Despite living in Cardiff this is my 3rd visit to the Bridewell Theatre, to be found just off Fleet Street. Lunchbox Theatre regularly produce little-known restoration plays between one and two o'clock week-day afternoons purely designed to entertain an office lunchtime clientele. I make no apologies for repeating my claim that this simple idea is nothing short of inspired and deservedly receives large and appreciative audiences.
Their current offering is the 300 year old " Man Of Mode" by George Etherege revived quite recently by the National Theatre with Tom Hardy in the lead role. Most restoration comedies are extremely complicated and naturally out-dated. This version took the simple yet brilliant step of up-dating the references and language where appropriate. This immediately involves a modern audience as well as providing a lot of humour with our current obsession with lap-tops, mobile phones, " giving skin" ( sadly by selecting a front row I was required to touch hands & then kiss them better) and modern patois etc.
The plot basically revolves around Dorimant, a notorious ( and not very secretive) womaniser, his attempts to seduce as many women as possible and the exploits of Bellair betrothed by his father when he naturally loves another woman. There are no surprises that that by the end everything is ( speedily) resolved and all are conveniently happy with their lot.
But you don't want doom and gloom over lunch, you want to be entertained and this company fully succeeds in that respect. Gavin Harrison is suitably swaggering and self-confident in the main role with all the supporting roles doing well in their parts. Easily the showiest part is the title character, Sir Fopling Flutter as an over-excited Michael McIntyre with an American accent, which frankly has to be seen to be believed.
Cramming a full-length play into less than an hour allows director Jo Kennedy to use her initiative with asides delivered to the audience, whilst actors on stage are frozen in hysterical poses and using the moments when people are finding their seats to allow the actors to show their characters silently.
Sadly, the play ends on Friday but if you fancy a fun lunch-hour head to the Bridewell Theatre, you won't be disappointed.
Wednesday, 22 June 2011
Sunday, 5 June 2011
Old Hands - 2nd June 2011
As one of Europe's fastest growing cities Cardiff attracts visitors for its history and beauty as well as its major sporting and concert stadiums. Sadly, home-grown theatre companies are not generally recognised by the locals, let alone tourists.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
Thursday, 3 March 2011
Queen: Stormtroops In Stillettos - 26th February 2011
How old do you have to live before your life becomes historical? This was a question that kept recurring to me as I wandered around this impressive free exhibition celebrating the 40th anniversary of Queen.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Tuesday, 1 March 2011
The Chidren's Hour - 26th February 2011
One of the disadvantages of growing old is that most revived plays have been produced within my theatre-going life-time. I do not remember the original 1934 version but I can vividly recall the stunning Howard Davies production at the National Theatre in 1995. Despite then featuring 3 female luminaries in Harriet Walter, Clare Higgins and Emily Watson the current incarnation at the Comedy Theatre is even more star-studded.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
Monday, 28 February 2011
The Heretic - 15th February 2011
The Royal Court theatre has always been a bit of a mystery to me. I saw a couple of plays upstairs in the late 1970's & 1980's, " Red Saturday" and " Salonika" but had never previously seen anything in the main house. But, thanks to the wonders of the Internet I managed to get hold of virtually the last seat ( amazingly in the front row) for Richard Bean's new play.
It always astonishes me that most theatre-goers avoid the front row like the plague. To me they are the best seats ( & rarely the dearest) as you have an unemcumbered view of the stage allowing you the perfect opportuntity to see (hopefully) great acting at close range.
The author's previous play " English People Very Nice" caused controversy at the National Theatre recently by tackling the thorny topic of racism. Tonight we saw him address another tricky modern topic, Climate change.
Juliet Stevenson plays Dr Diane Cassell a lecturer at York University, specialising in rising sea levels. Despite her line manager Professor Kevin Maloney running the Faculty of Earth sciences based on the principles of Climate change she is becoming increasingly sceptical and putting further valuable funding at risk.
This basic premise sounds very dry but the triumph of this writing is that I have rarely heard such genuine and regular belly laughs from any audience. It helps that they are joined by four beautifully crafted different characters, two youngsters both ( almost literally) driven to death by the concept of their planet collapsing around them, a zealous Security operative and a typically officious Human resources representative. They border on being stereo-types but Richard Bean manages to keep them real.
As the set changes in the second act from the confining domain of Diane's office to her home kitchen so the emphasis of the play alters. Following the consequences of her actions we are now in a domestic environment and watching a mother struggling to cope with her daughter growing up and moving out and her ex-lover trying to re-create a lost passion. They are all united by the climate change cause but it is now coming second behind the home drama unfolding about it.
The problem for any playwright is knowing how to end. For me the only draw-back to the whole evening was the rather old-fashioned, if crowd-pleasing ending. Following all the disturbing scenes that had proceeded it I found the finale belonged to a different era.
This was a pity as this had been a terrific state of the nation piece worthy of being mentioned in the same breath as another Royal Court theatre force of nature " Jerusalem". As ever a script is only as good as its cast and director Jeremy Herrin is fortunate to get Juliet Stevenson in tremendous form ( it must be written into her script that she must have at least one crying scene) and James Fleet proving an impressively strong foil to her in the dramatic scenes.
For me,though, the surprise of the evening were the blistering performances of the two youngest actors, Lydia Wilson and Johnny Flynn both passionately concerned about the planet, equally inept at dealing with other people but ultimately perfectly suited to living together in their unreal world.
Overall, this was an enjoyable play but not quite as hard-hitting as the subject deserves or possibly demands.
It always astonishes me that most theatre-goers avoid the front row like the plague. To me they are the best seats ( & rarely the dearest) as you have an unemcumbered view of the stage allowing you the perfect opportuntity to see (hopefully) great acting at close range.
The author's previous play " English People Very Nice" caused controversy at the National Theatre recently by tackling the thorny topic of racism. Tonight we saw him address another tricky modern topic, Climate change.
Juliet Stevenson plays Dr Diane Cassell a lecturer at York University, specialising in rising sea levels. Despite her line manager Professor Kevin Maloney running the Faculty of Earth sciences based on the principles of Climate change she is becoming increasingly sceptical and putting further valuable funding at risk.
This basic premise sounds very dry but the triumph of this writing is that I have rarely heard such genuine and regular belly laughs from any audience. It helps that they are joined by four beautifully crafted different characters, two youngsters both ( almost literally) driven to death by the concept of their planet collapsing around them, a zealous Security operative and a typically officious Human resources representative. They border on being stereo-types but Richard Bean manages to keep them real.
As the set changes in the second act from the confining domain of Diane's office to her home kitchen so the emphasis of the play alters. Following the consequences of her actions we are now in a domestic environment and watching a mother struggling to cope with her daughter growing up and moving out and her ex-lover trying to re-create a lost passion. They are all united by the climate change cause but it is now coming second behind the home drama unfolding about it.
The problem for any playwright is knowing how to end. For me the only draw-back to the whole evening was the rather old-fashioned, if crowd-pleasing ending. Following all the disturbing scenes that had proceeded it I found the finale belonged to a different era.
This was a pity as this had been a terrific state of the nation piece worthy of being mentioned in the same breath as another Royal Court theatre force of nature " Jerusalem". As ever a script is only as good as its cast and director Jeremy Herrin is fortunate to get Juliet Stevenson in tremendous form ( it must be written into her script that she must have at least one crying scene) and James Fleet proving an impressively strong foil to her in the dramatic scenes.
For me,though, the surprise of the evening were the blistering performances of the two youngest actors, Lydia Wilson and Johnny Flynn both passionately concerned about the planet, equally inept at dealing with other people but ultimately perfectly suited to living together in their unreal world.
Overall, this was an enjoyable play but not quite as hard-hitting as the subject deserves or possibly demands.
Sunday, 27 February 2011
A Bold Stroke For a Husband - 25th February 2011
Increasingly the West End is full of revivals and over-blown musicals based on (often) less than impressive films. So, how about this for a mind-blowing concept? A small ( intimate) theatre off Fleet Street specialising in forgotten classics or re-interpreting modern plays in a different way. And they are performed in less than an hour in a lunch-time to attract an office audience. Think it can't work, well head to The Bridewell Theatre to catch " A Bold Stroke To Attract A Husband" by Hannah Crowley.
Never heard of it? Well, no shame in that, I doubt if many of the packed, enthralled audience had either. The important thing is that we all thoroughly enjoyed our investment of a little time and a similar amount of money. So, for the amount you would probably spend on lunch at Pret-A-Manger you will instantly be transported to Spain.
We may not be in Shakespeare territory here but this Georgian play containing plenty of cross-dressing, plot, intrigue as well as the perennial " true love never did run smooth".
Little Bear's theatre concept is nothing less than genius in the modern era. For people with apparent short-attention spans and increasingly needing sound-bites this style is tailor-made for them. We have all endured classical plays with interminable sub-plots so complicated even Stephen Hawkings would struggle to follow them.
So, what do Little Bear do? Cut them straight out and purely concentrate upon the important parts of the plot eg a father desperate to marry off his only daughter who, naturally is headstrong, opinionated and enjoys infuriating all men. Eventually she falls for the only suitor who didn't come a wooing and had previously become involved with her maid, by mistake of course.
Ulimately, though the plot wasn't that important . The key factor was the quality of the performers. All eight of them took full advantage of their moments in the spotlight with clear well-annunciated dialogue and showing excellent comic timing. Condensing any play to less than an hour needs precise scene changes and clear direction, which Pip Minnithorpe oversaw brilliantly.
The pace naturally added an element of farce to the proceedings and never dropped although occcasionally one did get a little confused over all the Spanish names. The emphasis may have been on the comic elements ( take a bow Dan Smith for his scene-stealing role as Garcia/Vicentio in the Tommy Cooper tradition of playing two characters simultaneously) , all members of the cast also displayed impressive straight acting abilities.
Having becoming increasingly dissatisfied with what the West End has to offer this group completely re-vitalised this weary traveller. It was also pleasing to see such a well-attended a venue but it deserves a still wider audience. This format would perfectly fit the Edinburgh fringe festival so perhaps a trip to Scotland could be rewarding.
Never heard of it? Well, no shame in that, I doubt if many of the packed, enthralled audience had either. The important thing is that we all thoroughly enjoyed our investment of a little time and a similar amount of money. So, for the amount you would probably spend on lunch at Pret-A-Manger you will instantly be transported to Spain.
We may not be in Shakespeare territory here but this Georgian play containing plenty of cross-dressing, plot, intrigue as well as the perennial " true love never did run smooth".
Little Bear's theatre concept is nothing less than genius in the modern era. For people with apparent short-attention spans and increasingly needing sound-bites this style is tailor-made for them. We have all endured classical plays with interminable sub-plots so complicated even Stephen Hawkings would struggle to follow them.
So, what do Little Bear do? Cut them straight out and purely concentrate upon the important parts of the plot eg a father desperate to marry off his only daughter who, naturally is headstrong, opinionated and enjoys infuriating all men. Eventually she falls for the only suitor who didn't come a wooing and had previously become involved with her maid, by mistake of course.
Ulimately, though the plot wasn't that important . The key factor was the quality of the performers. All eight of them took full advantage of their moments in the spotlight with clear well-annunciated dialogue and showing excellent comic timing. Condensing any play to less than an hour needs precise scene changes and clear direction, which Pip Minnithorpe oversaw brilliantly.
The pace naturally added an element of farce to the proceedings and never dropped although occcasionally one did get a little confused over all the Spanish names. The emphasis may have been on the comic elements ( take a bow Dan Smith for his scene-stealing role as Garcia/Vicentio in the Tommy Cooper tradition of playing two characters simultaneously) , all members of the cast also displayed impressive straight acting abilities.
Having becoming increasingly dissatisfied with what the West End has to offer this group completely re-vitalised this weary traveller. It was also pleasing to see such a well-attended a venue but it deserves a still wider audience. This format would perfectly fit the Edinburgh fringe festival so perhaps a trip to Scotland could be rewarding.
Sunday, 9 January 2011
Twelfth Night - Friday 7th January 2011
I should start this review with two statements. Firstly, " Twelfth Night" is one of my least favourite Shakespeare plays and I am not a fan of plays at The Gate in Cardiff.
So, why did I come? Well, I thoroughly enjoyed Bare Knuckle Theatre's debut with " A Midsummer Night's Dream" there last year and was intrigued to see what modern touches they would bring to this ancient comedy.
The plus and minusses of this production appeared in the opening speech. "Twelfth Night" famously begins " If music be the food of love play on", allowing director Simon Riordan to utilise his lovely four piece band. Sadly, the poor acoustics of this converted church ensure that any extraneous noise will drown out the words & we duly lost the rest of Orsino's speech.
Like all Shakespearean comedies it is very wordy with quick verbal interplay between characters. With the usual complicated plot involving a shipwreck ,identical twins and a girl masquerading as a boy it is essential the audience can understand the early dialogue or what follows is very confusing. Unfortunately, the problems of the theatre are highlighted when the actors speak quickly or softly. Several performers fell into this trap leading myself and others to check our programmes in the interval to work out who was who and what was happening.
The actors, therefore who took their time and spoke the lyrical verse clearly reaped the rewards. So, step forward, Laurence Patrick ( revelling in his role as the unliked and easily tricked Malvolio), Claire Howey ( extremely convincing in her love for the cross-dressing Viola), Matt Humphries ( in a small role) and that consistent scene-stealer David Parker as Toby Belch.
Bareknuckle Theatre may be a no thrills company but the lack of many props allowed them to rely upon the powers of the imagination to bring this play to life. Audiences like nothing more than good set-pieces and Simon Riordan duly delivered. The climax of " Twelfth Night" is the famous Malvolio appearance in " yellow stockings and cross-gartered", which I have never seen to such great comic effect before, with Laurence Patrick relishing the great line " some have greatness thrust upon them".
Equally fun were the musical numbers where the rather dull Shakespearean songs were replaced by unexpected modern ones by "Outkast", " Queen", "Train" etc. Impressively, they fitted in seamlessly.
Then, with all the lovers happily inter-twinned and the strains of Elbow ringing in our ears we returned to the Cardiff streets happier than when we left it two hours previously. So, despite the problems of The Gate Bareknuckle Theatre still produced an enjoyable experience. I shall return in June to see their take on " Romeo & Juliet".
So, why did I come? Well, I thoroughly enjoyed Bare Knuckle Theatre's debut with " A Midsummer Night's Dream" there last year and was intrigued to see what modern touches they would bring to this ancient comedy.
The plus and minusses of this production appeared in the opening speech. "Twelfth Night" famously begins " If music be the food of love play on", allowing director Simon Riordan to utilise his lovely four piece band. Sadly, the poor acoustics of this converted church ensure that any extraneous noise will drown out the words & we duly lost the rest of Orsino's speech.
Like all Shakespearean comedies it is very wordy with quick verbal interplay between characters. With the usual complicated plot involving a shipwreck ,identical twins and a girl masquerading as a boy it is essential the audience can understand the early dialogue or what follows is very confusing. Unfortunately, the problems of the theatre are highlighted when the actors speak quickly or softly. Several performers fell into this trap leading myself and others to check our programmes in the interval to work out who was who and what was happening.
The actors, therefore who took their time and spoke the lyrical verse clearly reaped the rewards. So, step forward, Laurence Patrick ( revelling in his role as the unliked and easily tricked Malvolio), Claire Howey ( extremely convincing in her love for the cross-dressing Viola), Matt Humphries ( in a small role) and that consistent scene-stealer David Parker as Toby Belch.
Bareknuckle Theatre may be a no thrills company but the lack of many props allowed them to rely upon the powers of the imagination to bring this play to life. Audiences like nothing more than good set-pieces and Simon Riordan duly delivered. The climax of " Twelfth Night" is the famous Malvolio appearance in " yellow stockings and cross-gartered", which I have never seen to such great comic effect before, with Laurence Patrick relishing the great line " some have greatness thrust upon them".
Equally fun were the musical numbers where the rather dull Shakespearean songs were replaced by unexpected modern ones by "Outkast", " Queen", "Train" etc. Impressively, they fitted in seamlessly.
Then, with all the lovers happily inter-twinned and the strains of Elbow ringing in our ears we returned to the Cardiff streets happier than when we left it two hours previously. So, despite the problems of The Gate Bareknuckle Theatre still produced an enjoyable experience. I shall return in June to see their take on " Romeo & Juliet".
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