and will surely lead to wider recognition in 2018. One thing’s for sure, Radio Silence deserves airplay. Silencing this record is not an option.

Featured Image (C) Emma Swindells

 

Christmas & New Year TV & Radio Highlights 2017

So, 2018 has finally arrived! And on this 2nd day in January, I thought I’d pick out a few personal highlights from the Christmas & New Year TV & Radio schedule that’s just gone. Here’s some of my favourites:

Mary Berry’s Christmas Party (BBC1)

This was a great way to warm up for Christmas. Not only a chance to salivate over some divinely inspired recipes from the great lady herself, but the inclusion of a couple of famous faces helping her in the kitchen – even baking some of their own recipes – made me feel like I could actually attempt some of these festive delights myself. Nothing encouraged me more in this belief than seeing Alex Jones (The One Show) squirting some ketchup and mashing some tinned corned beef to make her Welsh Rissoles!

Shamed (C4)

This was a fantastic thriller in the run up to the big day. A timely story given the recent sexual harassment scandals, in which a woman (Faye Marsay) seeks revenge on two male holiday reps for their part in her public shaming some years ago. Disturbing and gripping in equal measure, the narrative slowly and painfully unravels, before wrapping everything up a little too quickly. An extra half hour would have done nicely. Very Black Mirror-esque.

The Story of Fairytale of New York (BBC4)

A repeat from 2005, this documentary does exactly what it says on the tin. A fascinating insight into the making of The Pogues‘ festive hit. It cemented the song as a true classic.

Jo Whiley (Radio 2)

A Doctor Who special, going behind the scenes on the Christmas episode. It featured some great interviews with the cast and crew. Whiley’s genuine inquisitiveness as a bonefide fan of the show gave them an added (or should that be forth!) dimension. Some interesting song choices from the outgoing Doctor, Peter Capaldi, in an extended second hour interview.

Celebrity 5 Go in Search for Santa Claus (C5)

Taking inspiration, no doubt, from the BBC’s Real Marigold Hotel, this travel doc saw five celebrities head off to Lapland in search of the “real” Santa. An entertaining 90 minutes of lighthearted fun with panto regulars Christopher Biggins and Joe Pasquale, along with (perhaps more randomly) Sue Holderness, Richard Coles and Rustie Lee. If nothing else, it sells the experience – the log cabins they stay in look so warm and inviting, tucked away in the silence of snow-covered forests.

Our Friend Victoria at Christmas (BBC1)

Hosted by Anne Reid, this was a great half hour reliving some of Victoria Wood’s best festive moments. Her observations on the age-old custom of Christmas Day family gatherings are hilarious. And the final sketch, where she dresses up and sings as Ann Widdicombe, is a stroke of comic genius. The song stayed in my head well into Christmas Eve!

Pen Pals (Radio 4)

I’ve only listened to the first two episodes so far, but Fi Glover’s introduction was enough to convince me that this series is worth a listen. Stripped across a week, each 15 minute episode features a well-known figure writing a letter to an unknown “pen pal”. Glover’s was to a lady in America. Their conversations back and forth were candid and revealing, touched with everyday experiences but also discussing opposing and conflicting ideologies. There is something beautiful about the length of time between each letter. It certainly inspired me to do something similar (Note to self: New Year’s Resolution right here!)

The Missing Hancocks (Radio 4)

In recent years, some lost episodes of Hancock’s Half Hour have been recreated using their still-intact scripts. Featuring Kevin McNally in the title role, this particular episode, The Trial of Father Christmas, sees Hancock as Santa Claus. Whilst out delivering presents, the white-bearded man is stopped and called to stand trial in a heavenly court after being accused of neglecting the happiness of children. It is a well-written episode full of lightly jovial moments. A really enjoyable half hour that would stand up alongside some of the best of today’s comedy.

Miranda Does Christmas (C4)

Miranda was the perfect host of this lightly festive chat show. Joined by David Tennant, Prue Leith, Susan Calman and Sam Smith, she whisked her way through their particular traditions, likes and dislikes of the festive season without going too heavy on the detail. Highlights included Susan Calman receiving her school jumper, and her and David Tennant playing Scaletrix as the credits rolled.

Attenborough and the Empire of Ants (BBC2)

After the success of Blue Planet II, the world’s top naturalist descends below ground to uncover the secrets of an ant colony defying the laws of evolution. Using the latest in camera technology, we were able to see the workings of these tiny creatures like never before. This was a fascinating and quite remarkable documentary with some extraordinary insights into animal behaviour. Could the super-colony featured be giving humans a run for their money in their attempts to live in peace with one another?

A Christmas Carol Goes Wrong (BBC1)

I would highly recommend going to see The Play That Goes Wrong. The team behind this award-winning stage show are back on the telly after last year’s disastrous production of Peter Pan. Banned by the BBC, they manage to infiltrate the set of an adaptation of A Christmas Carol, with hilarious consequences. Featuring slapstick, wordplay and ingenious usage of props, this is guaranteed to blow away any post-Christmas blues.

Shane Richie (Radio 2)

I had to get some country music in here somewhere! I didn’t think I’d enjoy this show, but Eastenders‘ Alfie Moon was joyous company across two hours of some of the best in modern country music. A great playlist for New Year’s Eve.

Sue Perkins and the Chimp Sanctuary (BBC2)

Like the ants mentioned above, I felt like the chimps featured in this documentary were putting humans to shame, particularly in the context of this terror-fearing, hate-filled world. There were far more emotionally stable brain cells in the alpha male chimp Pierre than in Donald Trump and Kim Jong-Un put together. Sue Perkins was the perfect host. Passionate, caring, and funny, as well as wholly and personally invested in a programme that, at times, made for uncomfortable viewing. Examining the use of animals in medical testing, whatever your view, it would take a pretty hard heart to not fall for the lovable chimpanzees featured here. A moving and inspiring hour of telly.

50 Years of Just a Minute: Nicholas Parsons in Conversation with Paul Merton (Radio 4)

Can you believe that Nicholas Parsons has been hosting this show for half a century?! Here, he talks to regular panelist Paul Merton about the history of the show. Fellow panelists Sheila Hancock and Gyles Brandreth pop by to share their memories, with archive clips featuring the likes of Kenneth Williams and Peter Jones making for a humorous trip down memory lane.

 

I could have picked more for this list, but had to limit myself, so the above is akin to one programme a day between December 19 & January 1. It gives a snapshot of 2017’s festive viewing. Enjoy!

Laura Oakes – Nashville Stole Your Girl

Having been snowed in and unable to attend the opening night of the pantomime Peter Pan, I thought I’d take the opportunity to cover myself in a bit of fairy dust, and fly off to the deep South for some country music instead. But in these economically-troubled times, where the cost of inflation rises faster than the average wage, even fairy dust will only take you so far these days. Liverpool, in my case. This is no bad thing, however. For here you will find someone who manages to evoke the landscape of Tennessee with ease. Her name is Laura Oakes. And her new EP “Nashville Stole Your Girl” is the perfect antidote for those longing for a taste of that Southern sun. The title song supplants you right into the heart of America. It is a magical sound that truly evokes the area about which she sings. I especially like the line, ‘It’s the Cumberland river that sweeps her and keeps her away’. Beautiful. This continues on “Cage the Songbird”, whose opening riff is so evocative that it transports you directly onto the front porch of a ranch house at dawn. It real is a world away from the Merseyside docks. Yet even as she muses, there are times when she belts out lyrics (at the end of “Nashville Stole Your Girl“, for example) and you hear a little bit of that tough Northern grit. For the most part though, her voice is easy on the ear, a gorgeously whipped, vanilla-flavoured sound. It really comes through on this EP – the result of her decision to perform all these songs acoustically. As a bonus, it also allows full access to her songwriting skills. And boy, there are some fantastic lyrics here. Such a variety too: sarcastic, humorous, touching, ironic, heartfelt. They are all here. How she packs them all into this five-song collection is anyone’s guess. That she manages to do so highlights her immense ability. It is no wonder she is a two-time winner of ‘Female Vocalist of the Year’ at the British Country Music Awards.

“Nashville Stole Your Girl” is definitely worth a listen – an early Christmas present for me, a nice little stocking filler for any country music fan. There is no fairy dust in sight here. No need for any. For judging by the charming quality of this EP, Laura Oakes has already learned to fly.

Featured Image (C) Laura Oakes

Fifth Floor – Heartbreak Talks

The debut album of Swedish duo Fifth Floor is a fine collection of tracks that draw together well-written lyrics and catchy musical arrangements. Imbibed with country-style riffs and rhythms, this selection of songs also features a fair bit of punkish attitude. Contrast that with some beautiful harmonies and you get an interesting overall sound from these ladies that makes Heartbreak Talks an intriguing listen.

You can hear the strength of their simultaneous singing in the opening track “Heart in Your Arms”. Despite the perceived weakness of their solo voices here, the two together create a really nice sound. It sets up their potential which is gradually fulfilled as the album progresses. The vocal arrangements on “Bought Me a Lie” are especially worth a mention. By the time we arrive at standout single “Sippin’ on a Coke”, not only do their combined vocals sound accomplished but there is real strength to their individual performances too. Though not quite my favourite, this song has a great chorus. Incorporating the themes of journeying and home, it reminds me a little of Ward Thomas’ A Town Called Ugley – its understated title line lends it a similar quirkiness though it is much more reflective in its overall tone.

Certainly, the end of this album heralds the strongest pieces from these two Swedes – Moa and Matilda – who moved to the UK in 2012. “These Days” is a lovely arrangement marked by a more stripped back style. The difficulty that I found with tracks “My Backyard, My Business” and “Diabolical” was that the musical power did not quite match the hard-edged attitude of the vocals – these rock-inspired tracks weren’t quite able to rock out. On the other hand, the title track, like “These Days”, with its more acoustic leanings, felt like a more natural fit for these ladies’ style.

Fifth Floor save the best until last. “The Girl” is a subversive ballad that combines the best of their punkish attitude with some gorgeous harmonies. It is understated, clever; heartbreak really does talk here. It leaves you in no doubt as to the theme that has been running through much of this album. Overall, Heartbreak Talks captures a really good, solid country sound. It is a really promising full-length debut from these ladies. Swedish they may be, but they are worthy of adoption into the ever-expanding UK country scene.

Originally published for Get the Chance in November 2017.

Featured Image (C) Fifth Floor

Heroine – Theatr Clwyd

“What an extraordinary piece of theatre Heroine is.” I just had to write this as my immediate response on Twitter after seeing Nessah Muthy’s one-act play. It has many of the ingredients that create a top-class production: powerful, emotive, provocative, and controversial. It centres on Grace, a former soldier looking for friendship and meaning in her post-conflict life. One day, she turns up at the local community centre, and finds a group of women with whom she forms a strong and emotional bond. When the centre is threatened with closure, she finds herself fighting a new war, one which consumes her in a devastating and heartrending way.

Asmara Gabrielle is spellbinding as the young Grace. She is the heartbeat of this production, setting the pace with a conflicting range of emotions. It is a dramatic performance that builds progressively, a vulnerability that evolves from a sense of loss to a deep feeling of injustice; a growing bitterness that translates into angry protestation and self-destructive violence. The ability of Gabrielle to hold such extraordinary emotional conflict in her performance, letting it drip-feed out like a springing leak in her soul, is simply masterful.

Supporting her are a cast of four women, each of their characters richly detailed so as to confirm Heroine as an ensemble piece. They are not present merely to make up the numbers. Muthy has managed to give each of these women culturally recognisable characteristics without falling into the trap of stereotyping them. We have the technology-savvy grandma, Bev (Maggie McCarthy), the strong-willed group leader Wendy (Lucy Thackeray) and the chatty, party-loving Cheryl (Wendy Morgan). Yet far from being typecast, each of them is given space to breathe and become part of a narrative that is driven by their individual motivations, their pain and their sense of truth. Placing them as the driving force of the play ensures that it maintains a credibility and verisimilitude that ultimately creates an absorbing and electrifying piece of theatre. We journey with them from an innocuous start – walking into the auditorium, the three of them are already onstage chatting. The set translates seamlessly into the front row, making it feel like you are actually stepping into their world which is, I have to say, exquisite in its realism – to an (almost literally) explosive finish. It is pure drama.

I can understand the grievances posed recently over the perceived lack of opportunities for Welsh talent in Theatr Clwyd at present. When I think back to Terry Hands’ tenure, there was a clear Welsh flavour to many of the productions. This is not so much the case now. Yet I think the criticism is very unfair. To judge a theatre’s impact merely on onstage content is to miss the point of Artistic Director Tamara Harvey’s vision. As I see it, her desire to create a theatre that is accessible for all, which engages with the wider community, and provides opportunities for involvement across the board (from workshops to apprenticeships, creative spaces to community forums, etc.) shows a passion for inspiring and encouraging Welsh talent that goes far beyond the actors and writers rooms; indeed, is capable of a much greater impact than some may suggest.

What does this have to do with Heroine? Well, I think it is simply wrong to judge this co-production with London-based HighTide as being at the expense of Welsh talent. As Harvey states, there are other skills embedded in a producing theatre, such as stage management, set building, scenic art, props making, lighting and sound (to name but a few) that contribute to an overall production. This is surely the case here. Furthermore, the need to create opportunities for new and emerging talent should not just stop at one’s own doorstep. By supporting such a quality script by a young writer, as well as an all-female cast, this local theatre is making a positive contribution to the national issue of diversity, an ongoing problem within the arts.

Heroine is a great example of a new work that, with support, can fulfil its full potential. It is an absorbing story that deals with some big and pressing themes. With a strong cast and brilliantly-crafted script, it is certainly one to watch out for. A provocative piece of art.

Originally published for Get the Chance in November 2017.

Featured Image (C) Theatr Clwyd