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Post by Deleted on Oct 20, 2018 16:16:35 GMT
This link is to Company. Not that I am complaining, i’ve read them both now and they are both brilliant reviews. The Company one made me cry. You keep making me cry! |
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Post by Deleted on Oct 20, 2018 18:16:26 GMT
This link is to Company. Not that I am complaining, i’ve read them both now and they are both brilliant reviews. The Company one made me cry. You keep making me cry! Oops clearly I hadn't had enough coffee at that point!! And aw thank you. Honestly the response I've had to that blog has been amazing, especially from women saying 'yes! that's what I felt too!' but also some great comments on the reflections it raises on the production which is great. I mean honestly, as long as it's not an email claiming this post proves I'm a sex addict at this point I'll take it (yes, that happened, yes I will keep talking about it because Men think it's ok to talk like that at women) |
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Post by Deleted on Oct 25, 2018 8:21:36 GMT
Not technically theatre, but close enough: Elis James and Jon Robins 'The Holy Vible' the radio/podcast duo are touring to promote the book of the same name. I admit I don't listen to the podcast, but will now (a friend wanted to go, I like Elis James and jokes about Carmarthen so I said yes) It's a fun little show where they combine bits of what I can only describe as 'shared stand up' and readings from the book. And a bit of audience chatter. Given we were in Cardiff a fair bit of in jokes and banter about, well Wales, Welsh language and yes, the mute twins of Haverfordwest. If unlike me you do listen to their podcast, and the tour is coming near you I'd say go along.
While I'm doing a comedy round up: Sara Pascoe, saw her last week. Adore her. Was in the front row, luckily she says at the start 'I don't pick on people it's fine' also she actively tells people 'go on your phones I don't care' (which she says works as excellent reverse psychology). She also commented it was nice to be back in a comedy club because she keeps performing at theatres and people expect 'art' and it's just her chatting. What she does chat about it usually utter filth and I LOVE it. Because I have an utterly filthy mind but also because she's a real feminist independent woman owning her sexuality...but also being a bit crap at life. Which we can all relate to. Also her running joke about her imaginary brother is even funnier if you have taken a mate of the same name. (Sorry Steve)
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Post by Deleted on Oct 26, 2018 19:17:32 GMT
I saw 'Tuck' at the WMC (Ffresh bar) last night. While there's a bit too much going on at times, I found it very moving, very interesting and of course a bit fabulous. Based in a Drag bar it tells the stories of 4 of the Queens in Welsh and English. And it's a piece with real heart, as well as some annoying songs. Also if you want to learn the C word in Welsh this is your play. Full review: thenerdytheatre.blogspot.com/2018/10/tuck.html |
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Post by Deleted on Oct 27, 2018 6:05:57 GMT
... also she actively tells people 'go on your phones I don't care' (which she says works as excellent reverse psychology). Ha ace. Acts should start incorporating an "oh, two seconds I've just gotta reply to this tweet" etc, keep them waiting, into their routine. That'll learn em. |
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Post by duncan on Nov 2, 2018 8:12:23 GMT
33 - Dracula - Kings Edinburgh
If you don't know the synopsis to this one then shame on you!
The Touring Consortium Theatre Company present their take on Bram Stoker's Dracula - a frankly terrible book that has somehow crept into the conscience of the world, probably because most of the world hasn't actually tried to read his turgid prose.
Anyway - this is distressingly entertaining as lots of dry ice, some blood bags under clothes, an amazing sound design, medical instruments with hidden blood inside them, young ladies panting for "it" and some hideously bad exposition all combine for a thoroughly thrilling evenings entertainment.
Script wise its an odd mix of the Keanu Reeves and Frank Langella film versions but here at least Philip Bretherton as Van Helsing is primarily playing it straight and not highlighting the accent or camping it up like a certain Mr Hopkins did. Renfield is switched to being Lady Renfield, with BAFTA winner Cheryl Campbell playing to the gallery, which I'm sure will upset the purists but which introduces a certain sadness to her final scene which improves on the characterisation of Renfield from the source material.
Elsewhere in the cast most are performing adequately with a couple of impressive beards on show but its Olivia Swann as Mina who is the weak link - this is supposed to be a character that all men are lusting after according to the dialogue as the Count seduces her but her line delivery is flatter than Belgium and there is nothing in the performance that raises it beyond someone on stage reciting lines they have memorised. As she is drinking the blood of Dracula as he promises to make her his immortal Countess you wonder if it'll take him more than 3 days to realise he's stuck with a hideously dull Countess. This lack of a character is only highlighted by newcomer Jessica Webber giving her all as the doomed Lucy who has to play horny young lady, dying young lady, horny dying young lady, baby killing vampire and sleeping young lady. I know its the Stoker characterisation at work here - horny young ladies = bad, chaste dullards = good but with some other plot points reworked its a shame they didn't get round to putting some meat on the Mina bones.
As mentioned, the sound design works well as the voice of Dracula comes from all round the theatre whilst the howling dogs and squealing bats are also bouncing round the auditorium. Be warned though the vibrant sound design does mean that there are a couple of noisy moments to get you on the edge of your seat - indeed the performance starts with a sound and lighting moment that is thoroughly unexpected.
there is also an illusionist listed in the programme but as I've seen way too many stage shows I have to admit that aside from some characters being lifted off the ground by the hand of Dracula and indeed the climax to act one involving the count setting out to fly over the stalls (he doesn't, there is a lot of dry ice and some lighting trickery) I was pondering where the actual illusions were as I can now tell when someone is standing in such a location on stage, right next to the big blacked out section, to get hooked onto a harness.
Also a quick word on the attendance last night, have to admit to being surprised at how full the Kings was for this but I guess the name sells it.
A good nights entertainment, enjoyable fluff for the masses - 8/10
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Post by duncan on Nov 3, 2018 23:22:45 GMT
34. Nye & Jennie - Festival Studio
The story of the relationship between Aneurin Bevan and Jennie Lee, covering their life together from 1933 until his death in 1960 and her defeat in the 1970 General Election.
We start with the defeat of Lee in 1970 which gives us a nice wee cameo from Cliff Michelmore and Robert McKenzie and lets be frank that's the highlight of this tedious 75 minute hagiography.
Lousie Collins as Jennie Lee was hesitant with her lines and her "Fife" accent was utterly awful, this is supposed to be the Lady MacBeth of the piece, the dark lady on the shoulder of Bevan but as written she is a subservient doormat. Partly its the performance but also its the writing - Lee is treated as someone who effectively stops having her own mind in 1941 and everything after that is pleasing her man. This is a woman who created the Open University and who was an MP before she was old enough to vote but here all of that plays second fiddle to showing her devotion to her husband, indeed I don't think they even mention the OU once in the play.
Gareth John Bale is playing Bevan in an ill fitting suit, as per history, and what looks like an alarming wig on his head. He's got the showy role here and is perfectly fine but there is no fire in the belly. You don't believe for a minute that these two people would ever live together never mind marry. Again he's let down by the writing - it seemingly takes him 90 seconds to create the NHS and at the end it becomes hideously murky as to what side of the nuclear debate Bevan is taking, I had to look it up online afterwards and even then I'm not sure the historical reality is passed over to the audience by the writing.
Its quick, its facile and its not that entertaining - a missed opportunity 4/10
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Post by showgirl on Nov 4, 2018 5:13:57 GMT
Trial By Laughter - Tour - Ian Hislop & Nick Newman
"William Hone, the forgotten hero of free speech, was a bookseller, publisher and satirist. In 1817, he stood trial for ‘impious blasphemy and seditious libel’. The only crime he had committed was to be funny. Worse than that he was funny by parodying religious texts. And worst of all, he was funny about the despotic government and the libidinous monarchy."
Despite STILL not having seen their "The Wipers Times" (I've been as close as having a ticket for a performance I was then unable to attend), I'd heard enough to make me want to see it and was hoping this would be in the same vein in terms of entertainment and quality. But oh how disappointed I was - so much so that it has taken me several days to steel myself to post this and even so, my view has not mellowed.
Everything seemed promising: the performance had been sold out for some time so there was a good atmosphere but the treatment was more like panto than a play, with characters portrayed so crudely as to be caricatures and coarse attempts at humour which left me cold. Admittedly I dozed off - and this was the matinee! - but I was wide awake by the interval and heading for the exit.
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Post by Deleted on Nov 4, 2018 11:38:58 GMT
Last night I saw the Welsh translation of Tim Crouch's 'An Oak Tree', which is Derwen in case anyone is wondering. It's such a fascinating piece of theatre- for those who don't know it, two actors perform, one who has never seen the script before. And it follows this character seeking answers about his daughter's death from a hypnotist. I love Invertigo theatre company, and Steffan Donnelly is one of my favourite actors, and it was an engaging and moving version of the play. The Welsh subtitles actually add an extra layer of 'meta' to it as well. thenerdytheatre.blogspot.com/2018/11/derwen-invertigo-theatre.html |
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Post by Deleted on Nov 4, 2018 20:53:56 GMT
And another one from this week Cardiff Boy by Kevin Jones. Full disclaimer, Kev is a mate, and I've followed this one through its inception as a short piece, and it was one of the things I've been most excited for this 'season' in Cardiff. It's a very 'Cardiff' play as the title suggests, and we were all roaring with laughter at a lot of the local jokes. More than that though its one of those where the identity of the place is really woven into it. Added to that a lot of 'Bangin' 90s tunes' as it says on the poster and well, us 90s teens were like pigs in muck (like Glasto in the 90s actually). But it was also one of the most heart wrenching pieces I've seen in a while, as my poor friend's jumper, which i sobbed into at the end will attest. thenerdytheatre.blogspot.com/2018/11/cardiff-boy.html |
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Post by duncan on Nov 9, 2018 20:31:17 GMT
36 - OH! What a Lovely War - Festival Studio
Songs of the time, the 1914-18 Europe War, are used to give background to a loose structure of satire surrounding the conflict. [/b]
Captivate Theatre decide to become topical by putting on this famous anti-war piece, running until Sunday.
Entertaining if dated - the highlight of the night being the end of act 1 as the dry ice set off the fire alarm meaning we had a nice wee 32 minute wait outside. I'd really like to see someone take this one by the horns and give it a full top to bottom reworking, you get the feeling from this production that you are still watching an overall package that hasn't changed for 40 years because production companies are scared of the text.
The first half is the more comedic as War breaks out and everyone still expects to be home for Christmas and then the second half becomes more and more dark as we reach the likes of the Somme and marching across no mans land so Haig can move his drinks cabinet 600 yards closer to Berlin.
I think the fire break worked in its favour, putting clear blue sky between Komedic Kaisers and the entire cast being shot, apart from the actor playing Haig, to highlight the futility of war. It would have seemed off to me to go from Christmas 1914 to millions of casualties in such a short time.
The cast of 12 switch characters and some costume pieces out of boxes placed at the side of the stage, this is a portmanteau of themes and events which doesn't have a through line its probably the only thing the terminally dull film got right - following characters throughout the war but here we must have the cast playing around 100 different characters. Maybe they are the same characters at different points but if so its not made clear that the BEF of 1914 are the same people we see dying at the Somme.
8/10 - Lloyd George knew my father.
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Post by Deleted on Nov 14, 2018 20:12:25 GMT
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Post by Deleted on Nov 28, 2018 18:48:10 GMT
Saw the Sherman Theatre's Christmas show for the first time in YEARS last night. (the last time was when I was an usher, it was Peter Pan, I saw it 25 times, I'm still having therapy for it).
Also Rachel O'Riordan's last show before she leave...and it is indeed a wonder. I haven't, it's fair to say, loved her directing style on other productions but this was beautiful. Visually stunning, some brilliant choreography and genuinely a Christmas 'play with songs' rather than either full blown musical or play with a few songs tagged on.
Anyone who remembers 'My Family' off the telly, might delight in one Keiron Self giving his best 'Duchess' in a frock. And as I said to him, is it even Christmas if he's not giving it his best frock action? (seriously he's very funny in it). Loved also the Queen of Hearts sporting her best Patti LuPone wig...while strumming her double bass (not a euphemism) My only minor quibble is that actor-musician shows bug me for not entirely solid artistic reasons, they just bug me.
But it's very well done and is a nice 'kids will love it but grownups will too' one.
The best part (and I am not one easily charmed by children) was the kids walking down the road in front of me 'But HOW did she get so big?' fair play, that's a bit of Christmas magic.
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Post by Dr Tom on Dec 5, 2018 21:39:13 GMT
American Idiot - Mountview
That classic rock musical about the disillusioned smartphone, selfie and hashtag generation.
Okay, this is the usual well produced musical starring musical theatre students (before they head on to cheaper looking productions at the Union and the like). A snappy one hour 35 minutes without an interval, some good voices and a decent band.
Sound levels weren’t very well balanced and there were a few issues, but these weren’t due to lack of rehearsal. One of the three leads was particularly quiet and I assumed it was a faulty microphone, but it was never fixed.
Good energy levels and some overacting, particularly when the ensemble got their lines, but I guess that’s in keeping with the show.
One major negative. This was my first time in Mountview’s new building in Peckham and their Backstage Theatre. The sight lines in almost all seats are terrible. You lose the front of the stake and anywhere you can’t angle around the people you’re barely above in front.
Also, don’t get there early. The front of the queue is rewarded with the worst seats at the back and there’s no choice where you sit. The front rows were reserved for Mountview staff and students. I appreciate many attendees are comped, but I paid, as did many others.
Another annoyance. The sign warning of gunshots and explosions. Large guns waved into the audience to put everyone at edge. At the end, I realised the only bangs had been quiet sound effects and a few party poppers (all much quieter than the drums).
Finally, removing everything to do with 9/11. I know all the cast were barely born, but what were they thinking?
There were some good fresh ideas in there and I enjoyed it. Just wasn’t quite fluid and I don’t think this musical needed reinvention just yet.
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Post by Deleted on Dec 7, 2018 13:30:01 GMT
Always a shame when the final show of the year is a bit 'meh' but The Other Room's Christmas show 'Cheer' was ...fine. A bit of a poor man's Black Mirror, a little bit overly cliche working class sterotypes, and a little bit heavy handed in the 'issues' BUT that said it's still better than an overly sweet piece of Christmas fluff. thenerdytheatre.blogspot.com/2018/12/cheer-big-loop-theatre-other-room.html |
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Post by Dr Tom on Jan 24, 2019 8:50:55 GMT
Cry Baby - Arts Ed
A show from the final year musical theatre students.
First time I've been to Arts Ed, which turns out to be just a few doors down from the Tabard Theatre.
This show was in the Studio Theatre, which is a nice stage, raked seating on two sides of the set. You are rather left to your own devices to find it within Arts Ed, which is trusting (they also have a larger theatre by the entrance, which I'll try for Newsies in a week or so).
I knew little about this show going in, which briefly ran on Broadway and, I don't think, has ever been professionally produced in the UK. It's a fun 1950s set musical, which reminded me a lot of Grease. Good sound, good view (I was in the front row, but I think all the seats were good), good acting and a group of students looking very prepared for the future. Isaac Gryn and Charlie Burn as the leads were both excellent. A professional show on all levels.
There is some audience interaction as you go in, so I was invited to get my polio vaccination and received a leaflet reminded me of the dangers of polio. Other people were taught how to twirl their batons. It's very much a good teenager rebels against the system type show, with lots of rock and roll and a few twists. Not the most involved plot. It's also a short show, 2 hours 10 minutes including the interval.
Recommended, if you have a slot free before the weekend and can grab a ticket.
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Post by Deleted on Jan 24, 2019 9:40:18 GMT
Cry Baby - Arts EdA show from the final year musical theatre students. First time I've been to Arts Ed, which turns out to be just a few doors down from the Tabard Theatre. This show was in the Studio Theatre, which is a nice stage, raked seating on two sides of the set. You are rather left to your own devices to find it within Arts Ed, which is trusting (they also have a larger theatre by the entrance, which I'll try for Newsies in a week or so). I knew little about this show going in, which briefly ran on Broadway and, I don't think, has ever been professionally produced in the UK. It's a fun 1950s set musical, which reminded me a lot of Grease. Good sound, good view (I was in the front row, but I think all the seats were good), good acting and a group of students looking very prepared for the future. Isaac Gryn and Charlie Burn as the leads were both excellent. A professional show on all levels. There is some audience interaction as you go in, so I was invited to get my polio vaccination and received a leaflet reminded me of the dangers of polio. Other people were taught how to twirl their batons. It's very much a good teenager rebels against the system type show, with lots of rock and roll and a few twists. Not the most involved plot. It's also a short show, 2 hours 10 minutes including the interval. Recommended, if you have a slot free before the weekend and can grab a ticket. Ooh I actually went to opening night on Broadway for that! had a DELIGHTFUL evening of star-spotting ...that and a dance with bin lids, somewhat akin to Stomp are unfortunately all I can remember about it! |
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Post by Deleted on Jan 24, 2019 11:06:16 GMT
Ooh I actually went to opening night on Broadway for that! had a DELIGHTFUL evening of star-spotting ...that and a dance with bin lids Um, you actually went into the auditorium, @emicardiff ? As opposed to you and a few fellow star-spotters entertaining yourselves in the alley by the stage door? It was at the Marriott Maquis darling, so even the alleyway there is sophisticated! (and normally I only go in there to use the loos!) |
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Post by Deleted on Jan 24, 2019 13:01:13 GMT
It was at the Marriott Maquis darling, so even the alleyway there is sophisticated! (and normally I only go in there to use the loos!) So the security isn't as sophisticated as everything else then... Actually, am I right in thinking they started locking the loos on lower floors to prevent random theatregoers using them? Seem to recall someone on here saying that a while back? They were still open in July when I was there, but no idea what has happened since! |
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Post by Dr Tom on Feb 3, 2019 0:07:47 GMT
Christine Bovill's Paris - Wilton's Music HallThis is an excellent one woman production (plus pianist), celebrating French singers and composers, covering the rough period between 1920 and 1960.
There are a lot of songs to choose from, many that you wouldn't know started out in French.
Some songs are performed in French, a few in English versions, some transitioning between the two languages. And there are stories between the songs.
It says something that the Glaswegian performer attracted a lot of French people in audience (full, or very close to, on Friday night when I saw this in a cold Wilton's).
The evening finishes with three of Edith Piaf's best known songs (performed in character) and an encore, running about two hours, so over the advertised time, but Christine says she changes the show every day. An evening well spent.
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Post by Dr Tom on Feb 3, 2019 22:41:27 GMT
Newsies - Arts Ed
I've only seen this show once before, the US tour from the back of the stalls in LA.
At Arts Ed, I was also in the back row of the Stalls. But as there are only eight rows and everything is nicely tiered, this would be considered premium seating anywhere else.
This was my first time in the Andrew Lloyd Webber Theatre, which is a really pleasant space. Surprisingly, there were about 8 empty seats in the stalls, even though this is listed as sold out throughout the run. Perhaps the Saturday matinee weather had put people off.
This is a perfect show for a theatre school, requiring a young cast (only some of the adult roles looked slightly out of place, but not really noticeable). It's also one that requires a large cast, so not one you're likely to see a fringe theatre attempt anytime soon.
A professional level performance, presented with enthusiasm and energy. Decent simple sets. The choreography was very close to what I remembered from the US production and the cast wouldn't have been out of place there. Having seen a lot of them in Cry Baby recently, they switched to these roles really easily.
It's a great musical, catchy songs, very Disney, so rather a surprise it has never been professionally produced in the UK. But maybe just not all that well known.
This is on for another week if you want to try your luck getting a return ticket.
Recommended!
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Post by Dr Tom on Feb 13, 2019 9:25:25 GMT
Crazy For You - The New Gershwin Musical - The Pleasance, Islington
A Mountview presentation from, I believe, the final year students.
I saw cast 2, with Jordan Crouch as the lead. Good singer and dancer, although you have to suspend a bit of disbelief for the mistaken identity part of the plot.
The Pleasance is a decent venue. New to me. Looked like a good rake to the seats (I sat on the front row, so I couldn't really tell). The stage is on the floor and not raised. The theatre was fairly full, but there were some seats left, so you may still be able to get before the end of the run.
This is quite a slight musical. It's amazing how many Gershwin jukebox musicals are doing the rounds right now, mostly using the same songs. On a par with the touring actor-musician version from a couple of years ago.
Only thing that made this look like an actors in training production is that some of the large ensemble numbers weren't as tight as they could have been. Particularly noticeable with I've Got Rhythm played with a dustbin lids and whatever else fit the scene.
Anyway, this is a fun way to spend an evening. Running time is a swift 2 hours 20 minutes.
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Post by duncan on Feb 13, 2019 16:36:09 GMT
Eight weeks later,
1 - Trial by Laughter - Kings Glasgow
William Hone is arrested and put on trial for offending the Prince Regent, its 1817, and with the whole establishment against him its going to be tricky for him to get out of being deported to Australia - especially as those in charge are going to ensure he has three seperate trials across three days.
Ian Hislop and Nick Newman have written this comedy based on their original radio play based on the real life early 19th century case of Hone.
And sadly they have left the laughs at home, Trial by a couple of mirthsome moments clearly not being what they intended but its what happens. Its just not a funny show, its scenes and scenes and yet more scenes of the three trials and its repetitive, repetitive, repetitive. There isnt enough difference across the trials to make it involving or indeed entertaining. We finish trial one and then we do it all again and then we do it one final time. Hone gives his defence, the judge interrupts, shouts come from the gallery (of the trial, and all seemingly played in from the back of the stalls rather than have the cast mixing with us plebs), he goes home AND REPEAT AND REPEAT
If there was adequate differential ala Groundhog Day then it may just be a bit better than it is but at the interval I was seriously pondering how they were going to fill the second half, indeed the 4 people to my right were clearly better informed as they didnt come back.
The staging is cheap looking, there isnt anything thats a wow or indeed a meh it all just so "will this do" and there isnt a single name in the cast that will sell tickets, it wasnt a shock to see the Stalls about a third full and only one of the other three levels open last night.
The cast do their best with the material but they are giving performances at a level that is just slightly below broad farce but the writing just doesnt support the acting. And as we have a cast of 10 playing around 25 different characters there is a lot of man with beard playing the Chief Judge going off stage and then coming back on 30 seconds later as the other character he is playing and then lead basically saying "Why Hazlitt, what brings you here?" to differentiate between who he is playing, which I'm sure looks good on paper and on the radio but on stage its short hand for not having enough of a cast and for me more importantly not trusting the paying public to recognise he's now playing someone different. You are an actor my dear boy, try acting.
Newman and Hislop were there last night for an after show Q&A but I stepped out owing to having not enjoyed the show and the fact that the Kings was baltic - someone else on the way out stopped and complained to the front of house staff, I mentioned it in the "did you enjoy your...." email I got later on.
The Kings was also looking exceptionally tatty and with the back stalls toilets and bar closed the staff didnt seem to have any idea where people should go as we were pointed to the GC bar but that was closed.
A disappointing start to the year - 4/10
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Post by Deleted on Feb 15, 2019 9:36:25 GMT
Two contrasting new plays this week in Cardiff/Newport.
Blue from Chippy Lane theatre at Chapter.
This was a 3* for me. I appreciated the play, and the writing, but I didn't love it. A 'dinner table' play reflecting on the secrets the family is hiding, what they really feel about one another and what might be going on under the surface. It was an interesting reflection on family life, that at once took too long to get anywhere but also tried to cram in too many issues (and resolved relatively little). Some excellent performances including Sophie Mellville, and some really excellent direction and design. But it did feel long and frustrating at times.
Table 5 at the Dolman in Newport.
Similar in set up in some ways to the above, but a broader comedy. Set at two weddings and the unravelling of secrets around the dinner table. Very funny at times, and indeed touching. I found the writing far better paced and engaging than Blue, but perhaps just because the dark comedy approach appeals more to my taste. It was performed by an Amateur company so not as polished as the other play, but plenty fo convinction etc. One major issue I did have was that there was a trans character who wasn't played by a trans actor. I appreciate doing it with an amdram company this isn't as easy, but obviously, if they take it elsewhere that's something they'll need to address.
Oh and one fun perk of the above was watching two of my closest friends a) play themselves (the good boy and the bad boy) and b) have a ridiculous punch up with each other.
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Post by ruby on Feb 15, 2019 22:20:47 GMT
Ad Libido - Wardrobe Theatre, Bristol
This was a very funny and engaging story of one woman's journey to "fix sex". I liked the use of well-known songs, sometimes with altered lyrics, to convey a sense of time and place.
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