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

Hannah Paris – Short Stories

Hannah Paris is rather ‘sweet’. That’s the word that comes to mind on listening to her debut EP “Short Stories”. The 25 year-old singer/songwriter has produced a decent set of songs here, even though some do feel a little rough around the edges. There is an interesting echo on “Scared of the Dark” that makes it sound a bit makeshift. “Favourite Hello” is not as bad but I still felt it could have been a little bit neater. There is nothing wrong with the songs lyrically. The overall sound just feels a little bit unfinished.

These two tracks are sandwiched between two other songs that feel much more complete. Final track “New Town” does best in showcasing Paris’ vocal talent, her voice here reminding me of Welsh singer Duffy. Opening track “You, You, You” has an instantly likeable sound that packages Paris’ voice into a bubblegum wrapper. It is catchy, with a good dose of pop, and is why it led me straight to ‘sweet’ as the most fitting description in my intro.

By the end of “Short Stories”, you get a sense that there is much more to Paris than the initial ‘bubblegum pop’ sound. I’m sure as she builds a following and further explores her own identity, no doubt we will hear a much more assured and definitive sound from this Essex-based artist. As a debut release, it isn’t a bad first effort.

Read more about Hannah in an interview with @BringCountry2UK here.

Lily Garland – The Next Chapter

The one thing I noticed when listening to Lily Garland was her voice. It is big, strong and powerful. With a confident sound to match that great set of lungs, it is perhaps no surprise that she was recently nominated for “Country Artist of the Year” at the UK Country Music Awards. Listening to her latest EP, “The Next Chapter”, it appears she has created five fantastic tracks, painting her voice onto a canvass of catchy music and well-written lyrics. It is an eclectic mix that perhaps reflects her conversion to country music back in 2000. According to her website, her ‘love of country music began when she saw the Dixie Chicks perform live in Austin, Texas… [and] their songs made her want to dance in her seat one moment and then cry the next’. This emotional see-saw is clearly on display in “The Next Chapter”. Garland begins with some standard country fare in the shape of “Queen of her own World”, demonstrating a feistiness not only in her lyrics but in her performance too. Then comes a laid-back number, “He’s not the One“, before another gear change takes us into standout song “Save Me”. It is such a feel-good number, with a great chorus line, and a catchy beat that will have even the most staunch opponents of dancing tapping their feet to its rhythm. It is certainly good enough to be in the mainstream charts, as is the EP’s final track, “I’m Coming for You”. This is the perfect song to rock out to – a nice bit of punk that will sweep you up into Garland’s hurricane and lift you out of the slumber of the previous number, “I’ll Never Break Your Heart”. This is the point where you are most likely to cry. For me, it sent me into a kind of trance rather than leading me to tears. I became lost in its slow-burning warmth – like a heated swimming pool, the water gently lapping at my sides, ensconced in the moment. It is so utterly different to the tracks either side of it, yet it nestles perfectly in between them. If she was aiming to emulate her first experience of the Dixie Chicks, she has certainly managed to do so rather well considering the microcosmic space of a quarter-hour EP. With such strength of voice and confidence, it wouldn’t be a surprise if this lady hits much bigger heights in the future. Already, Lily Garland has a very accomplished sound.

Yerma – National Theatre Live

Yerma is an exceptional piece of theatre. This contemporary retelling of Federico Garcia Lorca’s work is a powerful performance piece. Director Simon Stone has produced a gripping 90 minutes of absorbing and highly dramatic storytelling. Broadcast from the Young Vic as part of National Theatre Live, its emotional intensity pulses through the screen. It feels immediate, simultaneously intimate and separate.

Performed, as it were, ‘in the round’, the stage is encased in glass, making for a unique and fascinating experience. Inside this glass case of emotion, Billie Piper pours out her heart and soul. She takes on the lead role, a woman who wants desperately to have a child. In short, we witness her longing for a baby become increasingly desperate, heart-rending and destructive. The emotional intensity is slowly and achingly notched up. It is like watching poison being drip-fed into the cast. Its verisimilitude only serves to intensify the characters’ emotions. The stage crew do an excellent job with the scene changes. With accomplished speed and accuracy, they manage to produce some unbelievable set changes in very short spaces of time. It helps retain the emotional investment of the audience, ably assisted by cue cards on screen which glue the narrative sections together. These scene breaks feature some impressive instrumental and acapella musical pieces that wonderfully juxtapose the subsequent actions on stage. It is another ingredient that blends beautifully into this carefully orchestrated creation.

The main component of this production is the presence of Piper and Brendan Cowell (John). The chemistry between the two actors is electrifying. They caress one another with such brutal honesty. They embrace each other with their pain and passion. An emotionally-charged relationship that lies at the centre of this play, it detonates as a series of explosive exchanges. The damage inflicted on both is regretfully raw. Stone seems to hone in on the societal expectations of motherhood. He reveals the extreme consequences of these in stark detail. Piper’s consummate performance only enhances the message that he wishes to send. It makes for a deeply unsettling watch that is, nevertheless, utterly gripping. Adding to these feelings is the superb lighting effects of James Farncombe, and the set design of Lizzie Clachan. Both elements create an atmosphere that acknowledges Piper’s descent into an obsession that completely consumes and entraps her. It works brilliantly, with some impressive close-ups adding extremely well to the suffocating nature of the environment.

Overall, Simon Stone has created a wonderful piece of theatre. The performance of Piper is remarkable. The various elements of this production, in particular the set, contribute significantly to its success. But it is Piper, and her intense relationship with Cowell on stage, that deserves the biggest plaudits here. It is a truly gripping and thoroughly engrossing show. I would highly recommend it.

Featured Image (C) Young Vic

Clara Bond – Out of Towners

The name’s Bond. Clara Bond. As much as I know this isn’t an original introduction for anyone with that surname, let alone this British singer/songwriter, it almost feels like an obligation to use it at least once in my writing “career”. I won’t stretch the 007 metaphor any further here (that really would be too much), other than to say that “Out of Towners”, unlike the MI6 agent’s drink, was positively stirred rather than shaken. It is a concoction of four tracks that leave a distinct pop taste in this country music fan’s mouth (or should that be ear…). It is a nice flavour that blends well with some catchy chorus lines and honest, heartfelt lyrics. Reminding me (at different points) of Taylor Swift, Adele and The Shires, there is a clear connection between the four songs, namely Bond’s personal relationships – both good and bad. Sung over some fantastic musical arrangements, this EP feels like the skeleton of a much bigger album. It would be great to flesh out the main theme that Bond explores so well in this lovely 15-minute piece. She manages to showcase a range of styles here – from the slowly beautiful “Flashbacks” to the mainstream chart-pop beats of “Love Can’t Stay” – and it would be great to hear more of her versatility. As I continue my journey into the UK country scene, it is great to hear the strength of its female artists. From those I’ve encountered so far, Clara Bond certainly seems to be up there with the best of them.

Featured Image (C) Youtube

Catherine McGrath – Starting From Now

Why has it taken me so long to properly listen to Catherine McGrath? Having heard Bob Harris play “Hell Would Have to Freeze Over” on his Radio 2 show a few months ago, I can’t believe it has taken me until now to give her my undivided attention. Since then, she has released her second EP, “Starting From Now”. Continuing the country-pop sound of her first release, “One”, this collection of four tracks feels like a step up in both confidence and performance. With some incredibly catchy tunes, the influence of Taylor Swift is obvious in her musical style. Yet to term her the “British Taylor Swift” would be more than a bit disingenuous. This 20 year old from Northern Ireland has more than enough individual talent to escape such comparisons and stand on her own merit. Her songwriting skills ooze quality; there is a maturity to them that completely defies her young age. It is hard to think she has not been doing this for years. “When I’m Older”, in particular, has enough lyrical class to be considered alongside a playlist of songs by female country heavyweights such as Carrie Underwood, Ashley Monroe and Maren Morris. This is underlined by the strength of her vocal performance, most obviously demonstrated in the acoustic version of the song “Just in Case”. Despite a lack of pop beats and backing track, she duly showcases the depth of her vocal ability. She is undoubtedly an immense talent. With a voice as beautiful as hers, a sound as likable as hers, and lyrics that are exquisite in every way, I cannot recommend listening to her enough. She is a UK country star in the making. Again I ask myself, why have I not listened to her sooner?!