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?!

Our House – Venue Cymru

There is more to Our House than first meets the eye. For a start, it is hard to believe that this award-winning musical is now 15 years old. It feels extraordinarily fresh. Billed as “the Madness musical”, its youthful appearance remains, in part, because it is not the biopic that one might expect. Unlike Sunny Afternoon or Million Dollar Quartet for instance, Our House does not tell the story of the 1980s ska/pop band. A character called Suggs is nowhere to be seen. Neither is it a tribute show. Instead, writer Tim Firth (of Calendar Girls and Kinky Boots fame) has created a standalone story that is set to a score of Madness’ hits. Fans of the band may have begun this show bopping away to their well-known songs, but it quickly becomes an engrossing narrative. It tackles the themes of love, family, morality and responsibility in an entertaining and thought-provoking way. It is unexpected, but it works.

Our House does not just tell one story however. Instead, Firth presents two versions of life that play out from one single decision made by Joe Casey. Played with a cheeky cockney charm by Jason Kajdi, Casey decides to impress childhood sweetheart Sarah (Sophie Matthew) on their first date. Breaking into a building site overlooking his home on Casey Street, he attempts to show her the fruits of his grandfather’s labour (whom the street is named after). However, when the police turn up, Joe is faced with the decision to run or give himself up. It is this split-second choice from which the two narratives play out, and to great success. Using various devices to indicate which of the two stories is being played out, once grasped, it isn’t too complicated to follow the events on stage. Primarily, colour is used to note the changes: red and white doors slide across the stage; the lighting is enhanced and dimmed accordingly; and Kajdi himself switches between a white tracksuit and black business suit. It may sound simple, but it is enormously helpful to the watching audience.

In addition to its use as a narrative indicator, the black and white motif used in Casey’s clothing also suggests that Our House is a morality tale of sorts. We have the “good” Joe (who hands himself in) dressed in the white of innocence. We have the “bad” Joe (who evades arrest) clothed in the black of corruption. Yet Firth cleverly unpacks the seeming simplicity of this popular trope in order to make a statement about the unfairness and injustice that exists in human society. We see Joe punished for seemingly doing the right thing and rewarded for doing wrong. He does his time in prison yet, on release, his employment prospects are dire. He undertakes an underhanded action and receives enormous benefits from it. It makes little sense, and it evokes a sense of frustration as a result. It is an emotion that, again, defies one’s expectations. Think of Madness and it evokes cheeky chappies and upbeat tempos. Not exactly protest material.

Firth does not bear down too much on our consciences though. The overwhelming response to Our House is one of joy and pleasure. The choreography is a particular highlight. The school scene is a real delight to witness, and the car journey (to “Driving in my Car”) is wonderfully executed. The cast have such precision and timing that it is nigh-on impossible to find fault. In addition, Britain’s Got Talent winner George Sampson gives a very credible performance as antagonist Reecey. Since coming first in the 2008 contest, Sampson seems to have honed his acting skills and is sure to become (based on this performance at least) a rising star of musical theatre. The same could be said of Matthew too. Her duet with Callum McArdle (Casey’s Dad) on “NW5” is strikingly beautiful.

Our House is a thoroughly entertaining evening of song and dance, full of humour and peppered with poignancy. Like Madness themselves, it possesses much more emotional depth than its surface level suggests. There are great lessons to be learned here beneath the feel good soundtrack. Overall, it is a tremendously good show.

Originally written as part of Venue Cymru’s Young Critics scheme.

Retreat – No Need For Conversation

I’m a huge fan of country duos, and Retreat are no exception. Having started writing together four years ago, Rich and Marianne decided to take the next step and started singing together two years ago. Now, in 2017, they have decided to release their debut EP ‘No Need for Conversation’. It seems to reflect their journey together so far, growing in confidence, writing ability and musical identity. Of the five tracks on offer here, “I Thought You Knew” definitely feels like the weakest link. Perhaps it’s no surprise considering that this was the first song they ever wrote together. Compared with the other songs on the album, this track feels like it is of a different era. There is no sense of it belonging. It is a sound which feels borrowed rather than carved out by their own identity. Meanwhile, “The Way God Made You” and “Pack of Lies” seem to reflect the real Retreat sound. Here, they come into their own. On the former especially, their voices interlock to create a beautifully harmonious sound. It reminds me of the best of The Shires: an intimate expression of love between two vulnerable bodies (and the celebration of natural beauty in this case). Opening tracks “Hanging on a Red Light” and “In my Hands” feel like stepping stones to this point. There isn’t quite the identity of Retreat in these songs, but there is certainly nothing wrong with them either. “Hanging on a Red Light” is a lovely country/pop sound. “In my Hands” is a smooth, laid-back lovesong that allows Rich and Marianne to introduce their individual vocal talents. It is hard not to compare the gravelly tones of the former to that of Bryan Adams. Overall, ‘No Need for Conversation’ is a great introduction to this UK country duo. It feels like a significant marker in their journey. As they continue to grow in confidence and develop their own identity, I have no doubt their next offering will be even better than this promising start.

Featured Image (C) Retreat

Llechi – Pontio

Having missed it first time around, the chance to catch the restaging of Llechi seemed too good to miss. Originally performed as part of Pontio’s opening season, this eclectic mix of visual, musical and aerobatic art forms was a fascinating watch. It was engaging from start to finish, featuring a host of performers, all of whom played their part in making this a thoroughly enjoyable and captivating show. Despite its fluency in the Welsh language (with the exception of poet Martin Daws), I, a humble learner of the lingo, still managed to be entertained and entranced by the spectacle on offer. It was a delightful performance that offered plenty of emotion and a real sense of place.

Originally curated by alt-folk group 9Bach, the Welsh sextet returned to lead a talented cast in this fresh and innovative approach to storytelling. Taking us on a journey through the history, culture and traditions of the slate industry, this performance brought to life, in a new way, the story of local Welsh slate – the people, and the landscape. Full of experimental sounds and a mix of genres, it spans the centuries. This huge timescale is reflected in the song choices: from a spine-tingling rendition of Welsh hymn Dyma’r Gariad to the bass-fuelled beats of ‘90s rave music. There is no clash of musical styles here however. Instead, 9Bach have managed to create a very diverse yet complimentary soundtrack. The changes of tone, mood and tempo that take place throughout are at no point jarring. Instead, with help from the lighting, each transition is smooth and natural. It is something that could so easily have been a disaster. Here, though, it not only works well. It works incredibly well.

Alongside the musical prowess of 9Bach, choreographer Kate Lawrence and her team offered up some stunning physical performances in the air. It helped being seated on the lower balcony to watch these four talented dancers move across the auditorium. It was clear that many of their actions were reflecting the movements of quarrymen. But their pieces also featured an elegance that conveyed something of the local landscape too. Their graceful movements made for a mesmerising sight. But it also brought to mind, as a result, the ethereal and mythic quality of the mountains and the quarries. This was complimented perfectly, at one point in particular, by the hauntingly beautiful vocals of Lisa Jen Brown. Truly evocative, the backdrop of images that featured in the show were sometimes superfluous as a result. It was a strangely immersive experience.

I came away from Llechi desperate to buy the soundtrack. The music was wonderfully inspirational, eclectic and truly evocative of its Welsh setting. 9Bach have delivered a beautiful collaboration that is full of heart. It is a love story that awakens the senses and births a spirit of hope. It says that this land is not forgotten to another age. Instead, it evolves, becoming the place of the next generation who follow in the footsteps of their forbears whilst carving out new paths of their own. Sadly, the soundtrack isn’t available to buy (hint to anyone who may be able to change that.). Nevertheless, it will stick in my mind for a long time to come. Llechi is a truly memorable piece of contemporary Welsh art.

Originally published on 8th August 2017 for Get the Chance.

Featured Image (C) Pontio

Two Ways Home – Closest Stranger

Where to place Two Ways Home? Described as an alt-country duo, listening to their new EP ‘Closest Stranger’, I can definitely appreciate the addition of “alt” in the description. Consisting of Isabella from Vienna and Lewis of Gloucestershire, these two songwriters have come together to create a rather unique sound that appears to be inspired but not influenced by the Nashville sound. I say this because none of the four songs featured here followed my expectations. Each of them, in their own way, took a different direction to where I thought they would go. There is a complete change of tempo halfway through opening track “Best Part of Me” which takes you completely by surprise. “Push and Pull” opens with a big sound only to revert to a stripped back vocal performance moments later. “Don’t Give Up on Me Tonight” is, in many ways, a classic country ballad, yet there is something about its sound that is also different and unique to Two Ways Home. It is slightly frustrating that I can’t quite put my finger on it. Yet this frustration is also cause for delight. Whilst listening to the harmonies of Isabella and Lewis, I was trying to place them in my mind. I was attempting to hear something familiar, trying to compare them with a similar artist. Despite my efforts, I failed to do so. They are in a category of their own. Such is the significance of the “alt” that their categorisation as country singers doesn’t really do them justice, though this is certainly the flavour of their songs. It seems to me that this duo refuse to be bound by the conventions of genre and are not afraid to follow their own rules. There is certainly something of the European countryside in their music which no amount of American city life can flush out. Theirs is a very unexpected and interesting sound.

Click here to listen to the EP.

Featured Image (C) Two Ways Home

Alice in Wonderland – Grosvenor Park Open Air Theatre

What a glorious day for my first visit to Grosvenor Park Open Air Theatre. Whilst many people were dashing around Chester city centre in search of Pokemon, I ambled along to the city’s park in search of Wonderland. My discovery came in a somewhat fairy tale fashion. Entering through the park gates to see the outline of the theatre, I followed the path around and slowly, emerging from behind the trees, was this towering structure that fitted perfectly with the surrounding landscape. Tucked away in the corner was the marquee entrance. My moment of wonder continued as I wandered in. It was like entering a dream: a popcorn machine, sweets trolley, crafts of miniscule shapes and sizes, decorative displays and signs full of colourful and wispy words. I had certainly found Wonderland. Now I just had to find Alice.

I had arrived a good half an hour before the start time. I took my seat on the picnic terraces and soaked up the atmosphere. It was already half full with excitable children, doting parents and hungry grannies and grandads. People were tucking into strawberries and cream and bags of popcorn. All manner of tasty treats were being drawn from huge hampers (made up for your arrival when you pre-order). They were sipping champagne and clasping coffee cups. Some were slapping on suncream; others adjusting hats and sunglasses. It all felt rather like centre court at Wimbledon.

It was a fabulous build up to the main event. I had already enjoyed myself, and was soaking up what would be the last of the afternoon sun as the play began. I had completely forgotten my search for Alice. Now, there she was. Except there was not just one, but two. First, Anna Leong Brophy appeared as Alicia. Then, Rebecca Birch followed as Alice. Two best friends with similar names and a slightly different take on Lewis Carroll’s famous tale. Glyn Maxwell’s adaptation of Alice in Wonderland sees Alice (Birch) descend down the rabbit hole first. There she meets not only the White Rabbit (Tom Connor) but all the other eccentric characters too. Caterpillar (Jonathan Dryden Taylor) is a science teacher. Humpty Dumpty (Daniel Goode) likes his food a bit too much. The Cheshire Cat (Caolan McCarthy) is suitably clued up on Cheshire history. And, of course, the Mad Hatter (Alex Mugnaioni) is as mad as ever.

In Maxwell’s adaptation, Alice’s journey through Wonderland ends in her becoming the Red Queen. The second half of the play sees a rescue mission of sorts take place. Alicia (Brophy) descends down the rabbit hole in search of Alice. Both their journeys are full of wonderful wordplay and hilarious humour. There is a smorgasbord of accents among the cast of characters which add an extra dimension to their individual personalities. Above all else, the audience interaction is brilliant. It provided an extra layer of enjoyment and laughter. It also drew you into this strange and exciting world. I found myself welling up once or twice as the actors engaged the younger members of the audience. In particular, one little girl (who had come dressed as Alice) was given a high five by Birch on her final exit. I can’t imagine how special that would have made her feel.

The whole cast gave an accomplished performance. The musical ensemble was brilliant and worked well in the absence of technological sound effects. There was one person who caught my eye in particular though. Tom Connor was fabulous in all his guises. His physicality and facial expressions as the White Rabbit and March Hare were a joy to behold. His animated performance added much to his comic value. Even when out of costume and simply part of the ensemble, he was engaging the audience and looked in his element. That natural enjoyment speaks volumes and only adds to the audience satisfaction.

It began to rain towards the final few minutes. It did not dampen the spirits though. This was a fantastic two hours full of fun and frolics. The team behind this production should feel very proud of their achievements. From the exciting entrance to the performance itself, the whole experience immersed you into the weird and wonderful world of Alice in Wonderland. I couldn’t think of a better way to spend a Sunday afternoon.

Originally published on 24th July 2017 for Get the Chance.

Featured Image (C) Storyhouse

Out of Love – Theatr Clwyd

Jodie Whitaker may be everyone’s new favourite female of the moment but my eye has been drawn to someone less well-known. In my second trip to the Roundabout Theatre in a week, a process of regeneration had seemingly taken place. Having taken my first steps into the pop-up theatre last week for the world premiere of Black Mountain, I had returned seven days later for another debut show. To my surprise (and delight), I found the same three actors from Brad Birch’s play starring again, this time in Out of Love by Elinor Cook. They had undergone a transformation which now saw Sally Messham and Katie Elin-Salt playing best friends Lorna and Grace. Hasan Dixon was now playing a host of male characters, showcasing his talent for versatility. However, it is Elin-Salt who has caught my undivided attention.

In Out of Love, Elin-Salt plays the lovably naïve Grace. Wearing a dungaree dress and plimsoll shoes, there is something eternally childlike about her character. Above all else, I think it is the expressive acting of Elin-Salt that conveys this with such success. She flails about on the floor, swings her legs up and down; her arms are constantly in motion, her shoulders slightly elevated; and her mouth seems to return to the default position of “slight frown” after every piece of dialogue. It is the intimate nature of this round theatre that allows the audience to pick up on such small details. This adds to the quality of the characterisation which, in Elin-Salt’s case, is near perfection.

The retention of her South Walian accent is a stroke of genius. Elin-Salt’s ability to utilise the musicality of her accent in order to convey such contrasting emotions is pure joy to the listening ear. In Black Mountain, she flattens its naturally-high pitch to express a degree of seriousness. In Out of Love, she emphasises it. This gives a comical edge to Grace that increases her likability. It also enables for the exploration of sex and sexuality. Not that this cannot be talked about in a serious way. However, Cook’s decision to examine it from the perspective of two female adolescents makes for a more naturalistic, animated and frank discussion.

There is also a vulnerability to Grace which Elin-Salt beautifully conveys – a deep desire for intimacy that hints at jealousy towards Lorna’s ability to pull men. For the supreme closeness of these two best friends, there is also a hidden tension. It is testament to the quality of Cook’s writing that this unspoken emotion never bursts onto the stage. Instead, it is veiled beneath some rather ambiguous words and actions. Through her performance, Elin-Salt manages to capture this ambiguity perfectly. She peels back the depths of Grace’s heart, ever so slightly, to subtly reveal her concealed motives. She manages to do this so imperceptibly that I could not help but burst with admiration towards the depth of her acting skills.

Out of Love is a suitably complex portrayal of female friendship. Elinor Cook presents an entertaining and engaging narrative featuring two female protagonists over some 20-30 years of their lives. Sally Messham gives an accomplished and controlled performance as Lorna. She does not put a foot wrong and perfectly complements her fellow lead. It is Katie Elin-Salt who wins much of the applause from myself however. Not excluding the above, her natural enthusiasm and depth of imagination make her an infectious talent. She weaves such fine complexity and depth of character into her performance. She is a delight to watch. She also makes a strong case for championing a great deal more female-led narratives. This is one reason to be excited at Whitaker’s casting. But whilst I await her arrival as the 13th Doctor, I shall revel in the discovery of another talented actress. Katie Elin-Salt is, surely, a major talent in waiting.

Originally published on 14th July 2017 for Get the Chance.

Featured Image (C) Theatr Clwyd

Amy Westney – Love Shouldn’t Hurt

What an exciting talent Amy Westney is. The British country singer from Essex has recently released her debut EP Love Shouldn’t Hurt. Coming up at just over 15 minutes, the five tracks featured all have a distinct southern sound that somehow, nevertheless, feels fresh. There is something about this female artist that is exciting and new.

Despite the fact that her sound evokes a very traditional country music image for the most part, she has still managed to create a soundtrack that is fresh, vibrant and engaging. The opening track, “Country Music”, is perhaps the key to this mystery. It is both an ode to the greats of country music and a lament to the current state of songwriting within the genre. Westney asks to go “Back when country music had something to say”. Her passion for realism and true emotion becomes clear in the follow-up tracks. Her debut single “Numb“, in particular, is a heartbreaking song about the destructive effects of a person’s words. It is very relatable. Westney tells it like it is. She doesn’t hold back. I think this is the key ingredient to this EP’s success.

The title track, “Love Shouldn’t Hurt”, may evoke the sound of Dolly Parton. Final track “Don’t Push Me Darlin'” may have something of the Dixie Chicks about it. But because Westney has such a deep passion for storytelling, her unique voice comes across every time, meaning that it is always her singing, never imitating someone else. Let’s hope that this recording experience, in which she teamed up with some of Nashville and the UK’s finest producers and musicians, stands her in good stead to release a full album. She certainly has the vocal and storytelling talent to go a long way.

Featured Image (C) BandsinTown