Colm Wilkinson Gets His Mojo Workin' at St Davids Hall, Cardiff;Saturday 29th June

Photo courtesy of @angieiswelsh

When a performer announces a solo tour, you never know quite what to expect. Sometimes they just sing songs with little audience interaction but I think most know that in order to really connect it'll take a little more than that.

So, if you're looking for that perfect formula, look no further than Colm Wilkinson... he is the master of the solo gig! No wonder other performers list him as an influence on their careers. Colm's presence on stage is natural and comfortable. He feels at home and clearly revels in sharing his love of the job and music with his audience, constantly involving us. He interacts with the audience in a conversational manner encouraging the audience to talk back and has us singing along at various points through the show. 

The biggest surprise was how funny he is, though. He told some jokes, claiming his wife warned him not to, and it really warmed up the audience. He also got us to turn around and shake the hand of the person behind us as an ice breaker. It's these little touches that make the difference between a sterile album concert and a memorable, fun night out - or to use Ramin's terminology; A Hootenanny.  

Colm performed a range of songs taken from his album as well as songs that he simply enjoys himself. He treated us to a song he wrote years ago called "I cannot stay" about taking for granted that loved ones know they are loved and how we should say it more often. If you haven't heard it, here's a link to a video of it from a concert a few years back http://www.youtube.com/watch?v=VaOkc4_n6ow (not my video).

His passion for rock & roll really came across - he put so much energy into the performance and considering he's 69 that energy could match any of his younger counterparts. He got us signing the phrase "I got my mojo workin" back at him during the song of the same name as well as the chorus of the Dubliners 'Whisky in the Jar" (although, someone please tell me what the lyrics are. Even looking at lyric sites online they are all different - I found 'whack for my daddy-o' 'Wept for my daddy-o' and my sister thought it was 'back for my daddy-o' ... Who knows?). There was also some Johnny Cash thrown in the mix, some Beatles and a few country songs too.

He couldn't do a concert without featuring some of his musical theatre triumphs which we all know and love him for including Music of the Night, This is the Moment, Some Enchanted Evening and a couple from 'Man of La Mancha' amongst others. We wouldn't let him leave, however, without 'Bring Him Home' (or 'Send Them Home' as Colm cheekily called it) which he left for the final encore, going off stage and returning with his Jean Val Jean jacket on. This was met with frantic approval - the screaming of one lady behind me was almost alarming. He told us an amusing story about when he went to see Forbidden Broadway (if you don't know forbidden Broadway, its an off Broadway spoof show featuring lovingly mocking versions of well loved musical theatre songs -check it out on YouTube!) where they were performing their version of Les Mis. They call the song 'Bring It Down' and of this, he sung us the first few lines -   

God it's high

This song's too high

Pity me

Change the key

Bring it down 

Bring it down

He did continue with the more standard version, however, to the delight of everyone there. When we finally let him leave the stage (after all, he reminded us, he is in a union), it was to a well earned, full standing ovation.

I must also mention his fantastic band and his supporting Irish ladies Siobhan Pettit & Aine Whelan who had very different voices which came together in a nice harmony.

This is one album tour you don't want to miss out on - a true, long-standing professional at work. He moves on to Dublin's Bord Gais theatre next (that theatre name still makes me laugh on so many levels) and has some American and Canadian dates booked for the end of the year. For more information, you can visit the website http://www.colmwilkinson.com/ 

Rent in Concert - St David's Hall, Cardiff - Monday 29th April

*contains spoilers* 

I "discovered" Rent about 5 years ago. I'd heard of it before then, obviously, but I didn't watch it until I came across the film on the shelf of the library I worked at and thought I'd give it a go. Like most people, all I knew about the story was that it was about aids.

As the credits rolled, the tears rolled with them and I realised what I thought I knew was wrong - it's not a story about aids at all, it's a story about love and friendship. Of course aids features as part of the story vehicle but it's not the point of the show.

With it's rocking, punchy music and touching story, Rent immediately got added to my list of favourite musicals. Knowing it's history of not doing so well in the UK and then it closing on Broadway a few years ago, I thought I'd never get to see it on stage (at least not a professional version anyway). I bought the dvd of the last show and thought that's as close as I would get.

So, when I saw that a concert version was making its way to a venue near me, there was no way I was missing out.

As a concert, celebrating 20 years of the musical, I wasn't sure what to expect as far as scenic and technical elements were concerned. I knew it wouldn't be fully staged but they've done a good job of trying to capture the feel of the original show. There is a basic set made from 3 levels of steel deck and LED screens border the stage. In typical rock musical fashion, this creates the atmosphere of being in a sweaty, grungy nightclub.

There were a few technical difficulties and the show did have to be stopped half way through the first act to correct lighting problems - there were moments actors had been left singing in the dark and lighting states that simply weren't fitting for the moment.

I'm sure that the challenge of touring this show to a new venue every night makes getting these elements plotted and programmed in an afternoon a real race against the clock. The Stage Manager came on stage to apologise and said for our enjoyment, it was only fair they stop the show and fix the problems. Which they did, so you can't say fairer than that. These things will happen with live theatre.

The actors and musicians were all very professional in dealing with this disruption and came back onstage and picked up from the exact chord they'd left on!

The production was well cast with the exception of Kerry Ellis - she's a fabulous singer but far too clean cut and pure for a role like Mimi, who's grungy, edgy and an addict. There's also the small point that her character is meant to be Latin American, and though you may say "that doesn't matter, it's creative licence" - it does matter when it's written into the character profile - she sings about it in 'Out Tonight'. It seems like she was cast simply because she's Kerry Ellis.

I was concerned about Rory Taylor for the same reason. Having been on ITV's 'Search for a Superstar' I wondered whether he was stunt cast too. In this case, though - whether that was the reason or not - it worked out perfectly. He has a rocky vibe to his look and voice anyway so was a natural fit for Roger and he's not too bad to look at either.

Paul Ayres is also an easy fit for Mark, bringing an edge of awkward, nerdy gawkiness alongside a like-ability that is essential for his character.

Jemma Alexander and Nikki Davis-Jones play the tempestuous lesbian couple Joanne and Maureen respectively. They have great chemistry together and are fully believable as a couple. Jemma Alexander shows what she's made of during the song 'We're Okay' where Joanne multitasks several telephone calls all through song. Nikki Davis-Jones had us all mooing along with her for an amusing rendition of 'Over the Moon' while cute animations played on the LED screen behind her. Their duet 'Take Me or Leave Me' was a highlight.

The star couple, though, had to be Leon Lopez as Collins and Ian Stroughair as Angel. Even when they weren't the main focus of the scene they can be found "canoodling" in the background and they are the perfect sweet couple together. This love between them absolutely is important for the devastating moment where Angel is taken by the disease that many of them are battling.

Although the main focus is, naturally, on the central characters, all of the ensemble have that magnetic pull of focus when they're on stage and it's the scenes with everyone in that are the best moments. You can tell everyone is loving being part of the rent family.

A last thought - if you don't know the story I would recommend watching the film first. Due to it being a concert, there's not an awful lot of scene setting and I overheard some people in the toilet queue talking about how confused they were. If you don't have time to watch the film between now and going to see the show, there is a 2 page synopsis in the front of the programme which would be beneficial to give a quick read before the show begins - you don't want to miss out on the subtler details because you're struggling to follow the plot!

Rent in Concert has a very limited run, so try and catch it while you can. Please check the website for remaining venues and to book tickets http://rentinconcert.co.uk/

Ghost the Musical on Tour - Wales Millennium Centre - Saturday 20th April 7.30pm

The great thing about touring shows is I can share the shows I love with my family who aren't theatre obsessed like me. After discovering Ghost last year, I've been raving about it ever since. It's an exciting new level of theatre and I was anxious for everyone to see it. I wanted them to see the same show I loved, though, and tours are often radically scaled down versions of it's initial incarnation.

This worry was unfounded, however. The set has been kept almost to the exact specifications of the original. The one thing I really noticed that was missing was the 'travelator' as it became known - the conveyor belt that runs across the downstage area. I missed it, but if you've never seen the London version you wouldn't know any different. The special effects and illusions are still breathtaking and flawless - my mum hasn't stopped talking about the door scene and the effect of the subway. She said "it's the best special effects she's ever seen in a show".

I won't go into my set design interpretation here - see my original review for that, but I do want to reiterate my defence for it to anyone that accuses it of being technology for technology's sake - think about the themes and subplots before making these accusations! 

There are a couple of changes to the score and I don't think anyone will be surprised or disappointed to learn one of these is 'Ball of Wax' which was always glaringly out of place with its awkward change of tone. I still don't feel they've got this moment right with the reworked version of this song still feeling like a poor fit. The other song which has been removed is Carl's song from Act 2 'Life Turns on a Dime'. I actually liked this song, though I know lots of people didn't. In its place, Carl now sings a (somewhat distorted sounding) version of 'Here Right Now' while Molly sings her normal phrase. Maybe it's just because I know how it used to sound, but again it feels awkward. It's good that they've listened to the audience opinions and responded proactively by changing things - this is how theatre develops and grows - but it feels a little rushed. It's as though they've responded with panic to fill these moments by taking musical phrases from elsewhere in the show and remoulding them into something that hasn't properly taken shape.

Honestly, though, that's nitpicking to the nth degree because I can't actually fault it otherwise. As far as touring versions go, this is perfect. To quote my friend, Julie, who watched with me - "I've never seen anything quite like it. It reminds me why I got into the theatre business". I don't think there is higher praise than that; For someone to be inspired by what they've encountered is the greatest compliment.

Stewart Clarke as Sam brings a younger, innocently playful take to the character - a young man just embarking on his adult life. His career and relationship with Molly are strong and his future looks bright. This heightens the injustice of his life cut short.

Rebecca Trehearn was the understudy for Molly during the London run, so was already familiar with the character. Her interpretation was a feistier one but this didn't diminish the vulnerability - if anything it enhances it. Her 'With You' was heartbreaking.

I found it quite hard to fully buy into David Roberts's Carl - although people accused Andrew Langtree's interpretation to be a bit too "panto baddie", I liked it, it worked for me. I felt Roberts was a little lacking in the dripping corporate sleaze that's needed to create the believability that he would risk everything for his personal, materialistic gain.

And then there's Wendy Mae Brown as Oda Mae Brown. What a fabulous role this must be to play and with that name, it seems she was born to play her. She's the light relief in what would otherwise be a dark and heavy show, it's easy to warm to her character. Certainly no saint herself, Oda Mae can con and swindle with the best of the New Yorkers - but underneath it all it hasn't corrupted her soul. I loved Wendy's interpretation, dare I say, more than Sharon D. Clarkes! She’s put more of her own spin on the character rather than being a carbon copy of Whoopi Goldberg's. It was impossible not to laugh out loud.

From the moment the intensity of the overture hits you and you're hurtled across the New York skyline to the lights dimming into a small pool of light downstage on a drained Molly and Oda Mae, you will feel completely blown away! If there's only one touring production you see this year, make it this one. Please.

For tour venues, dates and booking information, please visit the official website http://www.ghostthemusical.com/

For the Love of (Local) Theatre & Diversity of the Arts

Things have been quiet on the review front. This is because I decided that in order to see more theatre, I was going to have to see more local theatre. I made a decision to take a break from west end shows for a little while. Between being so far away from London and the general cost of big production shows it was impossible to continue the way I had been without ending up with an empty bank account. I love theatre but I need to live too.

And for that love of theatre, I wanted to rediscover that first spark - Not just ticking the big budget musicals off my 'to see' list or following the "names" of theatre around, but discovering new kinds of theatre. Maybe seeing plays that I'm not sure I'll like, taking those firsts tentative steps into a world of ballet and experiencing the heights of opera.

It's all about expanding my passion (if this were 50 shades this would have a very different meaning). I remember being told at uni that you can learn more from a bad production than a good one. They were talking about theatre craft but I think it can be applied to the experience of it too. It helps you realise what theatre speaks to you and why/why not and how that differs from other people's experiences. I think it's important to challenge your preconceptions about what makes a good performance.

For example, I went to see 'Rape of the Fair Country' by Clwyd Theatr Cymru. For me, it didn't connect. I'm not particularly patriotic and there was just so much narration, very much in the style of Dylan Thomas's 'Under Milk Wood'. I've been too scarred by many a bad stage rendition of the welsh poets famous radio play - which I didn't like much to begin with.

However, it got a decent standing ovation from much of the rest of the audience and an elderly lady sitting in front of me was crying from the emotion, it clearly spoke to her. I couldn't get past the fact that the writer favoured telling over showing and it left me less than moved.

I was a bit reluctant going to see Communicado Theatre Company's 'The Government Inspector'. I didn't know much about Gogol's work & thought it might be heavy with russian politics and I'd be lost. It turned out to be quite funny and there was a nice little touch for the scene changes - the cast played Russian music, showing an aptitude for playing instruments as well as acting.

I also attended a party for the 25th anniversary of Volcano Theatre Company - an experimental physical theatre company who I had a work placement with a while back. That kind of theatre really isn't my thing, generally, but I do like their production processes. It's a very creative atmosphere to be a part of.

Over the last month, I've realised that I shouldn't have such a London-centric attitude - there's theatre and performance all around if you look for it. You may even find some hidden gems you never knew existed - I'm not sure when else I'd have had an opportunity to see Jonathan Larson's predecessor to 'Rent', the much lesser known 'Tick, Tick, Boom' especially at a time when it's most likely to resonate - when I too am on the cusp of that looming 30 milestone.

Nothing will replace musical theatre as my favourite form of theatrical entertainment. I treasure the escapism it offers too much and it's been in my life since the beginning. Maybe now and again, though, I'll flick through the local theatre and arts centre brochures, pick something I wouldn't normally consider and, possibly, find I really like it. And if not, at least I'll know for sure.

Review: Matthew Bourne's Sleeping Beauty

For a while now a friend of mine has been asking me to go along to the ballet with her. I've been reluctant. I wasn't sure whether it would be my 'thing' - I went to ballet classes when I was little and I didn't care for it at all. In fact, I would often sit down on the floor with my legs and arms crossed and refuse to take part. I think I simply couldn't stand another round of 'good toes, naughty toes'.

Due to these bad memories and the fact I know very little about how to interpret ballet I kept putting it off.

Then I heard that one of Matthew Bourne's ballets was touring to Cardiff. I knew of Matthew Bourne's reputation and that he brought a very unique vision and a twist to the 'traditional' ballets.

If there was ever a ballet I was going to agree to see, this was the one. I was quite excited, actually. It was a whole new theatrical experience; Like going back to childhood and wondering what exactly waited beyond that curtain.

I was not disappointed - there were beautiful gothic sets, costume and makeup. There were magical characters, comic moments, dramatic moments, powerful music and strong performances - everything I love about theatre.

I needn't have worried about whether I could interpret the ballet or not. There was a projection of a summary of the events which were coming up at various intervals throughout the production. Even without this though, the story spoke for itself. It's astonishing how easy it can be to follow a story without words. I suppose this gives us something to think about in life too - actions speak louder after all.

Even though this is a ballet, that doesn't necessarily mean tutus and pointed ballet shoes. Toward the end of the production, 100 years later and set in the modern day, the characters wore tracksuits and trainers. This made it less intimidating for a ballet novice like me.

I'd love to be able to give names for notable performances, but honestly (and shamefully) I'm not entirely sure who I was watching; In my haste to simply watch the production, I forgot to look at the cast board in the foyer and the main roles are regularly alternated.

The lead male roles are the most mesmerising - that is Caradoc, the dark fairy's son and Count Lilac, the king of the fairies. I was transfixed watching them. Princess Aurora is spritely and nature loving and very reminiscent of a wide-eyed disney princess.

I would certainly see more of Matthew Bourne's ballet's in the future and, perhaps, even try some more traditional ballet. This production has pulled down my barriers and opened up a whole new avenue of theatrical enjoyment.

Please visit the official website http://www.new-adventures.net/productions/sleeping_beauty/venue_tour for tour information & booking. 

Idol Pursuits

You watch them on stage. They glow with a blinding inner self assurance; they dance and sing with a grace and power only imagined in other worldly beings. Under that spotlight, they are untouchable, elevated and godlike. Sometimes, they are literally flying high above us. It's thrilling and exciting to be in their presence; these marvellous creatures we call 'performers'. 

We want to protect this idea of their grandeur - it feels good to have these icons to aspire to. What is it like to be them? How wonderful their lives are. How perfect. Maybe one day I can be like them.

Except, there’s one problem. This is all an illusion. The characters you see on stage are just creations.

"But I've seen them at gigs, doing their own music, being themselves" Yes, in this instance they may not be playing a character, but they are still performing. When they meet and greet later - still performing. It's all in the job description. After all, it is a job - just like the rest of us have. Theirs is just a little more public.

A confession - I don't really like to meet the people I admire. It always leaves a depressing sense of anti-climax. It feels scandalous to say so because 'stage-dooring' has become such a huge part of the experience for so many. For me, though, I like to remain remote and it's because I want to maintain the illusion - I'm not above admitting that. I want to cherish the idea that they are the larger than life characters I saw on stage.

I remember a time when I was a child - I was sitting in the bar area with my family after a show, when one by one the actors slid from a side door that led backstage and sat among us, just like regular people. And I was upset. I'd only just escaped into this grand and magical world and here was the reality and normality of actor "Dave" who lives in a small flat on the outskirts of London, trying to earn enough to give his kids a good education. I didn't want him to be "Dave", I wanted him to be "Buttons" (my theatre going was mostly panto back then), the happy-go-lucky village idiot predisposed to accidentally throwing pies at unfortunate audience members.

Obviously, the above situation is embellished. There's no way I could recall that kind of detail from 20 years ago. But you see my point - I don't need to know the details of the actor’s life. It's illusion shattering.

However, it is an intoxicating feeling to get an insight into the mind of revered idols and with social networking sites, like twitter, it's never been easier. You get an insight in a way that couldn't have been achieved even just 10 years ago.

But, wait, isn't this just an illusion too? You can make yourself out to be whoever you want to be on twitter. You can edit your personality by what you choose to reveal - or what not to reveal.

So what happens when our idols are caught making a poor decision or simply being grumpy on an off day? Everyone's horrified and inconsolable. Suddenly they seem weak and fragile, small and... Human?!

I think it is okay to get caught up in the illusion, though, because it's all part of the escapist fantasy - whether you want to be at the front of the stage door queue being recognised by all your favourite stars, or if you'd rather admire from afar. However you choose to enjoy the experience it's important to remember that it's all just razzle dazzle. Perhaps sometimes we ought to take a step back, squint against the glare of the bright lights and sequins and realise that these are simply human beings just doing a job.

The Woman in Black 25th Anniversary Tour - Swansea Grand Theatre - Saturday 23rd Feb

Now in its 25^th year, The Woman in Black is a play I’ve revisited a few times. Generally, I’m more drawn to musical theatre than straight plays but there’s something about this play that keeps on pulling me back.

 With a cast of only two – Arthur Kipps and ‘the Actor’ – many first timers wonder how the story can possibly be portrayed effectively with so few cast members. If there’s one thing you don’t need to fear, it’s this. If anything, the lack of people on stage heightens the feeling of isolation which only adds to the atmosphere.

Kipps has sought out ‘the Actor’ to help him tell his story – a story that has haunted him since he visited Eel Marsh house many years before. He feels it is time to share it, and as the audience we are privy to this first, tentative retelling. We are, essentially, watching a play within a play. From the moment Kipps steps onstage and mumbles his way through the first few sentences of his memoirs, we sense his reluctance to tell his tale and this sets us on edge – we know the story to come won’t be pleasant. The tone has been set. 

Since setting the atmosphere is so important to get right for this show to work, the pace at the start can seem a little plodding. There are a lot of pauses and re-starts and although it is done quite amusingly  (Kipps is no performer) it takes a good 20 minutes for the story of the haunted Eel Marsh House and its tortured resident to begin.

One of my favourite things about this production is the interaction between performer and scenic/technical elements. As ‘the Actor’ explains to Kipps – simply play a track of birds and light traffic and, suddenly, we are outside in the day time. No need for explanation. In one scene, a costume hamper may play the part of a table in a stuffy office. In the next, it becomes a pony & trap with no more than a soundtrack of hooves and whinnies and the choreographed action of motion. At no point, though, do we question the authenticity of the object – in our minds, the hamper is the table or trap.

I found the second act to have a much quicker pace than the first as this is where the mere suggestion of the woman in black turn into actual hauntings and we are kept permanently on the edge of our seats (unless you're my nan, who was "so lovely and warm" in the theatre that she fell asleep!! - with all the screaming, I'm really not sure how).

The roles of Arthur Kipps and ‘the Actor’ were played by Julian Forsyth and Antony Eden respectively.  Forsyth gets to show off his versatility as an actor in this role – he starts out as a nervous, bumbling man, who, under ‘the Actor’s’ encouragement, progresses into a more confident performer, taking on the characteristics of the many different residents of the ill fated village of Crythin Gifford. Eden, on the other hand, is almost a parody of his profession as ‘the Actor’ - at times seemingly over the top in his enthusiasm but nevertheless enabling and encouraging Kipps in the unfolding of the story. I’ve seen the roles performed more subtly with previous casts and I do think subtle works best; these performers were skirting a little too close to getting swept away in the high tension for me and this has the danger of it becoming a little ridiculous. Subtlety of performance lends itself to a more believable ghost story.

However, I can’t think of a more admirable demonstration of performance skill than when you find an audience scared for the fate of a dog who is nothing more substantial than suggestion and collective imagination. These two powerful components are expertly woven together throughout and the result is all the commendation this show and these performers need. Well, that, and it's a damn good ghost story that'll cause you to turn all the lights on when you get home.

Woman in Black is currently half way through its tour, so please check the official website http://www.thewomaninblack.com/tour/ for upcoming dates and venues.