In these days of cut-backs & recession all new theatre companies should be welcomed with open arms. The Ghost Room was founded by Kathryn Jones and Lisa Osmond back in August and their first venture opened on Thursday in the unlikely surroundings of The Boiler Room, Llandaff.
Do Not Go Gentle reports of mysterious disappearances all over the country. Small villages have been entirely wiped out and there are growing fears that this may reach more populated areas and even cities. This is not the basis for some cosy theatrical experience, no we are ushered through corrugated iron gates into a dark open-air area where the audience are huddled together round warming braziers, a welcome source of heat ( & light) on a cold December evening( thankfully dry).
Immediately you realise this will not be an ordinary evening as you get a tiny feeling of what it would be like to be outcasts with nothing. This feeling of unease is soon increased
as a desperate woman unexectedly charges through the gates imploring us to enter the safety of The Boiler Room.
Here ( as the temperature begins to drop) you encounter the graffiti covered interior as you are welcomed(?) by the survivors of whatever has caused such devastation. This is the premise of the piece and the remainder of the evening revolves around whether they ( & us) will survive becoming victims of the nothingness.
On paper the plot may sound thin but the atmosphere created by the venue, cast and production values was incredibly tense. The sound balance was perfect and the dialogue remained clear while a variety of noises seemingly seeping through the walls. The lighting again was spot on with constantly changing visibility keeping you permanently on edge. Impressively, the most frightening moment was caused by pure silence and darknesss. Absolutely terrifying.
The cast are all exemplary though I must commend Jon Holcroft in the "father figure" role. In what could be tricky surroundings to hear the dialogue his delivery was exemplary and his concern for our wellbeing helped us to feel we were in safe hands.
So,if you are fed up with reality television and want to experience some reality theatre rush to the Boiler Room as it ends on Saturday or look out for further productions from The Ghost Room. A very impressive debut.
It may only have lasted forty-five minutes but that was all our fast-beating hearts could cope with and there was no need to extend our discomfort any further. As one of my friends exclaimed on the way " oh, crikey". Enough said.
Saturday, 3 December 2011
Tuesday, 29 November 2011
Driving Miss Daisy - 26th November 2011
Entertainment and theatre takes many different shapes. Already this week I had witnessed a script-held performance ("Orange" at Chapter Arts centre, Cardiff), a very loud rock band ( Alterbridge - Motorpoint Arena-Cardiff) and last night a re-working of Edgar Allan Poe's horror writing at a church he frequented in Stoke Newington.
In contrast with these tonight was a more traditional production, a revival of Alfed Uhys " Driving Miss Daisy" at Wyndhams Theatre. This show contrasts the current trend of transferring successful films into less successful plays as this started as a play. When first staged in London in 1988 it starred Wendy Hiller and Clarke Peters before Bruce Beresford's film won Oscars for the writer, film and Jessica Tandy.
Tonight, we were in the presence of two international theatrical heavyweights, Vanessa Redgrave and from across the pond, James Earl Jones. Together with Boyd Gaines they had originally staged it on Broadway last year.
This is a circular play with Daisy Werthan's long-suffering son packing up his mother's house before we revert to 1948 when her time to convince his mother to accept a chauffeur as she is no longer safe to drive herself. From this simple premise ( as the best stories tend to be) the playwright invites us to enter a world where time allows two people from different ages, race, social classes and money gradually embarking upon a true friendship.
Normally you would expect the driver to be younger than his back-seat companion but this production reverses that trend as James Earl Jones is 6 years ( and 13 days older) than his co-star. Great actors, though, can overcome this potential problems and although Miss Redgrave was occasionally hesitant with her lines she came movingly into her own in the final scene.
For me the star of the night was Mr Jones who produced a seamless masterclass of acting. From a man desperate to get a job, to locking horns ( but knowing his place) with his employer's mother, to explaining the race issue from his experiences ( moving, without resulting in melodrama) with an angry acceptance as well as coming to terms with the ageing process on them both, it seemed real. And this from a man in his 9th decade!
As you would expect the theatre was packed but at key moments you could hear a pin drop & when she announces " you are my best friend" the spontanteous " ah" emerging from the audience was pure theatre.
Credit must also go to Boyd Gaines in the vital yet unshowy role of Boolie Werthan. If he had been over-shadowed by his more illustrious co-stars it would have unbalanced the play. He wasn't. A delightful evening.
In contrast with these tonight was a more traditional production, a revival of Alfed Uhys " Driving Miss Daisy" at Wyndhams Theatre. This show contrasts the current trend of transferring successful films into less successful plays as this started as a play. When first staged in London in 1988 it starred Wendy Hiller and Clarke Peters before Bruce Beresford's film won Oscars for the writer, film and Jessica Tandy.
Tonight, we were in the presence of two international theatrical heavyweights, Vanessa Redgrave and from across the pond, James Earl Jones. Together with Boyd Gaines they had originally staged it on Broadway last year.
This is a circular play with Daisy Werthan's long-suffering son packing up his mother's house before we revert to 1948 when her time to convince his mother to accept a chauffeur as she is no longer safe to drive herself. From this simple premise ( as the best stories tend to be) the playwright invites us to enter a world where time allows two people from different ages, race, social classes and money gradually embarking upon a true friendship.
Normally you would expect the driver to be younger than his back-seat companion but this production reverses that trend as James Earl Jones is 6 years ( and 13 days older) than his co-star. Great actors, though, can overcome this potential problems and although Miss Redgrave was occasionally hesitant with her lines she came movingly into her own in the final scene.
For me the star of the night was Mr Jones who produced a seamless masterclass of acting. From a man desperate to get a job, to locking horns ( but knowing his place) with his employer's mother, to explaining the race issue from his experiences ( moving, without resulting in melodrama) with an angry acceptance as well as coming to terms with the ageing process on them both, it seemed real. And this from a man in his 9th decade!
As you would expect the theatre was packed but at key moments you could hear a pin drop & when she announces " you are my best friend" the spontanteous " ah" emerging from the audience was pure theatre.
Credit must also go to Boyd Gaines in the vital yet unshowy role of Boolie Werthan. If he had been over-shadowed by his more illustrious co-stars it would have unbalanced the play. He wasn't. A delightful evening.
Monday, 28 November 2011
Orange - 22nd November 2011
"It's a theatrical scam" stated a friend upon discovering that Chapter were charging £4 to watch a script held performance, " let's see how they get away with it". This exchange led us to see Michael Kelligan's latest "On The Edge" production, a revival of "Orange" by Alan Harris.
The piece is set in a Cardiff flat occupied by two brothers, Chippie & Viv who are holding Saleem hostage. This is a tit-for-tat kidnapping to mirror an Islamic group holding aid worker Susan Ross. The plan (concocted by Chippie) is to force her release or revenge her death.
As this is a play, nothing goes smoothly and this becomes a character study between the three men. With Chippie disappearing regularly for long periods a relationship begins to grow between Viv and Saleem. Gradually we understand more about each person and as the conclusion nears we are generally concerned about the outcome will reveal.
For those audience members expecting the actors to have little connection with the material or with each other this was a revelation. The script was used but mainly as a prop and this did not prevent genuine rapport between the cast. Naturally the staging was minimal but once you get used to mimed pasties ( Greggs, of course) it was barely noticed.
At the end we congratulated ourselves that for such a small sum we had witnessed a full theatrical production, so credit must go to an impeccable cast, Alan Humphries, Dean Rehman and Sule Rimi and director Michaal Kerrigan for creating such an impressive and enjoyable evening.
One criticism, though, I did find there were too many short scenes, especially as Chippie's absences were never really explained and this just disjointed the flow of the piece.
However, in these days of increasing theatre prices and certain venues only producing safe shows it was reassuring to see such a bold approach to creating theatrical events. I shall therefore eagerly await their next venture Garry Owen's " Free Folk" on December 13th.
The piece is set in a Cardiff flat occupied by two brothers, Chippie & Viv who are holding Saleem hostage. This is a tit-for-tat kidnapping to mirror an Islamic group holding aid worker Susan Ross. The plan (concocted by Chippie) is to force her release or revenge her death.
As this is a play, nothing goes smoothly and this becomes a character study between the three men. With Chippie disappearing regularly for long periods a relationship begins to grow between Viv and Saleem. Gradually we understand more about each person and as the conclusion nears we are generally concerned about the outcome will reveal.
For those audience members expecting the actors to have little connection with the material or with each other this was a revelation. The script was used but mainly as a prop and this did not prevent genuine rapport between the cast. Naturally the staging was minimal but once you get used to mimed pasties ( Greggs, of course) it was barely noticed.
At the end we congratulated ourselves that for such a small sum we had witnessed a full theatrical production, so credit must go to an impeccable cast, Alan Humphries, Dean Rehman and Sule Rimi and director Michaal Kerrigan for creating such an impressive and enjoyable evening.
One criticism, though, I did find there were too many short scenes, especially as Chippie's absences were never really explained and this just disjointed the flow of the piece.
However, in these days of increasing theatre prices and certain venues only producing safe shows it was reassuring to see such a bold approach to creating theatrical events. I shall therefore eagerly await their next venture Garry Owen's " Free Folk" on December 13th.
Sunday, 27 November 2011
Macabre Resurrections
American horror writer Edgar Allan Poe amazingly was brought up in Stoke Newington exactly two hundred years ago. This is the basis for Second Skin Theatre company to adapt 6 of his most famous writing pieces at the Old St Mary's Church which he attended.
The setting is perfect. An old compact church with choral music playing and pew seats prepare you to expect the unexpected, a familiar event (theatre) in unfamiliar surroundings.
We are greeted by a kindly preacher ( Stephen Gonnery Brown) to guide us through whatever the evening will provide. He is then confronted by the Raven ( a sinister-looking David Hugh), in Rob Johnston's re-working of the classic poem.
No time to rest in our uncomfortable seats, we are soon on the move for Richard Allden's take on " The Cask of Amontillado". Site specific theatre has its flaws and bonuses. On the plus side, it gives you the opportunity to get truly involved in events you can't get from proscenium theatre. Conversely, if you get in the wrong position you can't see what is happening. Fortunately, I had the clarity of the author's words to convey the pictures I was lacking.
I was, however, better-placed for Jacob Hodgkinson's " The Pit & the Pendulum". Again, modern interpretations of classic drama have benefits and drawbacks. By setting this gothic horror with the current American rendition culture, it immediately connects with a modern audience. However, the repetitive use of swear words which is obviously authentic but it only serves to emphasize that great writers do not need such obvious shock tactics to create menace. Despite a great performance by Priyank Morjaria this was an opportunity missed and left a bad taste in the mouth.
Having neatly compartmentalised this evening into traditional "re-working good, up-dating bad" categories then Rob Johnston's " Premature Burial" made me revise my knee-jerk reaction. Soon we were outside and although I was in the wrong place to see the theatrical coup of the night, but this didn't matter. The story of Jake, a soldier, based in Helmond province who suffers from re-curring nightmares of being buried alive, was truly moving and haunting, with beautiful acting from all 3 performers.
Safely returned to our seats we were then unnerved by Mia Zara's impressive solo turn in Mike Garter's " The Black Cat". Disturbing, but this piece should have been shorter.
Like any good concert Second Skin held Poe's greatest hit " Masque Of The Red Death" for last. This was the most visual play of the night, cleverly bringing all the actors together for the 1st time.
Not quite finished until we discover the fate of the Preacher and then we are back out into the cold, dark Stoke Newington night, a lot more unnerved than when we arrived. Anyone expecting to shriek and jump like " Ghost Stories" or " The Woman In Black" will be disappointed. This is an evening about atmosphere and leaving with images (visual & verbal) that may account for future distured sleeps.
It is not a perfect evening. Not all of the acting is of high quality, you may not be able to see everything and it is too long. Stoke Newington is not an easy place to get to and from, so, if you have a show that last two hours and forty minutes, start at 7.30pm, not 8.
However, if you are bored with over-priced, over-blown, safe West End productions and want a rare theatrical event you can feel a part of, head to Macabre Resurrections. Arrive early and enjoy the impressive shops & restaurants that Church Street provides.
The setting is perfect. An old compact church with choral music playing and pew seats prepare you to expect the unexpected, a familiar event (theatre) in unfamiliar surroundings.
We are greeted by a kindly preacher ( Stephen Gonnery Brown) to guide us through whatever the evening will provide. He is then confronted by the Raven ( a sinister-looking David Hugh), in Rob Johnston's re-working of the classic poem.
No time to rest in our uncomfortable seats, we are soon on the move for Richard Allden's take on " The Cask of Amontillado". Site specific theatre has its flaws and bonuses. On the plus side, it gives you the opportunity to get truly involved in events you can't get from proscenium theatre. Conversely, if you get in the wrong position you can't see what is happening. Fortunately, I had the clarity of the author's words to convey the pictures I was lacking.
I was, however, better-placed for Jacob Hodgkinson's " The Pit & the Pendulum". Again, modern interpretations of classic drama have benefits and drawbacks. By setting this gothic horror with the current American rendition culture, it immediately connects with a modern audience. However, the repetitive use of swear words which is obviously authentic but it only serves to emphasize that great writers do not need such obvious shock tactics to create menace. Despite a great performance by Priyank Morjaria this was an opportunity missed and left a bad taste in the mouth.
Having neatly compartmentalised this evening into traditional "re-working good, up-dating bad" categories then Rob Johnston's " Premature Burial" made me revise my knee-jerk reaction. Soon we were outside and although I was in the wrong place to see the theatrical coup of the night, but this didn't matter. The story of Jake, a soldier, based in Helmond province who suffers from re-curring nightmares of being buried alive, was truly moving and haunting, with beautiful acting from all 3 performers.
Safely returned to our seats we were then unnerved by Mia Zara's impressive solo turn in Mike Garter's " The Black Cat". Disturbing, but this piece should have been shorter.
Like any good concert Second Skin held Poe's greatest hit " Masque Of The Red Death" for last. This was the most visual play of the night, cleverly bringing all the actors together for the 1st time.
Not quite finished until we discover the fate of the Preacher and then we are back out into the cold, dark Stoke Newington night, a lot more unnerved than when we arrived. Anyone expecting to shriek and jump like " Ghost Stories" or " The Woman In Black" will be disappointed. This is an evening about atmosphere and leaving with images (visual & verbal) that may account for future distured sleeps.
It is not a perfect evening. Not all of the acting is of high quality, you may not be able to see everything and it is too long. Stoke Newington is not an easy place to get to and from, so, if you have a show that last two hours and forty minutes, start at 7.30pm, not 8.
However, if you are bored with over-priced, over-blown, safe West End productions and want a rare theatrical event you can feel a part of, head to Macabre Resurrections. Arrive early and enjoy the impressive shops & restaurants that Church Street provides.
Tuesday, 1 November 2011
Shudders - 31st October 2011
In recent years Cardiff based group Inky Quills Productions have been synonymous with providing high quality comedies but this autumn they have branched out into more dramatic territory. Last Wednesday and Halloween evening they produced 2 short "horror" plays under the heading of "Shudders". These ten minute pieces were performed in atmospheric venues, the basement of " Ten Feet Tall" and upstairs at Dempsey's.
Limiting the audience to a maximum of 14 persons sitting per show , this was intimate theatre at its most compelling. "The Photographer" involved the Victorian practice of arranging for a dead body to be captured on film for posterity. This simple, if macabre premise was brought to life by the quality of the acting. A softly spoken Laura Jeffs played the widow ( not quite as happily married as we originally expected) and the terrifying Alan Humphreys as the title character. As well as his previous comedy roles his recent performance as Mercutio with Bare Knuckle Theatre proved he is a truly versatile actor and how he can add scary to his CV. Bethany Seddon's male-up took full advantage of his tall, thin frame, which when combined with a wheeze that came from the grave, created a truly ghostly figure.
"Dust" revolves around the hanging of Mrs Harkness for allegedly murdering her lover in Pennsylvania. We see the grieving husband camped at her unmarked grave, befriended by a Mrs Peel who has bought a house overloooking the grave of her deceased husband. The plot is provided by announcements of the trial and the subsequent hanging of Mrs Harkness but again it is the intensity of the performances that draw the audience into the story. George Goding ( more animated than his performance in " The Photographer") is menacingly hypnotic while (Inky Quills newcomer) Claire Hovey creates an emotional intensity that is quite alarming.
Both of these pieces work because the writer and director allow time for the characters to breathe. The shortness of the plays does not encourage writer Rick Allden to fill the time with constant dialogue and first-time director Jon Holcroft allows the silences and pauses to speak more than continual conversation.
In these days of over-blown productions it is good to know that less than can still be more. Also, in the current recession climate cost is important and for £1 a show this was a bargain. It could be the way forward and I was encouraged to hear of a student who came as they loved theatre but generally couldn't afford to go.
Fortunately, these low-key shows received large and enthusiastic audiences. Those who came may have witnessed the future of theatre.
Limiting the audience to a maximum of 14 persons sitting per show , this was intimate theatre at its most compelling. "The Photographer" involved the Victorian practice of arranging for a dead body to be captured on film for posterity. This simple, if macabre premise was brought to life by the quality of the acting. A softly spoken Laura Jeffs played the widow ( not quite as happily married as we originally expected) and the terrifying Alan Humphreys as the title character. As well as his previous comedy roles his recent performance as Mercutio with Bare Knuckle Theatre proved he is a truly versatile actor and how he can add scary to his CV. Bethany Seddon's male-up took full advantage of his tall, thin frame, which when combined with a wheeze that came from the grave, created a truly ghostly figure.
"Dust" revolves around the hanging of Mrs Harkness for allegedly murdering her lover in Pennsylvania. We see the grieving husband camped at her unmarked grave, befriended by a Mrs Peel who has bought a house overloooking the grave of her deceased husband. The plot is provided by announcements of the trial and the subsequent hanging of Mrs Harkness but again it is the intensity of the performances that draw the audience into the story. George Goding ( more animated than his performance in " The Photographer") is menacingly hypnotic while (Inky Quills newcomer) Claire Hovey creates an emotional intensity that is quite alarming.
Both of these pieces work because the writer and director allow time for the characters to breathe. The shortness of the plays does not encourage writer Rick Allden to fill the time with constant dialogue and first-time director Jon Holcroft allows the silences and pauses to speak more than continual conversation.
In these days of over-blown productions it is good to know that less than can still be more. Also, in the current recession climate cost is important and for £1 a show this was a bargain. It could be the way forward and I was encouraged to hear of a student who came as they loved theatre but generally couldn't afford to go.
Fortunately, these low-key shows received large and enthusiastic audiences. Those who came may have witnessed the future of theatre.
Saturday, 1 October 2011
Sarah Ellen Hughes - 28th September 2011
Cardiff is famous for many things, but hot late September evenings and intimate Jazz venues are not high up on the list.
I have lived in Cardiff for over twenty years and although I have eaten many times at Cafe Jazz, sadly I have never seen any Jazz there. I have seen Jazz elsewhere, Tony Bennett, Cleo Laine and Johnny Dankworth, Carol Kidd and Larry Adler (all at St David's Hall) , though none of those gigs were full.
I was therefore a little apprehensive to see plenty of seats available when Sarah Ellen Hughes started her set. Fortunately, a steady flux of Jazz afficiandos soon filled up the bar which was just as well as what we witnessed deserved to be seen by as many people as possible.
There is nothing like watching a live performance. Songs on YouTube may give you an idea of a voice and the type of music you may hear but it does not reveal the whole story. Jazz is about the rapport between musicians and I have never seen it better exemplified than tonight. Miss Ellen Hughes is in the early stages of a major tour ending in Liverpool in December. Most nights she performs with different musicians and this evening it was a joy to see her leading Dave Collett ( piano), Alan Vaughan ( bass) and Tom Collett ( drums) to produce the sound she wanted. ( I loved her statement to the band at the start of a tricky number " See you at the end").
A singer is generally only as good as the songs they select and tonight we were greeted with a mixture of standards, " Honeysuckle Rose", " Lady Be Good" with some self-penned songs and a few surprises alone the way. The tone of the evening was set with an unexpectedly lively version of Rodger's and Hammerstein's " My Favourite Things" before being followed by the title number of her latest album " The Story So Far" and a moving song about her late mother, " Darning That Dream".
As well as Sarah Ellen Hughes possessing a beautiful voice and great musicianship, she allows the song to tell its story without oversinging. What came as an unexpected bonus was how relaxed and funny she was between the songs, talking naturally to the audience about her life and the songs.
The danger of mixing self-penned new songs with classics is that they don't always survive the comparison with the great song-writers. Tonight, though was the exception as she proved she is also an impressive writer, for me " Working Hard" and " Busy Bee" were the highlights of a two hour set.
My wife and I came along open-minded and left converted fans and with a copy of her latest CD. If you like Jazz and want to see a performer on the way up, catch one of her remaining dates.
I have lived in Cardiff for over twenty years and although I have eaten many times at Cafe Jazz, sadly I have never seen any Jazz there. I have seen Jazz elsewhere, Tony Bennett, Cleo Laine and Johnny Dankworth, Carol Kidd and Larry Adler (all at St David's Hall) , though none of those gigs were full.
I was therefore a little apprehensive to see plenty of seats available when Sarah Ellen Hughes started her set. Fortunately, a steady flux of Jazz afficiandos soon filled up the bar which was just as well as what we witnessed deserved to be seen by as many people as possible.
There is nothing like watching a live performance. Songs on YouTube may give you an idea of a voice and the type of music you may hear but it does not reveal the whole story. Jazz is about the rapport between musicians and I have never seen it better exemplified than tonight. Miss Ellen Hughes is in the early stages of a major tour ending in Liverpool in December. Most nights she performs with different musicians and this evening it was a joy to see her leading Dave Collett ( piano), Alan Vaughan ( bass) and Tom Collett ( drums) to produce the sound she wanted. ( I loved her statement to the band at the start of a tricky number " See you at the end").
A singer is generally only as good as the songs they select and tonight we were greeted with a mixture of standards, " Honeysuckle Rose", " Lady Be Good" with some self-penned songs and a few surprises alone the way. The tone of the evening was set with an unexpectedly lively version of Rodger's and Hammerstein's " My Favourite Things" before being followed by the title number of her latest album " The Story So Far" and a moving song about her late mother, " Darning That Dream".
As well as Sarah Ellen Hughes possessing a beautiful voice and great musicianship, she allows the song to tell its story without oversinging. What came as an unexpected bonus was how relaxed and funny she was between the songs, talking naturally to the audience about her life and the songs.
The danger of mixing self-penned new songs with classics is that they don't always survive the comparison with the great song-writers. Tonight, though was the exception as she proved she is also an impressive writer, for me " Working Hard" and " Busy Bee" were the highlights of a two hour set.
My wife and I came along open-minded and left converted fans and with a copy of her latest CD. If you like Jazz and want to see a performer on the way up, catch one of her remaining dates.
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