Stage Presentation Of Shakespeare's Romeo and Juliet Gets Worldwide Broadcast

Lily James and Richard Madden star in Romeo & Juliet

The Kenneth Branagh Theatre Company will broadcast their presentation of Romeo and Juliet to more than 1200 cinemas worldwide live from the West End’s Garrick Theatre on July 7.

The broadcast of Romeo and Juliet follows that of last year’s presentation of The Winter’s Tale which topped the UK cinema box office when it was broadcast to 520 cinemas across the country. Reuniting the stars of the celebrated film Cinderella, Kenneth Branagh and Rob Ashford will direct Shakespeare’s heartbreaking tale of forbidden love.

Meera Syal and Lily James in Romeo & Juliet

The full cast of Romeo and Juliet, the sixth production in the Plays at the Garrick season includes Lily James as Juliet, Richard Madden as Romeo, Derek Jacobi as Mercutio and Meera Syal as The Nurse.

“The live broadcast is so exciting because it gets the play out of the Garrick Theatre and across the world, opening it up to an entirely different audience,” says Lily James who plays Juliet, “When Ken first talked to me about Romeo and Juliet he described how we would really try and capture the thriller aspect of the story and set it in 1950's Italy, firmly in the world of la dolce vita. The feel would be monochromatic, like those beautiful old black and white movies of that time, and it all immediately felt very filmic anyway. I really think it's so exciting to see Shakespeare on film and to watch plays displaced from their original setting into a new medium. I can't wait!”

South Wales filmgoers will be able to catch The Kenneth Branagh Theatre Company’s production of Romeo & Juliet at Newport’s Cineworld, Cwmbran’s Vue Cinema and Monmouth’s Savoy Theatre.

For more information visit branaghtheatre.com

Writer Lee Hall Discusses Bringing Billy Elliot To The Stage

Billy Elliot the Musical made its Wales' debut at  Wales Millennium Centre last week as part of its first ever UK and Ireland tour. Based on the highly successful film, the show is set in a mining town in the North of England against the background of the 1984/85 miners’ strike and follows Billy’s journey from boxing to ballet class where he discovers a passion for dance that inspires his family and whole community and changes his life forever.

Billy Elliot the Musical is brought to life by the multiple award-winning creative team behind the film including writer Lee Hall (book and lyrics), director Stephen Daldry and choreographer, Peter Darling, joined by Elton John who composed the show’s score. The production features scenic design by Ian MacNeil, the associate director is Julian Webber, costume design is by Nicky Gillibrand, lighting design by Rick Fisher and sound design by Paul Arditti. Musical supervision and orchestrations are by Martin Koch.
Andy Howells recently chatted to writer Lee Hall about how Billy’s journey  has developed  from a film screenplay to a stage musical.

Stephen Daldry, Elton John and Lee Hall
Photo: Craig Sugden

Billy Elliot has been a part of your life for a long time now?
I first came up with the story almost 20 years ago, I then wrote the screenplay and the film came out in 2000 and we started work on the musical pretty soon after that, so its been part of my life for a long time.

Has Billy Elliot’s success surprised you at all?
Completely! I really thought it was going to be a small British film that would come and go like films do. I was quite surprised by the affect of the film and then we did the show and that went on for so long, it was pretty amazing to me.

Where did you get the inspiration?
It was one of those weird acts of imagination. I had grown up in the North East of England in that time, I knew all about the mining communities because of the miners strike. I think I was quite different from the others because I liked poetry and drama and that kind of thing and I was thinking of a way to tell the story about my journey but in cinematic terms. I thought writing was a boring subject to write about and I thought what if a little kid wanted to become a ballet dancer? I think at the time and possibly still so been a ballet dancer is something that a young lad would never think of doing because they’d get picked on in school, so I was quite interested in the story and I just made it up.

Haydn May as Billy Elliot
Photograph: Alistair Muir

Years later, I found out there were a few dancers at the Royal Ballet who had come from mining backgrounds. One of the mainstays Philip Mosley, came from Yorkshire and had a very similar journey to Billy Elliot, so fact has followed fiction.

It’s also an iconic tale about anyone who has a dream to do something different to the circumstances they were brought up in, everybody’s got something that is unique about themselves or in something that they want to do. It’s a story for everybody.

How did the musical come about?
It came from Elton John, he saw the very first public showing of the film which was in Cannes and he really identified with it. He could see a lot of his own journey in Billy Elliot.

I just got a phone call from Elton’s people asking “Would you like to meet, because he’s really interested in doing it as a musical.” To be honest, when I first heard that, I thought it was a terrible idea. I went to see him and he explained how we should do it and his total passion for the project. I thought “well you can’t not do it,” of course, we gave it a go and the rest is history.

You hadn’t set out to write Billy Elliot as a musical, so how was the experience writing with Elton John?
The thought of writing songs with Elton was beyond ones wildest dreams. I assumed he’d want Bernie Taupin to write the lyrics. He wanted me to do it rather than a lyricist because he knew it needed to be in the language of the characters. He was very determined on that and very experienced having worked on musicals like The Lion King and Aida. He said to me “Listen, We’ll just start at the beginning and work our way through it” and it was great advice not to take too much off, but just to take little bits and  build it up gradually. I was in very safe hands with Elton - he looked after me!”

Lewis Smallman with ensemble cast in Billy Elliot
Photograph: Alistair Muir

So now the Billy Elliot musical is touring the UK, how important was a tour to you?
Coming from the North East, I was dying for the last ten years or so that people from home could see it. Eventually, it went to Sunderland on the tour and it means a lot to me that we can take it to regional theatre to let people see it who couldn’t make the trip to London. It’s been a long time coming so I’m really excited about it.

For those who are planning to see Billy Elliot, how would you describe it?
Quite genuinely, there’s something in it for everybody. I think we all set out to make something you could laugh and cry at.

There are also the amazing kids who play Billy Elliot. I’ve been watching it for over 11 years and I’m always astonished at how brilliant they are. They can act, dance and sing and I don’t think there’s another show you’ll see where the kids are so brilliant. I really wanted to make something that my Mam and Dad could go and see as they never went to the theatre. I wanted to make something for everybody. It was really important to me that I made a show that everyone could go and see.

• Billy Elliot the Musical continues at Wales Millennium Centre until Saturday July 16. To book tickets or for more information visit www.wmc.org.uk or call 029 2063 6464. 
• A version of this interview by Andy Howells appeared in The South Wales Argus on June 17, 2016

David Troughton Discusses Bringing Goodnight Mr Tom To The Stage

This year will mark the 35th anniversary of the modern classic Goodnight Mister Tom and next week Michelle Magorian’s wonderfully uplifting tale will be brought gloriously to life in a magical stage adaptation, in Cardiff from Tuesday May 10 – Saturday May 14 at the New Theatre.

Set during the dangerous build up to the Second World War, Goodnight Mister Tom follows young William Beech, who is evacuated to the idyllic English countryside and forges a remarkable and heart-warming friendship with the elderly recluse, Tom Oakley.

Author Michelle Magorian was inspired to write Goodnight Mister Tom after hearing her mother’s tales about her time as a nurse in the war. Published in 1981, it has been translated into 11 languages and won awards in the UK, America and Australia.

Adapted for the stage by David Wood OBE, Goodnight Mr Tom stars David Troughton, best known for his roles in A Very Peculiar Practice, Doctor Who and recently Tony Archer in The Archers on BBC Radio 4. Andy Howells recently chatted to David about Goodnight Mr Tom and his career.

How did you get involved with the stage version of Goodnight Mr Tom?
I was asked to do it by Angus Jackson, the director, I thought about it, as it was a part I always wanted to play, so I said “Yes”.

How does the stage version compare to the TV film we all know and love which starred John Thaw?
Very different. Film and television are poles apart it’s a completely theatrical adaptation which is brilliant by David Wood. It’s a fast moving roller-coaster of emotions. I thought the film concentrated on Mr Tom, that’s how they did it, the stage version is about the children which is good.

How did you become familiar with the story?
When I first read it to my children in the 80s after it first came out. They had it read to them at school, so it’s been with us for a long time.

You’ve been an actor for many years yourself, were you a child actor?
I did one show when I was about eleven; it was an Armchair Theatre on ITV (The Tin Whistle Man). The scriptwriter Ken Taylor got me that and then I did a couple of things with my father (Patrick Troughton), in Doctor Who.

Did your father encourage you to be an actor?
(Laughs) No, not at all! I think you follow in your fathers footsteps a lot of the time, I think its in my genes to be an actor, two of my sons have become actors, my nephews an actor, my brothers an actor and my wife an actress.

What are your memories of appearing in Doctor Who with your father?
I was an extra in a story where he played two parts, The Doctor and a ruthless Mexican dictator (The Enemy of The World). They just found those episodes and you can see me in it. It’s a long time ago. I’ve been an actor for over 45 years I should get a medal for longevity! Playing different parts is the secret, not doing the same thing all the time.

You also returned to Doctor Who a few years later playing King Peladon opposite Jon Pertwee, what was that like?
It was lovely, he was such a welcoming man, very funny, but he took it very seriously which you have to. People take the rip out of Doctor Who sometimes but you’ve got to play it for truth.

Was there ever a role you were particularly keen to get?
When you read a script, you know you want to do the part; I really felt that with A Very Peculiar Practice (in which David starred alongside Graham Crowden and Peter Davison) and the role of Bob Buzzard. There was a lot of laughter because they were very funny scripts. As I say, you play it for all its worth and truth, it doesn’t stop you having a laugh because what’s the point of doing it unless you enjoy it.

You also had a contrasting role in New Tricks in which you played a bad guy. Was that fun to play?
Baddies are always good to play and you hope they are the most unlike you! I was termed as a character actor. You don’t get so much of that now because people cast to type, you’ve got to be the person; you’ve got to look like them. Gone are the days, like what my father did for television that you could put on a wig or a beard. People don’t do that now which is unfortunate.

And of course, even though you are very much your own actor, you have helped keep the torch burning for your fathers association with Doctor Who.
When he was doing it, it was just another children’s show, he was the first person to take over the character on screen but it wasn’t the big mammoth giant it is now.

You even stepped into your father’s role of the second Doctor opposite Tom Baker a few years ago in an audio adventure?
I did, they were a bit tentative in asking me and then I read the script, it wasn’t the actual Doctor. I was playing a robot version of him, that was alright (laughs), it was once removed. I’ve read stories that have had my father in it, so I have to imitate him a bit. I do love it, reading books, radio; you don’t have to learn the lines. I think he’d laugh at what I was doing really!

You last appeared in Doctor Who opposite David Tennant some years back, would you like to be in it again?
I’d love too!

Back on to Goodnight Mr Tom, how long are you continuing and what will you be doing afterwards?
After Cardiff, we finish at the end of May in Newcastle, I’ll have a little break and then I’ll go back to the RSC to play Gloucester in King Lear. It seems to be the year of Lear’s there’s about four of them knocking about and I’ll be in one of them!

Are there any roles you still haven’t played you’d like to have a go at?
Shakespeare-wise Falstaff or Prospero and any series that goes as long as Downton Abbey and be assured of seven months work a year and then I can retire.

• Goodnight Mr Tom runs at Cardiff’s New Theatre from May 10 –14. To purchase tickets please visit newtheatrecardiff.co.uk or call 02920 878 889.
• A version of this Q&A by Andy Howells appears in The South Wales Argus entertainment section The Guide on May 6, 2016

Get Creative With RawFfest At Newport Riverfront

This weekend, BBC Wales, Arts Council of Wales and What Next? are teaming up to celebrate the nation’s creativity and to celebrate, RawFfest will be running a taster day at The Riverfront, Newport. RawFfest is the exciting new national youth arts festival for Wales and it will kick off in Newport in August. Anyone aged 14 – 25 can come along to a range of free workshops on Saturday April 2 from 12 noon to 4pm.

The taster day will have workshops in dance, music, opera, theatre, art and lots more. National Dance Company Wales, Operasonic, Tin Shed Theatre Company and Pentalk Lab will help provide workshops free of charge.

April 2 will be a chance for young people to put their energy and ideas into planning and programming RawFfest.

“RawFfest/GwylGrai is a rare opportunity for young people to get involved with a project of this calibre- a project that is being put together for the benefit of young people passionate about the arts,” said Callum, 17, from Ammanford. “The fact that young people are helping make this happen, makes it even more exciting!”

For a full schedule of RawFfest’s  Get Creative day on April 2 go to their Facebook page . Spaces are limited for some of workshops and booking is advised beforehand. Please contact RawFfest First Bite at Newport Riverfront on 01633 656757 or  contact Naz Syed, RawFfest Administrator: naz@rawffest.wales or call: 07860 660870

On Stage: Only The Brave, Wales Millennium Centre

Based on the real lives of men and women caught up in the D-Day landings, Wales Millennium Centre’s first full scale musical, Only The Brave certainly packs a punch with presentation.

Both heart-breaking and inspirational, the musical recounts the true story of two couples brought together by events in World War II, Captain John and Joy Howard and Lieutenant Denham and Maggie Brotheridge.

Only The Brave commences with a senior version of John Howard (played by Second World War veteran Peter Davies) looking back at the events from a hospital bed. The passion, camaraderie and courage that men and women displayed leading up to the D Day landings weaves in and out of events in England and occupied France, accompanied by an original musical score from Matthew Brind and Steve Marmion.

David Thaxton and Neil McDermott are at the forefront of the action as Captain John Howard and Lieutenant Denham Brotheridge respectively. Not only do they deliver believable characterisations but also lead their platoon with vocal strength on songs Only The Brave and Band of Brothers.

The musical's strengths lie in its more humane moments , from the companies’ rendition of Cuppa Tea (a tribute to the essential front-line beverage) to Wally Parr’s questioning of events in What The Hell Am I Doing? sung with conviction by Thomas Aldridge.

Other moving moments are the ladies of the company performing Regret and Sympathy, while French resistance captives Isabelle (Nikki Mae) and Madame Vian (Helen Hobson) face the prospect of an uncertain future as they duet on Can It Be True?

Hitting the right notes both cast and musicians had a deserved standing ovation at the climax of the Thursday evening performance, a strong indication that this could be the first of many successful presentations of Only The Brave.

• Only The Brave continues at  Wales Millennium Centre until April 2. Visit Wales Millennium Centre's website for booking details.

On Stage: Theatr Pena - The Glass Menagerie, Newport Riverfront

Tennessee Williams classic four-character memory play The Glass Menagerie is the latest drama to be given the Theatr Pena treatment.  A triumph in characterisation, light, pace and delivery, it began its tour across Wales for a three night stint at Newport Riverfront on Thursday evening, drawing  the audience in from the offset and raising the seemingly unsurpassable bar even further from last years production of The Royal Bed.

Eiry Thomas and Gareth Pierce in The Glass Menagerie
Photograph by Simon Gough

Director Erica Eirian and her team of actors and technicians, have a knack of picking strong character plays. The Riverfront studio has played host to these in recent years building a sense of intimacy for the audience. However, judging by the audience reaction on Friday evening, none of the dynamics were lost as The Glass Menagerie moved to The Riverfront’s larger main theatre. If anything, the extra space added more depth to the ongoing proceedings as we were transported to St Louis in 1937. An atmospherically lit set reflected the lives of a family caught up in the economic recession, struggling to cope with the harsh realities of their impoverished lives, giving a sense of a classic Hollywood movie brought to life on stage.

Rosamund Shelley and Rhys
Meredith in The Glass Menagerie
Photograph by Simon Gough

Rosamund Shelley is the doting mother of Tom and Laura who unsuccessfully tries to control her children’s destinies to compensate making a mess of her own. Shelley gives a splendid tragicomic characterisation which generates as much laughter in her characters circumstances as it does in gasps of disapproval of her behaviour.

Rhys Meredith is a dynamic presence as her son, Tom, who longs for the adventurous life that reflects the ones he witnesses each night on the cinema screen. Tom partly realises this dream by narrating the ongoing storyline in the style of a B Movie Detective, this is the hook that draws the audience into the story.

Eiry Thomas plays Tom’s sister, the beautiful but shy Laura, an almost social recluse but the custodian of a Glass Menagerie of ornamental animals and her departed fathers gramophone records. Thomas explores a multitude of emotions from fragility to renewed strength as the plot unfolds, particularly finding  empowerment as she is reunited with former school crush Jim O Connor played by Gareth Pierce. The pairs beautifully choreographed dance sequence is a unique piece of theatrical chemistry and beautiful to witness.

The Glass Menagerie will be touring Wales in the coming weeks; visit theatrpena.co.uk for venue details and be sure to catch this treat of a production.

• Andy Howells is a freelance entertainment writer and arts reviewer.

DVD Review: Angels One Five (U)

Restored to its crisp former glory to commemorate the 75th anniversary of the Battle of Britain, Angels One Five is a documentary style drama which sees Jack Hawkins in the role of Squadron Leader Tiger Small who grounds volunteer reservist TB Septic Baird (John Gregson) to an operation centre after he crashes his Hurricane on the RAF centre runway in order to avoid a collision with another aircraft.

The film itself not only follows the tough decisions made by Small in the lead up to what would ultimately become 1940’s Battle of Britain, but also the struggle for Baird to get airborne as a pilot and do front line battle for his country.

There are many fabulous scenes in this film, from the air attack alert sequences to the bombing of the airbase, all acted out with painstaking precision. The fact that many of the featured events are based on director George More’s own WWII experiences evidently lends itself to the realism of the feature.

The DVD also includes image restoration comparisons, the original film trailer and a background into the events of The Battle Of Britain.

A timely commemoration of perhaps Britain’s greatest historical triumph in modern history and one of the best classic war movies of the 1950s, Angels One Five deserves a revisit for anyone with an interest in WWII or indeed the classic British movie genre.

• Angels One Five is available from Studio Canal on DVD and BluRay now.
• A version of this review by Andy Howells appeared in the South Wales Argus entertainment supplement The Guide on September 4, 2015

DVD Review: Robot Overlords (12)

Robot Overlords is not so much unfamiliar territory for Sci-Fi fans of a certain age.

Following an earth invasion of epic proportions, robots now rule the streets and people are locked in their homes as the aliens commence their studies of humankind. Stepping outdoors risks being vaporised by a hulking Sentry or been picked off by a lethal Sniper. Through the ruins of Britain a group of four children, set out to join the resistance and locate their leader Sean Flynn’s (Callan McAuliffe) missing father. However, in hot pursuit of the group is their old teacher turned robot collaborator Mr Smythe (Ben Kingsley) who also holds Sean’s mother (Gillian Anderson) captive.

Jon Wright and Mark Stay’s screenplay set in a post apocalyptic British seaside town has shades of Terry Nation’s Survivors and John Wyndham’s Day of the Triffids in places but maintains the modern look and feel of any current Doctor Who adventure. The drama itself is fast paced with some excellent scenes featuring impressive CGI robots in hot pursuit of the films young stars, Callan McAuliffe, Ella Hunt, Milo Parker and James Tarpay who all carry an edge of authenticity about them when thrown into otherwise adult situations  and responding in practical ways.

The film also features a strong support cast including X Files star Gillian Anderson, as well as Geraldine James, Steven Mackintosh, Tamer Hassan and Ben Kingsley who all have plenty to contribute to the ongoing action. The neatest guest star has to be the appearance of veteran comic Roy Hudd who takes on a very serious role and is just superb in his few moments opposite Ben Kingsley.

A must-see for all fans of traditional Sci-Fi stories and especially the long forgotten classic TV serial genre of which clearly seems to have inspired this exciting film.

• Robot Overlords is available on DVD and Blu-Ray from Signature Entertainment.
• A version of this review by Andy Howells appeared in The South Wales Argus entertainment supplement The Guide on August 28, 2015

DVD Review: The Third Man (4K Restored Version)

Upon its release in 1949, Carol Reed’s atmospheric screen adaptation of Graham Greene’s The Third Man instantly became a cinematic classic winning numerous plaudits and awards from the Grand Prix at Cannes to The Oscars.

The iconic thriller stars Joseph Cotten as American pulp western writer Holly Martens who arrives in post-war Vienna following up an invitation fro childhood friend Harry Lime. However Martens discovers that Lime (Orson Welles) has apparently been killed in a recent accident leaving behind a grief stricken lover, Anna (Allida Valli) and a British investigating officer called Calloway (Trevor Howard) who seems determined to expose Lime as an unsavory criminal.

StudioCanal’s new 4K restoration from a fine grain master positive struck from the original negative takes the DVD and Blu-Ray audience back to 1949 and is the ultimate experience in black and white cinematography.

As far as classic dramas go there’s much to enjoy here from the war-torn Viennese backdrop which provides much in the way of atmosphere as the drama unfolds in a variety of locations including a playground, a cemetery underground sewers to Anton Karras’ score and iconic theme tune.

The film has many surprises in both storytelling and performance and its easy to see why it is still held in such high regard some 65 years after its original release. Joseph Cotten turns out a compelling performance as Martens while Allida Valli gives is convincingly standoffish as female lead Anna. Of course, Orson Welles is nothing short of brilliant as the mysterious Harry Lime but Trevor Howard is equally compelling as Calloway as he tries to uncover the truth about Harry Lime. James Bond fans should also look out for an early acting role by the original M, Bernard Lee who plays a chirpy military cockney sidekick to Howard’s investigator.

The DVD and Blu Ray comes bristling with new extras including rare audio interviews with Graham Greene and Joseph Cotten and an insight into how the film has influenced modern day film makers such as Martin Scorcesse.

The 4K restored version of The Third Man is available from StudioCanal on Blu Ray and DVD formats now.

• A version of this review by Andy Howells appeared in The South Wales Argus entertainment supplement The Guide on July 24, 2015
• Visit Studio Canal website.

Interview With Actor Daniel Llewellyn Williams

Actor Daniel Llewellyn Williams will be putting his director’s hat on this weekend, as the play Between the Crosses plays Caerleon Festival. This recent work follows the Newport actor’s successful one-man show A Regular Little Houdini and coincides with his casting in the lead role of Richard Hannay in the West End production of The 39 Steps. Andy Howells recently had the opportunity to put questions to Daniel .

It’s been a busy year for you so far, having won a Wales Theatre Award for Best English Performance in Not About Heroes, taking on a West End Role in The 39 Steps and producing Between The Crosses. How are you managing to balance all these projects?
With difficulty! I could do with a couple of clones to be honest. It's been a great year so far and I've been extremely lucky to have these opportunities. I haven't always been this busy or lucky and life as a jobbing actor can be very challenging especially when you have a young family.

It's like waiting for a bus and now several have come along at once. Working in the West End or touring is lovely but the down side is I miss out on a lot of landmarks in my kid's growth because our family home is still in Newport. Although I do see them and my wife every Sunday, without fail.

You’re one-man show A Regular Little Houdini was fabulous, you’re passion for bringing some of Newport’s history alive really came through in the performance. Was it well received?
That's very kind of you. It has been extremely well received and I'm immensely proud of it. It really gives people with any affiliation with Newport a real kick of pride and nostalgia when they see it but the story is about more than where it's set. People who have no idea about Newport also love it because it is set in a real place, which isn't London or New York, it has an identity and a heart and people pick up on that and love it for that too.

I've had requests to take it all over Britain and America and I've also been invited to play at the Pleasance theatre at the Edinburgh Festival but my West End commitments now mean A Regular Little Houdini will be "on hold" until I'm available in the New Year. In 2016, I will finish the radio play and I'm also in early stages of turning it into a film.

Will there be any further performances of A Regular Little Houdini in the future?
Yes - Definitely! I had to postpone a few performances this summer/autumn due to The 39 Steps which I will be re-booking some time in the New Year and I will be doing whole month of August 2016 in the Pleasance at the Edinburgh Festival. I'm also booking more venues for next year. Check the website  or like the Facebook page for event information.

Can you tell us about Between the Crosses, what inspired it?
I wanted to continue to produce shows after the success of A Regular Little Houdini. I knew a First World War piece would be apt because of the centenary, and I started to pursue a story to develop. An actor/writer friend of mine, Will Huggins, had a personal story to tell about his Great Uncle Edgar who went from Stable-Hand to Soldier to Survivor through four years of the Great War including Ypres and the Somme.

Edgar was present at the first use of Chlorine gas as a weapon and he lead a ragtag troop of men out of the green cloud with only urine soaked rags over their faces to protect them. He also witnessed the first appearance of tanks in the battlefield. But the interesting thing about Edgar's story is what he didn't tell, his family and loved ones back home. We only know of his story through the Imperial War Museum's interviews with him in his 94th year. What we were fascinated with was why were so many survivors silent? And what effect has that had on the subsequent generations? In the name of sparing our loved ones, how can we learn if we don't know? I really wanted Will to develop the story into a one man script for him to play, which he then did and I have now directed it and produced it.

You are directing this time instead of acting, how different have you found that?
I've always wanted to direct as I'm fascinated with "process". I analyse everything. It suits the way I think. I'm also a lover of communication and when someone has a great story to tell, the way you connect to an audience is paramount. Clarity is everything. Working with other people (writers, actors, musicians, choreographers and designers) to help them make their story clearer to an audience excites me. I am an advocate of simple and effective drama.

How inspirational were Edgar’s recollections when putting the play together?
Edgar's life post War seemed on the outside to be brutally normal and his voice recordings as a 94 year old appeared to be that of a sweet, elderly gent. But the inspiration comes from between the lines, his words unsaid, and the knowledge of what he actually did, influences the listener and makes for a compelling journey.

How has that experience being for Will?
Cathartic and a great honour I imagine.

Who do you hope will come to see Between The Crosses?
Firstly everyone who has an interest in a human story of realism and truth. Then everyone with an interest in history and finally everyone who loves a good story. Friday 4th July, Caerleon Arts Festival 7.30 PM

Is it suitable for all the family?
I would say this one is for 16 and over.

You’ve also recently been cast as Richard Hannay in The 39 Steps in the West-End. How did you come by that role?
Since winning the Theatre Wales Award, I've had a lot of companies interested in me. They called me which was nice. I think it's hilarious though that a Welsh speaking Newport boy is playing the most quintessentially English literary character. Hannay is sort of the pre Bond, but in tweed. He's a colonial adventurer and a gent.

Were you a fan of the original book?
To be honest I found the original stories a bit hard going. All about the thrill and the suspense but without the humour. The stage version, thank god is a wonderful thriller parody which will have you on the edge of your seats but also in fits of laughter.

The 39 Steps popularity has continued to endure in film and television adaptations over the years, why do you think that is?
Because of Richard Hannay himself probably! He is such a likable English twit / hero. He's very "Tally ho pip pip! Jolly good! Fry me a kipper I'll be back for breakfast". What's not to like?

Of all the Richard Hannay’s on screen do you have a particular favourite yourself?
Robert Donat probably although I like Robert Powell and Rupert Penry Jones too. I have to say I think Kenneth More was miscast.

How long will you be in The 39 Steps?
Till this Autumn.

Are you developing any other projects for the future?
Not at present. I'm busy enough right now.

• For further information on Daniel Llewellyn-Williams projects visit his official website
• For more information on A Regular Little Houdini visit the official website
• For more information on The 39 Steps, visit the official website.
• A version of this Q&A by Andy Howells appeared in The South Wales Argus entertainment supplement The Guide on July 3, 2015.

On Stage: And Then There Were None, New Theatre, Cardiff

Big Brother isn’t such a new concept. Years before reality TV was putting B-list celebrities into enclosed spaces and jungles while analysing every characteristic, good or bad of individuals, it had already been done on the printed page.

Agatha Christie’s And Then There Were None even preceded George Orwell’s 1984 by a decade when it was published in 1939, showcasing the concept of an all-seeing, all-hearing eye, exposing the hidden truths of characters they would rather others didn't know about.

This current stage adaptation is a star-studded whodunit which follows ten individuals that are lured to a secluded island by a mystery host. After their individual murderous secrets exposed, they are then eliminated one by one by persons unknown in accordance with the poem Ten Little Soldiers.

Featuring the acting talents of Paul Nicholas, Colin Buchanan, Susan Penhaligon, Frazer Hines, Mark Curry, Verity Rushworth, Ben Nealon and Eric Carte, watching the play is like experiencing a classic film brought to life on the stage. The producers have elected to keep the tale close to the author’s original intentions by having the characters trapped on a remote island during the 1930s time period, giving the tale a very authentic feel.

The audience, escaping the onslaught of a heat wave outside Cardiff’s New Theatre on Tuesday evening still found themselves in a cool environment but feeling the heat of the excitement as the drama unfolded. Whoops and screams from the audience occurred as the set went dark and a gun shot was released on stage.

Whodunit? I’m not spoiling the fun! I can only say my first Agatha Christie experience was an absolute delight to savour! Don’t miss this chance whatever age you may be to experience And Then There Were None. The production continues at The New Theatre until Saturday. 

• Read Andy Howells' interview with Frazer Hines

Doctor Who Star Frazer Hines Treads The Boards In Agatha Christie Classic

Celebrating the tenth anniversary of the Agatha Christie Theatre Company, And Then There Were None returns to Cardiff's New Theatre stage next week.

Adapted for the stage by Agatha Christie herself, the play is based on the best-selling mystery novel of all time and follows the story of ten strangers who arrive on a remote island off the coast of Devon only to find that their host, an eccentric millionaire, is missing. A torrential storm forces them to remain on the island and, with an ancient nursery rhyme haunting them, the guests start to die one by one.

And Then There Were None features an all-star cast of familiar faces from the world of television including Paul Nicholas (Just Good Friends), Colin Buchanan (Dalziel and Pascoe), Susan Penhaligon (Bouquet of Barbed Wire), Verity Rushworth (Emmerdale), Mark Curry (Blue Peter), Ben Nealon (Soldier Soldier) and Frazer Hines, known for his regular roles in Doctor Who and Emmerdale Farm.

Andy Howells recently caught up with Frazer and chatted with him about the show and his career which began as a young boy back in the 1950s.

How has the tour of And Then There Were None been received so far?
We’re packing them out, they love Agatha Christie! Bill Kenwright has got together a fantastic cast of people that if you don’t like Paul Nicholas, you might like me, if you don’t like me you might like Mark Curry or Susan Penhaligon, there’s always someone to like in the cast!

It’s like a who’s who of great British actors.
You’re correct, well-known and even if I say it myself, well-loved faces!

When was your earliest theatrical performance?
I started off in television, because in those days you had to be 12 to actually do theatre. I played Napoleon in Huntingtower and then Shaun Sutton who was head of children’s television at the BBC then gave me the part that got me known which was Jan in The Silver Sword. My first theatre was at the Royal Court Theatre with Dame Peggy Ashcroft and George Devine in The Good Woman of Setzuan, I found a programme, Peter Wyngarde, John Osborne and Colin Jeavons were all in it and the programme was sixpence! It was an amazing cast!

Patrick Troughton and Frazer Hines in
Doctor Who from 1968

What lead you to joining the cast of Doctor Who?
I’d worked with Shaun Sutton so many times as a little boy and then this part of Jamie came up. I got this phone call from my agent who asked me to go and see the producer Innes Lloyd. He said “Frazer, Shaun (Sutton) tells me you can do a Scottish accent.” I said “Yes I can”. He said “This is a part in Doctor Who, Do you fancy playing Jamie?” and I said “Yes”, that was it, no reading, no audition, I just met Innes Lloyd and that was it. The second episode went out and the BBC switchboard was jammed with people saying “wouldn’t it be a good idea if Jamie was to become a companion?” and that lead to three of the happiest years of my life, starring with dear Patrick Troughton.

It’s still a big part of your life, what was it like for you when the recent missing episodes The Web of Fear and The Enemy of the World were recovered?
Fantastic! The fans were more excited about the recovery of those two missing stories than the 50th anniversary episode! They were clamoring for more so hopefully they will find more! The BBC paid me for an interview for a release for The Underwater Menace, which they also did with Anneke Wills and Catherine Howe. I don’t know why but they’ve shelved that at the moment, the BBC doesn’t usually pay you and not use you!

It must be strange for you because all this happened over forty years ago!
When the episodes are found I go to America once or twice a year and the lovely thing is it’s renewed again in people’s interests, you sign peoples DVD covers and stuff like that.

Of course, you were also well known for your role as Joe Sugden in Emmerdale Farm
I was there for eleven years, then got married and left for four, then I got divorced and my mother died and then Sheila Mercier my screen mother (Annie Sugden) called and said “My dear, you’re not having a lot of luck why don’t you come back to your screen family”.
It got me a different sort of fan base because Doctor Who fandom had dropped off by then so Joe resurrected it. When I left Emmerdale I went into The Two Doctors (with Colin Baker and Patrick Troughton). I’d done The Five Doctors (for Doctor Who’s 20th anniversary) and Doctor Who Producer John Nathan Turner asked “It was so good to see you in The Five Doctors, would you do any more?” I said “I’d jump at it!” I then did The Two Doctors which got me to the new audience who had been watching since Jon Pertwee onwards who had never seen the classic stuff so I was put on the ladder of fandom again.

You’re going to be in Cardiff with And Then There Were None, will there be an opportunity for you to pop in on the Doctor Who set?
I’d like to. I got an email today saying “We’ll keep you posted Frazer, we’d love to have you on the set,” I’d love to, because Janet Fielding (Tegan) met David Tennant, Anneke Wills met Matt Smith and I’d like to meet Peter Capaldi!

Frazer Hines today

If there was a chance Jamie could briefly return to Doctor Who, would you be up for that?
Of course! I’d do it for nothing!

So tell us about your role in And Then There Were None?
I’m playing Rogers The Butler. I won’t say the butler did it, it’s a bit of a cockney part, maybe how Bill Hartnell (the original Doctor Who) might have played it with light trousers, black jacket, it’s a nice character part for me.
I played a lovely character part recently in Outlander. It’s written by Diana Gabaldon who saw me in the Doctor Who story The War Games and wrote a story about a woman who in 1946 falls into a fairy ring and goes back to 1746 and meets somebody called Jamie Fraser. I play a character called Sir Fletcher Gordon the governor of Wentworth prison and that went out on Amazon Prime a few Saturdays ago. Catriona Balfe and Sam Heughan are fantastic in it, great actors. Tobias Menzies who plays the villain in it Frank Randall, I feel would make a great Master in Doctor Who.

And of course you’re still involved with Doctor Who by appearing in new audio dramas?
I do them for Big Finish and yes I do Patrick’s voice as well as Jamie, I go from one voice to another in a scene, I love it, its great fun to do and I get to keep Patrick’s memory alive for all the fans.

What other projects have you got lined up?
I’ve got a TV production company called Snowball Productions and we’ve got a comedy series written by a lovely actress called Rachel Warren called Totty. When I finish this play I’ve got a six part black comedy series called It’s Behind You. I’ve then got to have a shoulder operation, so while my arm is in a sling I’ll be putting my producer’s hat on and trying to get that put together as well.
There’s also a couple of movies which I should have done last year, written by Tony Lee, they are called The Mild Bunch and Scrum Like It Hot, they’ve been put on the back-burner, but hopefully I’ll be doing those next year.

You still enjoy your work?
I still enjoy working, I think you have to m very fortunate in that I’ve never had to work for the money, I’ve always enjoyed stuff that I’ve done I don’t think id like to retire.

What would you say has been your career highlight?
Getting the part of Jamie which gave me three happy years with Patrick and its taken me all over the world to New Zealand, Canada and Australia, I guess that would have to be number one. I played a psychopathic killer in a Granada TV series called The Villains that would come second!

How would you describe this production of And Then There Were None to anyone who was thinking of coming to see it?
I would say come and see a great cast of your favourite TV faces gelling together and making a great show.

• And Then There Were None is at The New Theatre, Cardiff from Tuesday June 30 – Saturday July 4. Tickets are on sale now from £9.50 to £30.50. For further details about the show or to book tickets* visit newtheatrecardiff.co.uk or call the Box Office on (029) 2087 8889. 
• A shorter version of this interview by Andy Howells appear in The South Wales Argus entertainment supplement The Guide on June 26, 2015. Read the e-edition here.
• Visit Frazer Hines official blog

On Stage: The Curious Incident Of The Dog In The Night-Time, Wales Millennium Centre

I wanted to see the Olivier Award winning production of The Curious Incident of the Dog in the Night-Time following a strong recommendation from my 12-year-old daughter who recently saw the London West End presentation.

The story follows fifteen year old Christopher Boone who although has an extraordinary brain and is exceptional at maths, is ill-equipped to interpret everyday life and from time to time is subject to behavioral problems. When his neighbours dog is killed, Christopher falls under suspicion but when he decides to make his own inquiries he begins a personal journey which will not only turn his world upside down but unravel even more mysteries.

Presented in a giant cube shaped stage which projects lights, video projections and a variety of hidden doors and cupboards for cast and props to enter and leave as the drama unfolds. The set also reflects Christopher’s reactions generated by Asperger Syndrome through a series of lightning flashes and occasional confused numbers and letters

The performances are flawless, each cast move choreographed to perfection from Christopher looking for a missing book under his fathers bed to travelling through the busy London Underground.

Wales own Joshua Jenkins gives a breathtaking performance as Christopher, sometimes funny, sometimes sad but always smart; this is a role which is handled with precision and clarity. There is strong support from the ensemble cast who provide a variety of different roles including as Geraldine Alexander, Stuart Ling and Gina Isaac who portray Christopher’s teacher and parents.

Suitable for ages 11 plus, there is something that will appeal to everyone on many levels in this production. It runs until April 18, visit wmc.org.uk for booking details.

• A version of this review by Andy Howells appears on The South Wales Argus website on April 15, 2015
• Read Andy Howells' interview with actress Jessica Williams about Curious Incident Of The Dog In The Night-Time

Curious Incident Presents Dual Role For Jessica Williams

The Winner of seven 2013 Olivier Awards, this highly acclaimed National Theatre production The Curious Incident of the Dog in the Night-Time arrives at Wales Millennium Centre this week as part of its first ever UK tour.

Based on the award-winning novel by Mark Haddon, adapted by Simon Stephens and directed by Marianne Elliott, the story follows Christopher, fifteen years old, has an extraordinary brain – exceptional at maths while ill-equipped to interpret everyday life. When he falls under suspicion of killing Mrs Shears’ dog, it takes him on a journey that upturns his world.

The story features two cast members that hail from Wales. Swansea’s Joshua Jenkins will play the role of Christopher while Bargoed’s Jessica Williams gets to work on both sides of the stage as Movement Captain, understudy and an ensemble cast member taking on the roles of Punk Girl and Mrs Shears.

In 2012 Jessica began working for Frantic Assembly as a practitioner. She works for them nationally and internationally, most recently co-directing the National Youth Theatre of Wales’ show Dead, Born, Grow and working with Newcastle-based company Open Clasp. Andy Howells recently chatted to Jessica about The Curious Incident of the Dog in the Night-Time.

How did you find yourself becoming a Movement Captain?
I started in dance as a teenager and went to Ebbw Vale school to do A level dance there, then I trained in London as a dancer at the London contemporary dance school then the last couple of years I’ve been working for a dance company called Frantic Assembly a musical theatre company who make the movement for The Curious Incident of the Dog in the Night-Time.

Did you always have an interest in dance and performance?
I was in the Blaenau Gwent Youth Dance Company The Move and I used to go to Rubicon in Cardiff and Diversions now known as the National Dance Company of Wales. I've not done any acting until this job, so it’s a bit of a shift in direction for me.

Can you tell us about your role in The Curious Incident?
My role in the show is that I look after the movement. It’s not a musical, it’s a play. There’s a lot of music and a lot of movement and I keep an eye on all of it and keep them all on their toes, make sure they are doing everything properly look after their fitness all the warm ups and things  and I’m in the ensemble of the show and say a couple of lines as well.

Did you devise the movements?
Scott Graham and Steven Hoggett who are the directors of Frantic Assembly made the movement and my job is to make everything stay just as it should so that it doesn’t change. It’s a really big opportunity for me actually its nice to be on two sides of it with the cast and working on the other side making sure things are going well.

The show is rated 11 plus and there is some swearing, is it suitable for families?
Its really at the parents discretion. There is swearing and it’s used in adult scenes but there’s younger members of the audience who still enjoy the production. It’s a really great story and you see the journey of a young person. It hits a lot of marks with different people its kind of a family show in that you could take the whole family and everyone would get something different from all of it.

Do you get home to Wales very often?
It’s been more difficult since I started this tour as we started rehearsing in November but I’ll be staying with my parents while we’re in Cardiff.

How long are you continuing with the show?
Till November, a year long contract is a great opportunity for an actor.  I’ll definitely be going back to work with Frantic Assembly after I've finished this. It’s not certain what I’ll be doing.  I could be teaching, performing or doing something creative for them.

What are you most looking forward to about your return to Cardiff?
The theatre community of Cardiff is a great bunch of people so I’m looking forward to catching up with people and seeing what’s going on.  I’m also looking forward to the audiences I think they’ll love it (The Curious Incident of the Dog in the Night-Time.)  It will be warmly received. The Millennium Centre is such an amazing venue; I remember standing on the main stage as part of a workshop performance and thinking “Wow! I’ll never get to stand here again, this is amazing!”

How would you sum up The Curious Incident of the Dog in the Night-Time?
I think a beautiful story. It’s really well told in so many different ways to tell the story with the set, movement, text and actors. Josh who is playing the lead is from Swansea, so it will be his home venue as well.

• The Curious Case of the Dog in the Night Time runs at Wales Millennium Centre from April 14 – 18. Check wmc.org.uk for ticket details.
• A version of this interview by Andy Howells was published in The South Wales Argus entertainment supplement The Guide on April 10, 2015

On Stage: TAN, Newport Riverfront

Welsh history came alive on Friday evening as Harnisch-Lacey Dance's double bill Spin and TAN premiered at Newport Riverfront.

Dance trio Daniel Ovel, Jacob Smart and Tom Tindall mesmerised the audience in the opening 20 minutes of the show with Sandra Harnisch-Lacey’s 2014 Edinburgh Fringe success Spin. A breathtaking demonstration of modern dance, Spin was a performance tight in synchronicity but showing flair of contortion was only a taster of things to come.

The second part of the evening saw the premiere of TAN, a dance based drama inspired by Wales' journey to reclaim its cultural identity. TAN combines elements of contemporary dance, breakdance and parkour performances while exploring the universal themes of identity, freedom and power of transformation.

The centerpiece of the production is a 1930s arson attack in North Wales by dramatist Saunders Lewis, poet Lewis Valentine and novelist Di Williams following the century long purposeful decline of the Welsh language within school and the enforcement of the wearing of The Welsh Not for any child who chose to disobey their peers wishes.

The production portrays the three men as defenders of the Welsh culture, defying segregation and bringing to life the brilliance of Wales past, presence and future.

A combination of contemporary music, soundscape and video clips of Wales' cultural history were liberally intermingled with the dancers’ powerhouse dance performances including the historic arson attack on the RAF bombing school in Penyberth.

Rather than just recall history, TAN also enforces the message of the ongoing importance of the freedom of the Welsh language and as my 12 year old daughter pointed out brought the words of the Welsh National anthem into clarity.

Suitable for older children upwards TAN is a must-see show bringing together Welsh cultural history and the finest in contemporary dance. There’s a further chance to catch TAN at The Met in Abertillery on March 12 and The Gate Arts Centre, Cardiff on March 18. Visit harnischlacey.com for details

• A version of this review by Andy Howells was published in The South Wales Argus on March 2, 2015

On Stage: The Royal Bed, Newport Riverfront, 2015

A classical story steeped in passion, tension and unbound love. No, I’m not talking Fifty Shades of Grey, more fifty layers of passion and how it can affect us inwardly and outwardly with devastating effects. The real rub here is Theatr Pena’s The Royal Bed, Sion Eirian’s adaptation of Saunders Lewis play Siwan is set here in Wales, nearly 800 years ago.

An uneasy truce exists between a divided Wales and England and at the court of the charismatic Prince of North Wales a catastrophe is about to unfold and dreams of a united Wales will crumble. At the centre of the drama is Siwan, the illegitimate daughter of King John and passionate, outspoken and politically astute wife of Llywelyn the Great.

The cold stark setting of The Royal Bed transported a packed Riverfront studio on Thursday evening, back to Medieval Wales in order to tell the story of Siwan’s adulterous affair with the young Marcher Lord, Gwilyn Brewys, and the terrible revenge exacted by Llywelyn when discovering the lovers in the royal bed.

Eiry Thomas wonderfully depicts Siwan from carefree lover to the real power behind the throne despite been incarcerated for her actions, a joy to watch in such a demanding role. Hannah O Leary as self-assured chambermaid Alis also has some very powerful moments from recounting her brief but passionate marriage to describing Gwilym’s execution.

There are also two very strong male lead performances from Francois Pandolfo as Siwan’s lover Gwilym who displays unbound love up until his final moments and Russell Gomer as the brooding and occasionally dark Llywelyn.

With atmospheric music from Buddug Verona James and Delyth Jenkins, The Royal Bed opens up the beauty of Welsh Culture to the masses. A Valentine’s gift to Wales, embrace it as it embarks on its tour. Visit theatrpena.co.uk for details.

• A version of this review by Andy Howells appeared in The South Wales Argus on February 13, 2015.
• Theatr Pena director Erica Eirian discusses The Royal Bed.

Theatr Pena Take Welsh Drama The Royal Bed On Tour - Erica Eirian Interview

Ahead of the launch of Theatr Pena’s tour of Sion Eirian’s play The Royal Bed, Andy Howells chats to director Erica Eirian about the production.

Theatr Pena’s third co-production with The Riverfront in association with the Torch Theatre Milford Haven is a classic Welsh story. The Royal Bed by Sion Eirian, an English language adaptation of Siwan by Saunders Lewis, will premiere at Newport Riverfront on Wednesday February 11 and continue until February 14.

The play was originally commissioned by BBC Radio 4 in 1993. Theatr Pena’s 2015 touring production is The Royal Bed’s stage premier and a rare opportunity for theatre audiences in Wales to experience the Welsh classic in English.

“It’s our first national tour,” says director Erica Eirian, “We’re going to 18 venues in all, including The Riverfront. The Riverfront is our co-producer and provide our rehearsal space and lots of support, so we open here for our usual Wednesday to Saturday six performance run including two matinee's and then we go on tour for six weeks.” The Royal Bed will visit other venues across Wales in the coming weeks including Abergavenny, Abertillery and Blackwood.

Theatr Pena was set up in 2008 driven by an uncompromising determination to stage revivals of some the world’s best classic plays and develops a commitment to creating opportunities for women in theatre. The Royal Bed follows other major productions by the company including The House of Bernada Alba, The Trojan Women, The Maids and The Killing of Sister George. 

“Ironically this is the first production that has men,” says Erica, “We are not exclusively women. We simply try to choose our material which gives opportunities. The central character in this is Siwan and it’s her story we follow.”

Set around Easter 1230 when an uneasy truce exists between a divided Wales and England and at the court of the charismatic Prince of North Wales a catastrophe is about to unfold and dreams of a united Wales will crumble. At the centre of the drama is Siwan, the illegitimate daughter of King John and passionate, outspoken and politically astute wife of Llywelyn the Great. Set in Medieval Wales, the play tells the story of her adulterous affair with the young Marcher Lord, Gwilyn Brewys, and the terrible revenge exacted by her enraged husband when he discovers the lovers in the royal bed, the consequences of which reverberate down the centuries to contemporary Wales.

“Essentially what the play is about is the struggle and the tension between personal desire and public political duty,” says Erica who believes the aspects are central to much of Saunders Lewis’ work, “In this we have a young woman who has spent 20 years constricted by duty and responsibility as a wife and as a political and royal consort, who in the moment wants to taste passion and desire and so she gives into that with repercussions, but equally Llywelyn gives into rage”

The Royal Bed will feature BAFTA Cymru award winner Eiry Thomas as Siwan, Hannah O’Leary as Alis, with Francois Pandolfo as Gwilym Brewis and Russell Gomer as Llywelyn. The production also features live music from mezzo soprano Buddug Verona James and Celtic harpist Delyth Jenkins.

The Royal Bed will run at Newport Riverfront from Wednesday February 11 at 7.45pm with further presentations on Thursday February 12 at 2.30pm & 7.45pm, Friday February 13 at 7.45pm and Saturday February 14 at 2.30pm & 7.45pm Tickets -£12.50, concessions - £10.50, students - £6.50 Call 01633 656679 for ticket details. 

• Visit theatrpena.co.uk for a video preview of The Royal Bed.
• A version of this interview by Andy Howells was published in The South Wales Argus entertainment supplement The Guide on February 6, 2014 

On Stage: Dick Barton - Special Agent, Dolman Theatre, Newport

Cue the Devil’s Gallop! Dick Barton-Special Agent is back, this time courtesy of Newport Playgoers musical-comedy presentation at The Dolman Theatre.

Barton aficionados will notice quite a change in the Phil Wilmot scripted show, as the legendary post-war radio detective breaks his own personal code-of-conduct several times as he is subjected to double entendres, drugs and even acquiring a femme fatale girlfriend.

The production however is a lot of fun from start to finish and a farcical/musical hall salute to the Britishness of radio drama in the 1940s/50s with a touch of Carry On thrown in for good measure.

Newport Playgoers presentation
of Dick Barton - Special Agent
Photograph: Phil Mansell

The smoky brown set resembles a BBC Radio recording studio from the 1940s. Richard Dymond, in dinner jacket, oversees the announcements on BBC microphones while Bruce Campbell adds comic effect on cue (or not as the mood may take) as the sound effects man.

Kevin Myers displays versatility as the hero, the suave Dick Barton and the slightly dim-witted sidekick Snowy White. Myers convincingly portrays two characters who at times become one while still maintaining a heroic demeanour. His highlight is saving the day with a tap-dance routine which gained a huge applause from the audience.

John Sheen adds fun as the strong arm working class assistant with a Scottish accent Jock Anderson, a comical highlight been his musical pairing on A Nightingale Sang In Berkeley Square with the frightfully wonderful Nicola Carlyle as Daphne Fritters.

The real show stealers though are the villains of the piece. Stephen Saunders delivers a convincingly caricatured portrayal of Baron Scarheart a criminal hell-bent on world domination, while the psychotic, seductive and sultry Marta Heartburn is played to perfection by Rosamund Jones-Griffiths, a natural comedienne who can deliver a perfect double entendre with a mere glint in her eye.

Dick Barton-Special Agent continues at The Dolman Theatre until Saturday January 18.

• This review by Andy Howells was published in The South Wales Argus during January 2014.

On Stage: Call Mr.Robeson, Newport Riverfront, 2011

How apt that literally only miles away from where Paul Robeson filmed The Proud Valley in 1940, a musical dramatisation of the man's life and career should play at Newport Riverfront’ on September 22 2011.

Call Mr. Robeson was presented in the intimate setting of The Riverfront’s Studio venue and played to a packed audience of fans who obviously still held the memory of Paul Robeson and his Welsh connections in high regard.

Nigerian Baritone Tayo Aluko writes, produces and stars in Call Mr. Robeson, which is presented as an informal monologue with piano accompaniment provided by Michael Conliffe.

The play begins with the powerful image of Robeson stepping onto the stage from the shadows carrying a chair on his back singing Nobody Knows The Trouble Ah’ Seen accompanied by a piano and the sound effect of a needle scratching on vinyl. Within seconds Aluko has brought the spirit of Robeson back to Wales!

Recounting his life and career from the early 1900’s as an athlete, singer, actor and a civil rights campaigner, Robeson informally discusses his life with the audience. This discussion recalling his parents, wife, son and lovers is aided with strategically placed fragments of memorabilia and books scattered into sections representing his periods residing in America, Russia, England and Wales. The remnants of a giant 78rpm record flank the props which itself has been fragmented across the stage, defining Robeson’s worldwide appeal.

From the outset it becomes clear Robeson’s struggle against the prejudices he faced as a concert performer in America were something that ultimately inspired him to campaign for equal rights by facing racism and challenging oppression.

It seems almost unimaginable that audiences for his concerts would be segregated in one venue prompting him to walk off stage, but this scenario beautifully played out by Aluko is only one of the play's most defining moments.

Despite the prejudices Robeson faced in his homeland, he was welcomed with love and affection in Russia (where he was treated like a real human being for the first time in his life) and welcomed warmly by fans when he comes to live in England during the 1930s.

His special relationship with Wales and his generosity to several unemployed miners who had completed a hunger march from South Wales to London is also recalled. Having completed a performance of the musical Show boat in Drury Lane, he was greeted by the miners at the end of the road. Immediately identifying with their plight, he bought them their first meal in days.

Forming a special bond with Wales, he would later tour there and ultimately make the film The Proud Valley on location in The Rhondda and Port Talbot during 1940. It is also evident that that bond is still remembered by Welsh residents, as many members of the audience recalled those connections with affection after the play ended.

A wealth of Paul Robeson music is also featured in Call Mr. Robeson. Mesmerising interpretations of Steal Away, Just a Wearin’ for You, Going Home and Joshua Fit de Battle Ob Jericho were delivered by Aluko. On completion of Jericho the audience were so awestruck the performer was greeted with silence. "If anyone feels like applauding I will not be put off", he jokingly stated to which he received a rapturous applause.

There were more serious moments to come however, the decline of Robeson’s career coinciding with a riotous concert in Kansas City. As the noise of rebellion is flanked with the sound of a low flying helicopter, Robeson sings Ol’ Man River defiantly into the face of opposition creating a momentous and powerful moment.

Robeson by now has become too radical and outspoken for the U.S. governments liking. Branded a traitor because of his civil rights work, his passport is extracted from him and he is banned from performing.

Caught up in the madness of his own personal struggles he nearly loses everything including his life and at the eleventh hour is called upon – "Call Mr. Robeson" - by the House Un-American Activities Committee to present his defense. What follows is a memorable comeback that displays Robeson as a brave individual who was never afraid to stand up for his beliefs.

A powerful presentation in words and music Call Mr. Robeson is not only a fine tribute to the memory of Paul Robeson but serves to educate the audience as well as entertain.

Call Mr. Robeson will continue to tour the UK into 2012 and special performances in New Hampshire, USA and Carnegie Hall, New York are also scheduled.

• For further information about the production visit the official website for Call Mr Robeson
• Variations of this review by Andy Howells were published on suite101 and in The South Wales Argus during 2011.
• Read Andy Howells' Q&A with Tayo Aluko