Junkyard: A New Musical – Theatr Clwyd

Please don’t misunderstand me when I say that Junkyard: A New Musical is a load of rubbish. It is by no means of poor quality, lacking in characterisation, or short on story. I am actually making reference to the dynamic and inventive set. It is made (almost entirely) of waste material: planks of wood, old tyres, thick blue twine. It is a representation of the ‘Adventure Playground’, an idea pioneered in the 1960s and ‘70s. It provided a space for kids to call their own, where they could embrace risk and unleash their creativity.

Writer and director Jack Thorne has made this the setting for his latest production, having been inspired by his father, Mick. As one of the first play leaders at an adventure playground in Bristol, Thorne pays tribute to him in the character of Rick. Played by Calum Callaghan, Rick is a laid-back, rather soft man who, nevertheless, has a big heart. He wants to build a ‘Junk Playground’ in Bristol and hopes to get a group of teenagers involved in the process. However, this rowdy group of misfits prove more challenging than expected. What follows is a tragi-comic story as the lives of these young people become inextricably entwined in the building of this unconventional structure.

Leading this group of kids is Fiz, an outspoken and confident young lady played to perfection by Erin Doherty. Doherty is a delight to watch. Utterly captivating, she makes Fiz an instantly loveable personality. Full of humour and expressive action, Doherty allows just the right amount of vulnerability to seep through. Her performance is enhanced by an incredibly strong supporting cast. Each brings such life and vitality to their characters that one could easily mistake this for a social documentary. I recognise in the passionate anger of Ginger (Josef Davies), the stuttering speech of Talc (Enyi Okoronkwo), and the crude insults of Higgy (Jack Riddiford), traits not only from my own teenage years but personalities that I came across during my own time as a (not very good) youth worker.

It is testament to the performances and quality of writing that one looks upon this as a marvellous work of social commentary. Yet what enhances this production to make it, in my opinion, a five-star play is the effective use of lighting and music. The opening sequence, repeated later in the play, is mesmerising. The use of torches and lighters immediately captures your attention and from then on, you are hooked. Stage-side throughout is a live band; always a winner in my book, but what makes this particular piece of musical theatre stand out is its intriguing blend of speech and lyrics. It uses a similar technique to the sung verbatim in London Road, yet here it is largely the internal thoughts and emotions of the characters that are sung as part of a more traditional narrative script.

There is plenty of humour in Junkyard. Some people may find the language a bit too crude or near-the-knuckle at times. There is also quite a lot of swearing. Again, some people might find this excessive. But I think it adds real charm to the whole thing. Its sense of realism cannot be questioned. It is a really immersive piece of theatre. It is challenging too. It makes you reconsider the very notion of what a playground is, how it is treated, and who it’s for.

Junkyards may be a load of rubbish, but this one is a work of art.

Junkyard: A New Musical runs until 15th April 2017 at Theatr Clwyd, Mold, North Wales

Featured Image (C) Theatr Clwyd

The Replacement – BBC One

The BBC1 drama The Replacement can be summed up in three words: gripping and tense. Writer and Director Joe Ahearne has created a simmering pot of suspicion that makes for a fabulously enjoyable three hours of television. It weaves a fantastic web of intrigue and doubt as pregnant mum Ellen (played by Morven Christie) suspects that not is all as it seems with Paula (Vicky McClure), the person drafted in to cover her maternity leave.

Throughout the first hour, the camera is used to good effect. The many close-ups note the subtleties in Ellen’s movement and expression as Paula begins to get under her skin. When it zooms in, from the point-of-view of Ellen, on Paula, it causes us to suspect McClure’s overly-friendly character. The panning shots are especially effective in the storytelling, their slow movements across the scene to the accompanying soundtrack, with its sinister tones, conveying a real sense of dark mystery.

As the drama moves on, the questions only keep coming. Ahearne manages to keep the viewer guessing right up to the third episode, when things take a far more sinister turn. Both Christie and McClure come into their own here, although they are excellent throughout as the two lead characters. Christie plays emotional vulnerability well; McClure’s stare is disturbingly vacant. As the titles suggest, this has something of a classic Agatha Christie mystery about it. It is testament to the quality of the writing that I found myself swaying between the two women, suspicious of either one or the other, changing my mind throughout.

The only disappointment to this otherwise excellent three-parter was its ending. It felt incredibly rushed; the loose ends were tied up in seconds. It was as if it had originally been four episodes that, at the last minute, had been cut to three. But otherwise, this was a gripping drama, reminiscent of Doctor Foster in terms of its slow burning apprehension, revealing close-ups and foreboding soundtrack.

It’s a pity it ended rather abruptly. But in terms of the BBC’s offering so far in 2017, it is certainly up at the top for entertaining and enjoyable drama.

Hedda Gabler – National Theatre Live

There are some nice aesthetic touches in the National Theatre’s screening of Hedda Gabler.

As Ruth Wilson, who plays the lead role, informs us in the interval, the set is a representation of Hedda’s brain. It is largely unfurnished – there is a piano, a sofa, a few pots filled with flowers, and an intercom at which a maid sits, allowing the play’s characters in and out. The walls are white, the floor bare; the light from the sliding door stage-side is the only decoration of note. Throughout the play, this fully-glazed door is used to excellent effect. The blinds opened and drawn across it act as a conduit for Hedda’s mental state. When open, they allow light in; when closed, they produce darkness; and when slatted, they create shadows across the stage akin to prison bars. This is a woman trapped within herself.

The emotional turmoil of Hedda is brilliantly portrayed by Wilson. She pours her heart and soul into this performance and is utterly compelling. Alongside Rafe Spall (Brack), the two of them together deliver such a commanding and accomplished piece of theatre in the final act, it is worth trudging through a fairly flat, unengaging first half. Unlike Chukwudi Iwuji, who I thought gave an arresting performance as Lovborg, I struggled with Kyle Soller’s Americanised portrayal of Tesman. I think it was because he seemed to play him too confidently – he never struck me as anything less than a successful and financially stable individual which, of course, he is not meant to be.

As for the screening itself, director Ivo Van Hove appeared to be keen to use the camera to good effect. There were very few close-up shots, whereas extreme long shots appeared frequently. These did take away a little of the dialogue, yet at the same time, the appearance of the whole stage conveyed the tangible confines of Hedda’s mind. Van Hove also seemed keen to use a haunting soundtrack over some of these scenes, particularly where Wilson stands as a lone figure. Such melancholic ballads as Leonard Cohen’s Hallelujah and Nina Simone’s rendition of Wild in the Wind bring more than a touch of despair. It is heart-breaking.

It is by no means a masterpiece. Yet Van Hove’s adaptation does deliver some sublime moments of theatre, particularly when Wilson and Spall are together. The drama does take a while to get going, yet when it does finally get off the ground, it soars. There is even a spot of live DIY before the final curtain (more meaningful and relevant than you might think).

Overall, Van Hove’s Hedda Gabler falls into the category of a three-star play. Neither sneeringly awful nor amazingly praiseworthy. Simply a good watch.

Skylight – Theatr Clwyd

There is a moment in Skylight, David Hare’s award-winning 1995 play, where businessman Tom talks about religion and spirituality. He declares his admiration for the former due to its rules and expectations of behaviour. He dismisses the latter as wishee-washee and unreasonable. This observation tells us a lot about his character. It is the reason, he declares, why he and his late-wife Alice were incompatible. This declaration is made to Kyra, a schoolteacher with whom he had an affair some years ago. The play centres on a visit by Tom to her flat some years later.

In Tamara Harvey’s 2017 revival, part of Theatr Clwyd’s opening season, this flat is a fully-functioning abode. Jeany Spark, bringing a quiet strength to the role of Kyra, is tasked with running a bath, making tea, washing up, and cooking Spaghetti Bolognese. It is no small feat, but judging by the smell, the latter is a resounding success. Yet this realism isn’t just for show. It serves to bring Hare’s brilliantly sharp satire to life, adding an extra layer of verisimilitude that makes for an engrossing two-and-a-bit hours. Harvey’s production doesn’t overshadow the script; rather, it enhances it, particularly through the set design. The flat is supported and surrounded by giant breeze blocks, representing a simple yet effective image which blends seamlessly into the background. There is ambient lighting throughout, with simple fades into day and night. The layout of the flat ensures that the important action takes place centre stage whilst not compromising on its realist look.

Spark and Villiers manage to strike up a commendable relationship. They capture the punchy and witty nature of Hare’s script even if they don’t seem to hit the emotional heights one might expect. Instead, both play their characters with a good measure of self-control. They are like two players in a verbal tennis match, each hitting a weighty serve of political conviction and personal revelation but never quite achieving that emotionally-satisfying ace. But what you lose in emotion, you gain in the clarity of Hare’s script. They deliver their lines so cleanly and clearly that you are under no illusion as to their beliefs and values. And this extends not only to religion, but to politics, business and human interaction too.

It was a real joy to witness this production. It is a surprise that the play itself has not been performed more since its initial run. Harvey is to be commended for bringing it back to our attention. Its relevance within the modern political landscape should not be underestimated.

Originally posted on February 13th 2017, getthechance.wales

Featured Image (C) Theatr Clwyd

Sunny Afternoon -Venue Cymru

What do an axe, chandelier, cricket bat, and suit of armour have in common? Answer: they all appear in a particularly trippy scene in Sunny Afternoon.  The hit musical, depicting the rise of The Kinks, is not all crazy antics and wild buffoonery though. The story of one of Britain’s most influential bands has plenty of emotional heart too.

It is a show of two distinct yet harmonious halves. Prepare to buckle your seatbelt in the first, as you’re in for a rampant ride. The story drives along at breakneck speed. If this were cinematic, it would be full of fast cuts and explosive action sequences. On stage, the nature of live performance means that it fails to be as slick as it would be onscreen. As a result, it takes a bit of time to position yourself amidst the pace of this production. It is so scatter-gunned at times that you could easily lose yourself in the mayhem. Add to this an element of surrealism, and you can be forgiven for feeling disorientated come the interval. Yet the exhilarating heavy rock soundtrack that dominates this first hour cannot fail to provide some satisfaction. It also gives the riotous escapades of the characters onstage some context. This is particularly true of Dave Davies, played with naïve brashness by Marcelo Cervone. The music is perfectly attuned to his wildly rebellious personality.

In the second half, there is a greater synergy between the story and the music. The foot has been taken off the gas now and we’re into a more leisurely drive through The Kinks’ back catalogue. It is also a more emotionally-arresting second hour, in no small part down to the acoustic ballads of “Sitting in My Hotel” and “Waterloo Sunset”. The songs seem to arise organically from the storyline to a much greater extent here. The effect sees the personality of Ray Davies in particular, played by Ryan O’Donnell, come to the fore. There is real scope to explore some of the themes that arise in the first act, now that the wild hysteria has given way to folk-fuelled introspection. In particular, there is a telling, if not familiar, discourse on the music industry. It is an opportunity to understand the inner turmoil of the creative musician and their struggles with identity.

Many have been influenced by the sound of The Kinks, including Oasis. O’Donnell could easily pass as Liam Gallagher in stature, though his characterisation of Ray is far more genteel and melancholic than the abrasive ‘90s pop star. Ray is the chalk to his brother Dave’s cheese. Whilst O’Donnell’s Ray drinks tea and opens his heart to wife Rasa (Lisa Wright), Cervone’s Dave is the embodiment of sex, drugs and rock ‘n’ roll. Given this contrast, part of the musical’s appeal is in the relationship between the two brothers. The addition of band members Pete Quaife (Garmon Rhys) and Robert Wace (Joseph Richardson) serve only to add extra spice and flavour to the main ingredients.

As a collective, these four talented actors succeed in reproducing the inimitable sound of The Kinks. A particular highlight is their performance of “Days”. Sung underneath the most striking of ambient lighting, it is an exceptional and arresting acapella number. “Sunny Afternoon” is just as exquisite, but for different reasons. Here, the whole cast come together to perform under the iconic red, white and blue of Britain. Commentary of the 1966 World Cup echoes over the song. As the immortal line “They think it’s all over…” rings out, celebratory scenes burst out on stage and you cannot fail to smile. It is unashamedly joyous.

Overall, Sunny Afternoon is exactly what it says on the tin. There may be a few clouds that cast an emotional shadow; it might be so bright at times it’s blinding. But the music is so iconic that, whatever happens with the story, you’re still guaranteed a good time.

Originally created as part of Venue Cymru’s Young Critics scheme

Broadchurch – Back to its best

In this age of fake news and alternative facts, I have decided that I’m going to pedal one of my own: Broadchurch has returned to ITV after four years with a second series. Yes, DI’s David Tennant and Olivia Colman are respectively donning their beard and anorak again to solve another crime in the small coastal town. The original series was a huge hit, the mystery of ‘Who killed Danny?’ gripping the nation. It turned out the killer was Colman’s husband. I wonder whatever happened to him? Not an important question within a crime drama really, so thank goodness they didn’t bother to show the trial afterwards, right?

Now there is a new case to solve. Only this time, there is no murder. Instead, Tennant and Colman are called to the local police station in the opening scenes of this first episode. Here, Coronation Street‘s Julie Hesmondhalgh sits, bruised and pale, having been the subject of a sexual assault. What follows is an uncomfortable half hour as we witness Hesmondhalgh’s Trish undergo a full body examination before being interviewed by Tennant and Colman. The soundtrack, with its melancholic piano and haunting percussion, only add to the emotional unease of this clinical process. Hesmondhalgh gives an accomplished performance, the close-ups of her oft-blank face helping to convey her mixture of shock, confusion and fear with real emotional unrest.

The first series took the best of Scandi Noir and placed it in a British setting. Here, it continues, most notably with ominous aerial shots panning out over the Dorset countryside. The soundtrack, as previously mentioned, is haunting and ever-present. And, of course, we have our two dysfunctional heroes in Tennant and Colman, who have a list of potential suspects stretching to almost the entire supporting cast. These features are part of what made the original series so terribly enthralling. Therefore, it is no surprise that writer and creator Chris Chibnall has returned to these building blocks to construct another whodunnit. And judging by this first episode, this one will be just as gripping as the first.

I am excited for what lies ahead in the next seven weeks. It may have taken four years, but it looks like it has been worth the wait. Broadchurch is back to its brooding best.

Originally posted on March 1st 2017, tvkev.com

Featured Image (C) BBC

Desmond Carrington – All Time Great

Having passed away on the same day that this show was already scheduled to be broadcast, Desmond Carrington: All Time Great  turned out to be a timely and fitting tribute to a truly great broadcaster. After a long battle with cancer and Alzheimer’s disease, the presenter of The Music Goes Round on Radio 2 for 35 years sadly died at the age of 90. In this one-hour special, fellow Radio 2 presenter Clare Teal took us on a journey through Carrington’s broadcasting life.

Having begun his career on Radio SEAC, a British Forces Broadcasting Service, during World War 2, he returned to Britain in 1946. He had been an actor before the outbreak of war and resumed acting on his return home. He also began producing radio shows for Radio Luxembourg and the BBC, yet it was television that first earned him public recognition. In the late ’50s he joined the cast of medical soap Emergency Ward 10, and set hearts racing as Doctor Chris Anderson. In 1981, he began presenting a weekly show on Radio 2 which was initially titled “All-Time Greats”. This Sunday show was to be a staple of the schedule for some 26 years, a slot which Des would become synonymous with. There were two broadcasts in particular that defined his Radio 2 career: a powerful 50th anniversary broadcast of the outbreak of the Second World War; and an unprecedented live show from his home in Perthshire in the wake of Princess Diana’s death in 1997. The latter was a unique undertaking at the time – he’d never broadcast from his home studio before – yet “Evening all, from home in Perthshire” soon became a staple introduction. He moved to Tuesday evenings in 2004 with a re-titled show, The Music Goes Round, finishing as recently as October 2016, now in a Friday evening slot, when his health could no longer keep up with his enthusiasm for broadcasting.

This 60-minute special revealed his incredible love of music. Both Clare Teal and fellow Radio 2 presenter Ken Bruce spoke of his great knowledge and love of the medium. His choice of music could best be described as “eccentric”, ranging from unfamiliar recordings to quite risque songs. As Mark Radcliffe described, his show “seemed to exist in its own little world”. Yet it was “a private club where everyone was welcome”. Like his contemporary and great friend David Jacobs, and fellow Radio 2 stalwart Terry Wogan, Carrington was an inclusive presenter – warm, friendly, a gentle voice, positive about life, and a desire to share with listeners his musical passion. As former Radio 2 controller Jim Moir emphasised, “the music was always paramount”. This is why Desmond Carrington will be listed among the greats of radio broadcasting. He was always meticulous in creating his shows’ playlist with long-time producer Dave Aylott. He was a champion of new music, being the first to play Michael Buble on BBC radio. In his final broadcast, his wish was for listeners to “pass some of the best bits to the next generation”.

Desmond Carrington: All Time Great is like a gentle ride on a steamboat along a river where the banks are laden with memories. It is 60 minutes of heartwarming and life-affirming stuff. A wonderful tribute to a truly wonderful man.

Featured image (C) BBC

The rising cost of music tickets

I took a phone call the other day from a person wanting to purchase tickets for Aled Jones’ Cathedral Tour. When I announced that we weren’t selling them directly, but that we were simply the venue, he got quite annoyed about having to go through Ticketmaster as an only option. This wasn’t because he didn’t use a computer, or didn’t like paying for stuff online; rather, he was infuriated at the difference between the initial ticket price and the final payment. By the time you add extra charges, such as the booking fee and postage, it works out at an extra £10, he declared irritatingly. I told him I could sympathise, and that wasn’t just me trying to be polite.

This came off the back of Eddie Mair’s weekly column in the Radio Times (27th Feb 2016, pg.133) where, with his typically dry humour, Eddie rounded on the very same people this chap was exasperated  with:

‘Buying tickets online for a live stage show, I selected the date, the seats I wanted, entered my credit card details, ticked that I was “happy” to pay their ludicrous booking fee and everything else was accepted. After purchase, I was offered the choice of having the tickets sent to me through the post or I could print them at home. Normally I would print at home: quicker, easy and free. But this particular venue has spotted a genius way to fleece customers just when they feel totally fleeced out. The cost of getting the tickets by post was £2.70. Next to the box to check to print at home was the price tag: £2.50. Yes, that’s correct…. These charlatans wanted to charge me £2.50 to use my own printer, ink and paper to provide my own tickets for the gig which I had just paid handsomely. They wanted actual money to allow me to do something that involved them doing literally nothing’

I couldn’t quite believe it when I read this. Surely this isn’t legal? How on earth does printing your own tickets warrant an extra charge of £2.50?! I liked Eddie’s response:

‘there I sat in a wearily familiar situation: the angry consumer with a choice. Delete the entire transaction? Cancel a show I was excited about seeing? Send them an angry letter with a bill demanding ten pounds for sending the angry letter? I clicked on tickets by post. I wanted them at least to do something for my bloody money…. But ultimately, I’m left just hating them, and myself, just a little bit more’

And therein lies the irony I suppose. Do we start sending letters and asking the recipient to pay our postage of them? Do we prevent people from printing out e-mail attachments until they contribute financially to our nondescript efforts?

It’s sad when the world comes to this. For all it’s good, one of the downsides to a global, electronic marketplace is that music tickets have become something of a financial, rather than personal or emotional, commodity. No longer do some people aim to be the first to buy tickets for popular artists because they are genuine fans or excited for the experience. Instead, their aim is to sell them on for 10, 20, even 100 times the original price. I heard the other week of someone who was lucky enough to get tickets to Adele in Manchester; these same people knew others, though, who had missed out. The only way that they could attend would be to pay for tickets appearing afterwards on auction sites whose price had been drastically inflated. Why should they have to pay so much more for something that, if it wasn’t for these money-making scammers, they would have stood a better chance of getting in the initial sale?

Ultimately, I find it sad that these ticketing agencies and amateur businessmen have robbed some of the joy out of going to see live music. It’s sad (and somewhat unfathomable) the prices associated with purchasing tickets these days. I guess, once you’re there, grievances with the process tend to slip away (at least for those who actually acquired tickets to go). But, like Eddie Mair, I can’t help feeling that we end up hating them, and ourselves, that little bit more. If this post does nothing else, I hope it at least shines a light on the injustice that seems to be at work, perhaps not within the music industry, but certainly around it.

This post was initially published in April 2016.

Homeland – Returning Home

The opening scene of season six of Homeland was beautiful. The reason? It instantly took me back to those early days of season one. Nothing can beat this drama’s premier outing. Thrilling, gripping, high on emotion; it’s come incredibly close to recapturing some of its early brilliance, but up until now it has never quite managed to do so. It is, of course, too early to tell whether season six will be as satisfying. The signs are promising however, not least because that immersive jazz soundtrack which defined much of Homeland‘s initial run oozed out of my television’s speakers during that opening scene. To have it played against a lingering close-up of Carrie Mathison (Claire Danes), Homeland’s chief protagonist, only added extra depth to this first couple of minutes. The shots which followed created a moody atmosphere. You could sense the past impacting on the future. This is Carrie in a new place, with a new life, yet she is clearly shaped by all that has gone before her.

The new place she now occupies is Brooklyn, New York. After a stint in Europe, it appears Homeland is returning home to America, and not before time too. The show’s wayward trajectory since season three in particular appears to be coming to an end. It’s a return to basics for Alex Gansa (the show’s creator) and his team. And on this showing, it is to be welcomed. Not that the events of previous seasons are being forgotten however. This is no more true than in the case of Peter Quinn, Carrie’s former right-hand man at the CIA. It is heart-wrenching and quite distressing at times to see him, off the back of his horrendous ordeal in season five, so vulnerable and weak, barely able to hold himself up. Rupert Friend is superb in the role, capturing Quinn’s helplessness in such a way that is so antithetical to his character’s previous force and physicality.

The show also retains its ability to keep its finger on the pulse of real-life events. We also witness, during the opening few minutes, news reporters standing in front of cameras talking eagerly of the forthcoming Inauguration of the President-Elect. They may not have got the gender right – here, it’s “Madame” President-Elect – but in terms of characterisation, Gansa recently reported that she will be “part Trump” at least. It remains to be seen, but the treatment of newcomer Sekou Bah (J. Mallory McCree) revealed a more hard-line approach to national security, in keeping with Trump’s zero-tolerance views on Muslims that he expressed during his Presidential campaign. Thankfully for Bah, it appears he has Carrie in his corner, who is now working as an advocate for Muslim Americans with a Brooklyn-based charity. She certainly has strong criticisms of this new tougher regime.

So it’s early days but (whisper it) I have high hopes for this season. Let’s see if they turn out to be satisfyingly fulfilled.

Featured Image (C) IMDB

The Tempest – Virtual Reality Takes to the Stage

There is an interesting look to the RSC’s latest production. The Tempest is the first lucky recipient of Shakespeare’s plays to become immersed in the world of live motion capture effects. With the help of the award-winning Imaginarium Studios (they who brought Golem to life in The Lord of the Rings), director Gregory Doran seeks to bring this classic play to life on stage as never before. His choice of source material is apt given the magical powers of its protagonist, Prospero, and the mysticism of the island upon which he resides with his daughter Amanda (Jenny Rainsford), slave Caliban (Joe Dixon), and the spirit Ariel, played by Mark Quartley. The latter is fitted with a specially-designed suit that allows for his movements to be tracked, and transformed into a pixelated vision on a large screen backdrop. In terms of graphical quality, it is like watching a video game from the age of the Playstation 2. However, do not mistake this for criticism. This is a bold and innovative approach by the RSC. As with anything new, it is going to be a little rough around the edges. To some extent, it worked. They are to be admired in their attempts at portraying the magical powers of Simon Russell Beale’s Prospero. In the beginning, perhaps they are a little too eager, attempting to use these technological advancements at every opportunity. Yet come the second half, there is the perfect balance. Towards its conclusion, the special effects perfectly compliment the acting genius of Russell Beale, drawing out a depth of emotion that is so captivating, the silence in the packed theatre was deafening. To this extent, I think perhaps the way forward with CGI in theatre is not to overstate its use; rather, to utilise it in such a way as to enhance the experience that live performance already offers. The Imaginarium Studios team did achieve that at times here. For its maiden outing, it was by no means a disaster. It is early days, but the signs look promising. Here’s to further technological developments for this most physical of art forms.

Originally created as part of Venue Cymru’s Young Critics scheme