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

From the House of the Dead – Venue Cymru

As part of WNO’s Russian Revolution season, From the House of the Dead is a revival of David Poutney’s original production from some 30 years ago. Based on the writings of Dostoyevsky, it originally came into being as an opera through the work of Leos Janacek. It retains much of the observational style of Dostoyevsky’s work, writing about his experiences in a Siberian prison in quite a matter-of-fact way. As a result, Janacek’s opera does not have a strong narrative thread. There are no protagonists as such. Instead, the focus is supposedly upon the whole cast, some of whom relate their stories and experiences before their confinement in the prison camp they now find themselves in.

The set design has been meticulously constructed, with an immersive opening sequence transporting us, the audience, into the depths of their squalid, godforsaken conditions. As the house lights go down, we are plunged into darkness. Slowly, light from backstage filters in, unveiling a scene of destitution that resembles the trenches of war. Surrounded by crumbling walls, barbed wire fences, and makeshift structures are a sea of fallen men. Yet as the light breathes life into the stage, they suddenly come to life. They are men shackled and chained; wretched, rabid and ruined creatures. Slowly, they gather themselves, forming a line across the stage in a very Dickensian opening sequence: workhouse boys trudging, one by one, to receive a bowl of food from the staunch and unemotional guards.

There is a brutality to this scene that is reflected throughout this production. Sometimes, it is too uncomfortable. Following these opening minutes, a new prisoner, Goryanchikov (Ben McAteer), is thrown into the scene. He is first stripped, and then beaten. This latter event takes place off stage, but the sound is enough to convey a disturbing violence that made me flinch in my seat. Later on, a young boy by the name of Alyeya (Paula Greenwood) has a pot of boiling water thrust into his face. It made me recoil immediately, and the visible presence of steam afterwards was a bit too authentic in my view. On the other hand, this verisimilitude helps to convey the unseemly and inhumane conditions of Dostoyevsky’s semi-autobiographical work.

Both the lighting and the music are used to great effect. I would like to point out one particular sequence which takes the form of a montage, in which different parts of the stage are lit to reveal the daily life of the prisoners. It is very cinematic in style, made more impressive by the monotone beats of a drum and the low sounds of the trombone. It is these aesthetic sequences that I found most compelling in this production. If composed entirely of these scenes, From the House of the Dead would feel like an observational documentary. Not a bad feat for a staged performance.

Despite these sequences however, and the absorbing, atmospheric set design, there is something about this production that doesn’t sit quite right with me. I think the problem lies with its violence. Despite these men being imprisoned for different things, even such trivial matters like stealing a cabbage, the focus is placed on those who have committed grave offences such as murder. What’s more, although the large absence of women is understandable due to Dostoyevsky’s experience of an all-male camp, when they do appear – as a prostitute, a child bride, and an actress playing a male role – they are the subjects of male violence, objectification and suppression. Given the current climate of sexual harassment and abuse allegations, I am trying to come to terms over whether this production is timely or outdated. Is it a reflection on the institutional sexual abuse by men in power that is coming to light right now? Or, if the sexual violence here is, in my view, fairly gratuitous, is it fair to say that Poutney’s 1982 work is of a different era, and showing its age? These are thoughts that I am still trying to reconcile. As such, the jury’s out on this House of the Dead.

Originally written for Young Critics North Wales in October 2017.

The Mountaintop – Pontio

There is something incredibly sad about the fact that The Mountaintop is one of a rare number of plays in Wales featuring an all-black cast. Its director, Abdul Shayek, laments as much: “it is 2017 and the fact that this hasn’t happened more often makes me frustrated and sad”. There should be no reason why this is the case. Both the narrative and the performance in this production are of such a high quality. Yet there is a tension bubbling at the heart of it that is so unsettlingly relevant.

The Mountaintop is a fictional depiction of Martin Luther King’s last night on earth. The action takes place in a single room – Room 306 of the Lorraine Motel, outside which the civil rights activist gets shot on April 4th, 1968. The set is no bigger than this – literally the size of a hotel room – making it extremely close, both claustrophobic and intimate. It allows us, the audience, to become privy to Dr King’s final hours in such fine and emotional detail. We see the anguish, laughter, fear and tenacity etched on the face of Mensah Bediako (King) at every turn. Such is the verisimilitude of Katori Hall’s script that there is even time to hear the great man himself go to the toilet, much to the amusement of the school group that had come along to watch. This level of authenticity, played out in real time, allows the conversation between King and hotel maid Camae (Rebecca Carrie) to flow naturally and build organically, with impressive results. The two actors bounce off one another brilliantly. Their timing and pace are perfectly attuned. They appear so comfortable in their working relationship, and so at ease with their characters. It makes for some excellent exchanges, fizzing with sexual chemistry and fermenting emotional intensity.

The success of their relationship helps concentrate The Mountaintop on a solid foundation. It helps to retain its integrity as it progresses into what could be considered surrealism. Without giving too much away, a dramatic twist sees the introduction of a heavenly dimension, bringing a sharp focus onto the reality of King’s impending death and his relationship with God. I liked the fact that Hall plays with our expectations, imaging God as both black and feminine. This is a God who is contactable, reachable through the hotel phone. Such is the bizarre nature of this section, King even has a conversation with Her. Yet it is testament to the quality of The Mountaintop’s writing and acting that it never runs off the rails. It is all part of the bigger message which comes into sharp focus at the play’s conclusion.

It is impossible to leave the theatre without responding, in some way, to The Mountaintop’s final scene. A powerful poem – “The Baton Passes On” – begins a subtle change in focus as its message is not only directed at King but at the audience too. Once Carrie finishes this piece, Bendiako stands on a plinth, addressing the audience directly. He evokes the great oratory skills of King to give an emotive speech which leaves you in no doubt about the need to respond. It is an arresting, challenging and profoundly affecting moment. On reflection, it also brings into sharp focus the continuing injustice of Shayek’s observation.

The Mountaintop is a rallying cry for each of us to be the change. It is an excellent production that surely signals for greater diversity in the theatre industry. There is a need for greater representation of minorities on stage, and on this evidence, this should certainly be the case. With an exceptional script, an immersive set, and a highly talented cast, The Mountaintop deserves much wider recognition. So, Welsh theatre industry, support more creative people from BAME backgrounds. On this evidence, you won’t regret it.

Originally published for Get the Chance on 25th October 2017.

Robbie Cavanagh – To Leave/To Be Left

Wow. What have you done to me Robbie Cavanagh? I did not expect that. The debut album of this Manchester musician, released this week, stunned me into almost complete silence. Titled “To Leave/ To Be Left”, Cavanagh’s first full-length feature may begin with a feel-good beat, but it gradually becomes a mystical, beautiful and haunting piece of musicianship. To touch it would be like caressing the finest of silk. Each of the eleven songs on offer has been carefully handcrafted, honed to such perfection that, if made of wood, your finger would glide smoothly over their surface. It is simply stunning.

The opening track ‘Get Out Alive’ does nothing to prepare you for what is to come. A lively start, it gives credence to the “country artist” label which Cavanagh seems to have been afforded.  However, as the album progresses, he breaks away from any generic confines that industry and media moguls might want to place on him. The next couple of tracks seem to slowly move from country-style ballads to something altogether different. Whilst “Godsend” could be attributed to the likes of Andrew Combs, for example, “Reverence” and “Scars” (which follow) have much more in common with the likes of Welsh folk singer Al Lewis. These offer a simple and repetitive backing track played behind an acoustic guitar, and given an otherworldly feel by the slight reverberation that is added to the vocal output. This ethereal quality, which begins with a degree of subtlety in these early tracks, goes on to permeate through the rest of the album. The listener is soaked in haunting melodies and saturated in a spiritual soundtrack. The heart-rending lyrics only seek to elevate the emotional veracity of Cavanagh’s sound. ‘Let You Down’ is heartbreaking. ‘Fool’ is incredibly soulful. ‘Still Talkin’’ is painfully gorgeous.

This is an intimate album. Robbie Cavanagh has an incredible ability to create this close atmosphere through his music. It is just you and him. All other potential distractions are completely drowned out. You become lost in the sensitivity and vulnerability of his performance. At one stage, I even found myself brought to tears. I was so overcome with emotion during ‘Sleep Now’, I couldn’t quite believe what was happening. Ironically, the song features the line, “What are you weeping for?” Well, Robbie, I’m not quite sure, but I think it might have something to do with your singing. Whatever the reason, I certainly did not expect that reaction.

Together, this exceptional selection of songs marks Cavanagh out as an accomplished songwriter and musician. He is a major talent who deserves all the plaudits that will surely come his way with such a breathtakingly beautiful debut. I would strongly recommend listening to “To Leave/ To Be Left”. Be warned though. It may leave you speechless for a time. You may also experience some unexpected emotional reactions.

Originally published on Get the Chance in October 2017.

Featured Image (C) Robbie Cavanagh

Uncle Vanya – Theatr Clwyd

Prepare yourself for an immersive experience in the Emlyn Williams Theatre as Uncle Vanya kicks off Theatr Clwyd’s Autumn season. Having experienced the wonderful space known as the Roundabout Theatre earlier in the summer, it was a pleasant surprise to walk into something very similar here. However, whereas the Roundabout relied simply on the cast and audience imagination, the design wizards at Theatr Clwyd, led by Lucy Osbourne, have produced some spectacular scenery, enhancing the audience experience further. Walking in through the entrance, it is like Alice through the looking glass. You are stepping into another world, almost literally, as you make your way across the fairly detailed set to your seat, a magnificent tree branch overarching through the roof above. It really is something to behold. The atmosphere before curtain up only added to the anticipation. There was a certain buzz around the place. Like never before have I known this place to feel so alive.

I believe that director Tamara Harvey has made a very inspired decision in performing Uncle Vanya ‘in the round’. Throughout the play, the close proximity to the audience of the actors made for an intensity of drama and emotion that would not have been so keenly felt in a proscenium. It was, in some ways, a unique experience to witness the faces of these characters so closely and to see their emotions clearly. Even now, a day later, as I am writing this, I can’t believe that my memory is able to evoke Oliver Dinsdale (Astrov) in such detailed fashion. Was he really that close to me? Yes, and what a difference that familiarity makes, not only in the moment but in the recollection too.

It truly is an evocative experience. Being ‘in the round’ helps enormously to achieve this, but it is also enhanced in a number of ways. Firstly, the costumes are of such fine and exquisite detail, perfectly suited to the period in which Vanya is set. The props only compliment this further, to the extent that it often feels like you are watching through a lens, filming, with your own eyes, a television drama. The most beautiful piece on display is the map that Astrov (Dinsdale) rolls out across the dining room table. Its colours are so striking, so meticulously drawn, the sense of realism is startling. Osbourne and her team deserve a standing ovation for their work, never mind a round of applause.

This magnificent set would be nothing though without a group of actors to bring it to life. Leading the cast is Jamie Ballard as the depressed and downtrodden, yet very humorous, Vanya. Ballard injects much regret into his character that teases itself out in playful pessimism and childish boredom. It is so easy to fall for him as a character. His well-thought out arguments, witticisms and acute personal observations make him a very likable person. Ballard reminds me very much of Tom Hollander in the way that he fully embodies his character. He is not just playing Vanya here. He is Vanya. Whereas some productions would struggle to fill the void left by such a fine performance onstage, there is no danger of that here. When Ballard is absent, it is not particularly noticeable. This is testament not only to the quality of Peter Gill’s script, but to the supporting cast as well. In particular, I would like to pick out Rosie Sheehy whose performance, as Sonja, was achingly beautiful. You could not only see the unhappiness etched on her face, it was possible to feel it too such was the intensity of her presentation. To communicate so affectingly reveals the strength of her acting skill. She was simply superb.

Uncle Vanya has certainly left its mark on me. It is an experience that will stay with me for a while yet, I’m sure. It shows that this production is an affecting piece of theatre, and its immersive set and talented cast only serve to make it so. Tamara Harvey has delivered on many levels, taking Anton Chekhov’s original work and producing something fresh that does not feel over a century old. She has also helped cement ‘in the round’ as my preferred style for performance theatre. Uncle Vanya is definitely worth checking out.

Originally published on Get the Chance in September 2017.

Featured Image (C) Theatr Clwyd

Journey Home – Nights Like These

It seems as if Country Music Week has largely passed me by. Living in North Wales, I’d like to think it’s the location – predominantly London – that is largely to blame. However, I have to admit that the reason for my failure to keep up with the action at this inaugural event is simply down to the fact that I’ve had a rather busy last seven days. Life can just get in the way sometimes. I was determined to find some opening in this period though to at least tune into some country music. Apart from Drake White’s excellent session with Bob Harris on Thursday, I’ve just spent Sunday evening in the company of Journey Home. Their new EP “Nights Like These” was released on 29th September, and what an excellent record it is. With a distinct blend of country and rock, the four-piece band have managed to create a fabulous, feel good album. If you’re wondering where I’d place them in terms of sound, I would say Rascal Flatts – but with a lot more rock! “Ain’t Quite a Truck” certainly evokes their musical style and sound; but I would say that Journey Home are distinct enough not to simply be labelled the UK version of this multi award-winning band. There is certainly some great songwriting on show here. I particularly love the chorus to title track “Nights Like These”, including the line ‘Johnny’s all the Cash I’ll ever need’. It is a great play on words and reveals something of the band’s attitude –  upbeat, fun and simply wanting to have a good time. This really does come out in their music. Both “Memory Lane” (what a great track this is!) and “Just One More” are songs that follow a buoyant and joyous narrative. If you don’t feel like dancing, you will after these tracks. The latter, in particular, will lighten your mood immediately. I know that intros are getting shorter but, as a young person, I could have happily listened to the opening riffs of this song for well over twenty seconds. Instantly likeable. These boys prove that they can slow the tempo down too on “Big City Lights”. A bit more stripped back, it still evokes a Southern rock sound that begs the question, ‘Are you sure these guys are actually British?!’ Indeed they are, and on the evidence of this EP, we are lucky to have such fantastic talent this side of the pond. Country Music week may have passed me by, but with these guys, I certainly don’t feel like I’ve missed a trick.

Featured Image (C) Journey Home