Love, Loss and Chianti

Riverside Studios – until 17 May 2020

Reviewed by Heather Chalkley

4****

Award winning Poet Christopher Reid wrote two exceptional pieces of work in 2009: A Scattering and The Song of Lunch. Although written and often performed separately, they naturally came together in this piece. When writing them, Reid never imagined they would come to the stage to be performed. However, it seems a fitting tribute to the catalyst of the piece, his late wife and actress, Lucinda Gane.

In the first half Robert Bathurst delivers an elegant and intense performance, bringing to life the rhythm of The Scattering, with the tilt and flow of each part. The emotional intelligence and honesty springs off the page on to the stage. Rebecca Johnson as Lucinda, creates atmosphere, infusing a strong femininity that complements Bathurst.

The Song of Lunch is a great contrast. Bathurst weaves together the dark humour of unrealistic and boyish romantic hopes into an alcohol induced torpor. No mean feat and brilliantly done. Johnson brings strength, poise, anger and indignation, wrapped up in a woman of substance that had a bone to pick! The book of poems he had written based on their relationship is a one-sided fabrication and he needs to know that! Johnson has an emotional effervescence that needs little dialogue.

The use of animation is inspired. Firstly, it reflects the literary origins of the piece. Then, it acts as a silent narrator. This relieves some of the burden of narration from Bathurst and entwines beautifully with the poetry. Director Jason Morell brings distinctly different performance elements together, to create the perfect homage to Reid’s art.

The Creature – Frankenstein Retold

Rose Theatre, Kingstone – until 29 February 2020

Reviewed by Carly Burlinge

4****

“I was both one and zero, creator and destroyer, disease and cure, God and monster.”
Written by Ciaran McConville and Directed by Lucy Morrell comes the retold story of Frankenstein.

When an unknown person boards a vessel talking of a living thing with superhuman powers and speed an unknown creature, that  is of a threatening nature and going to attack!  Captain Ralf Wile (Francis Redfern) who plays a serious part and has general concern for his cargo and all that is aboard.  Tries to keep everything safe and begins to listen to a story that is revealed by the Creator (Eleanor Clark). A very clever scientist who was approached by Mr Kremp (Frankie Oldham) who wants nothing more for her to make a brain from scratch a Living creature! He comes across as quite a powerful man, over talkative and condescending at times but persuades her to start this experiment. Alongside him Mr Kirwin (Louis Mertens) who plays a peculiar man who is  a little creepy and has a strangeness to him.

The Creator (Eleanor Clark)  begins the process, it soon becomes clear that she becomes over obsessed no food, no sleep and she begins talking to herself regarding her developments. Hysteria soon kicks in as well as excitement and the creature is born. Is her creation something with a heart, something with compassion or is she playing with God!!! And how will things be once the creature has escaped  into this world?

The Creature ( Anna Pryce) who has powers unknown, can be manipulating and can take control of others bringing to light the unravelling of a frightening and alarming story that has many twists throughout creating a spectacular production.

The cast all done an exceptional job. You could see that they had a strong connection through the whole of the show. Some of the movements in this production was done exceptionally well offering more depth to the show.

The Set was very detailed and experimental with lots of wiring, different objects hanging such as pieces of sheets, poles and pipes with smoke rising from the depths with the colour green illuminating the masterpiece that was the machine. Also with a deep voice- over being played,  making the set very effective and remarkable to look at. The lighting was exceptional throughout while really highlighting some of the more dramatic scenes and bringing it all together making it a fascinating production to watch.

A MONSTER CALLS REVIEW

THE LOWRY, SALFORD – until 29 FEBRUARY 2020

REVIEWED BY ANGELOS SPANTIDEAS

5*****

A Monster Calls, originally a novel by Partick Ness which was also adapted for the big screen, is a play that is all about being vulnerable yet strong in the face of adversity, and how a teenager walks life when his whole world is crumbling down.

The main theme is how teenager Conor is coping and supporting his mom who is going through cancer treatment, while at the same time being bullied at school. Conor seems to be able to stay strong for his mom, however, does not seem to have a safe space to be himself, neither at school, nor at home especially after his grandma’s coming to help support her daughter. With a dad who has moved abroad and started his life over, who does not meet the expectations of a father figure, Conor’s unconscious calls to a yew tree monster to help him understand his feelings and the pain that he has been bottling up.

Ammar Duffus is spectacular at portraying Conor’s teenage struggle, his awkwardness, his pride, and his will to believe that despite being 13, he is strong enough to support his mom. He manages to unveil the reality of when cancer becomes another part of someone’s life, and how him trying to stay strong isolates him from everyone other than his mom. Maria Omakinwa’s performance as the disease ridden mom, who is trying to stay strong and stay positive for her son, is heart breaking showing how parents trying to shelter their kids from the truth often has the opposite results, and how sometimes in order to keep hopeful people often lie even to themselves.

Finally, Keith Gillmore does an excellent job at creating a convincing monster, despite the lack of make-up, prosthetics and being just a man on the stage. His interpretation of being in Conor’s sub conscious and his story telling is impeccable, while his persona succeeds at giving intensity and depth to the character, who grows from a monster to a paternal figure.

Overall, a monster calls is a heart wrenching, emotional, raw play, that unfolds and builds up to a strong and honest finale that confronts with realism the aftermaths of cancer. The set and the visuals are absolutely stunning and accentuate the effect of each scene, while the live electronic

Friendsical Review

Lighthouse, Poole – until 29 February 2020

Reviewed by Alexandra Browning

4****

Following the successes of a critically acclaimed American sitcom Friendsical brings a new lease of life with a parodic twist. The musical follows the original characters in a cleverly reworked story, of which we have all grown to know and love, with a perfectly musical twist.

Friendsical cleverly brings a fast pace twist to a storyline that many will already recognise, using interchangeable set pieces to recreate the iconic back drops in the cult classic. You get to know the cast of Friendsical in the much loved coffee shop, Central Perk, then are magically transported into Monica’s iconic flat, not to forget that there is the iconic picture frame on the door. This clever use of set and stage work is an unforgettable element to the show and really takes you yo all the truly iconic set locations from the tv show.

Cast and crew of the musical are immediately recognise-able, with Chandler Bing, Thomas Mitchells, being the spitting image of his on screen counterpart. The energy that Mitchells brought to the stage was quintessentially Bing and really brought home comforts from the original sitcom. Another stand-out member of the cast was Ally Retberg who brought both Phoebe and Janice to life with such a chaotic energy. Retberg felt like the perfect actor for the job at hand as she captures the quirkiness and embodies phoebe wonderfully – not to mention is the perfect Doppelgänger of Janice, whom absolutely nails the laugh.

Musical hit “Geology Rocks” was a personal favourite as this hit had the perfect balance of quirky comedy and on stage drama. The hit sees Ross Geller, Ewan Gillies, demonstrate his fantastic vocal skills with the very theatrical addition of two dinosaurs, the two dinosaurs brought a very comical twist and were just the light hearted joke the scene needed, prompting the audience (as the show is filmed in front of a live audience) to join in and give a very big laugh.

Overall Friendsical gave the perfect will-they-won’t-they reworking the original show, with comedy content and some of the musical hits from Phoebe, being just as good as the original show. Although she does have some strong competition from the rest of the cast in this adaption. Friendsical makes it very clear that they were never ‘ON A BREAK’!!

Macbeth Review

Greenwich Theatre – until 7 March 2020

Reviewed by Claire Roderick

4****

Lazarus Theatre open their 2020 season with a fiercely modern Macbeth that is instantly recognisable as a Lazarus production.

Director Ricky Dukes has made some very effective cuts and changes – no “comedy” porter, and the interminable messengers describing battles are absent making the progress from Macduff learning of the murder of his family to his showdown with Macbeth much more tense and immediate. Duncan is no longer the old worthy, but a young wide-eyed, almost child-like, king who we see crowned at the beginning of the play. Malcolm and Donalbain are his younger brothers. For me, this makes the Macbeths’ betrayal slightly less heinous, but an older character would seem out of place in this high energy production. The cast are in modern dress, smartly suited and booted – until the blood is spilt and the Macbeths’ men get filthier as their lord and lady get more violent and unhinged.

The Weird Sisters (David Clayton, Cameron Nelson and Hamish Somers) are exactly that – just weird and a little sad rather than supernatural. Wearing stained aprons and gloves and brandishing microphones, they speak their prophecies to Macbeth and Banquo with an almost detached manner, and after donning bizarre masks their muffled incantations around their cauldron have the intonation of voiceover artists speeding quickly through dodgy terms and conditions in adverts. I loved this humanising and weakening of their powers as it highlights the question of just how much of a push Jamie O’Neill’s Macbeth actually needed to make a murderous grab for the throne, and who is creating the apparitions that haunt him. O’Neill is full of simmering fury as Macbeth, and his naturalistic delivery creates a much more nuanced character than the norm. Alice Emery is a magnificent Lady Macbeth, full of frustrated ambition in a male dominated world, and the force of personality she exerts on Macbeth is palpable. In contrast, her sleepwalking scene is extremely understated, enhancing the shock of her vulnerability.

Ricky Dukes keeps the most successful elements from previous productions – gold confetti showers down on three very different kings as they are crowned, rather than battles, paper is strewn and chairs turned over s the cast scream and race around the theatre, haze and torchlight enhancing the jeopardy, and some inspired lighting design, and it all works together wonderfully. The impressive cast are all utterly convincing switching between roles and have a fantastic and exciting energy together onstage.

A fantastic start to the new season – this is a thrilling and powerful Macbeth full of invention and innovation.

Not I, Catastrophe and Rockaby Review

Jack Studio Theatre – until 7 March 2020

Reviewed by Claire Roderick

4****

Angel Theatre Company return to the Jack Studio Theatre with another trio of short Beckett plays. Directed by John Patterson, this is a fascinating and thought provoking hour full of powerful performances.

In Not I, Samantha Kamras takes on the role of Mouth, with just her spot lit mouth visible through a hole in a black panel. Stuttering and starting through a voiceless woman’s recollections of traumas, babbling repetitions and long pauses before forcing out the words, Kamras uses much more variety and musicality in her tone than other performances I have seen, creating more immediacy in a highly technical and mesmerising performance.

The second piece, Catastrophe, feels like the light relief in the programme, although it has a lot to say about agency and the whims of the powerful, as the director (Stephen Donald) gives not picking notes to his white coated assistant (Joanna Clarke) as she poses Louis Fox until the visuals finally meet with his approval. The tiny adjustments and the assistants reactions to the archetypal powerful director create laughter, but the final moment from Louis Fox brings the audience back down with a punch to the guts.

Throughout all this, Anna Bonnett sits motionless on stage under a washcloth until she is uncovered for Rockaby. I once heard someone say that Rockaby was Miss Havisham on downers playing a human metronome, and can’t fault that description. Instead of mourning her nuptials, this old woman seems to be searching for memories of her mother and signs and reassurances of life among the windows she sees from her own as her empty existence is measured out by each rock of her chair. Bennett sits motionless as she rocks, voicing few words as she asks for more from the voice that accompanies her rocking, but slowly and almost imperceptibly portraying the demise of the woman in a masterful performance. The voice-over is repetitive and cheeriness, intoned in a rhythm which works with the action onstage to create an unsettling yet soporific atmosphere that is uncomfortable to watch but well worth the effort.

This production will delight lovers of Samuel Beckett and also be an entertaining introduction to his work.

SHOWS SET TO LAUNCH THEIR FIRST UK TOURS HEAD TO LEEDS GRAND THEATRE

SHOWS SET TO LAUNCH THEIR FIRST UK TOURS HEAD TO LEEDS GRAND THEATRE

  • HEATHERS THE MUSICAL, CILLA THE MUSICAL, DREAMGIRLS AND SCHOOL OF ROCK TO RUN AT LEEDS GRAND THEATRE
  • PRIORITY ON SALE FRIDAY 28 FEBRUARY. GENERAL ON SALE WEDNESDAY 4 MARCH

In a year that sees many West End and Broadway shows announce their first UK tours, Leeds Grand Theatre can reveal that cult classic HEATHERS THE MUSICAL will run from Tuesday 3 to Saturday 7 November 2020DREAMGIRLS from Tuesday 13 April to Saturday 1 May 2021 and Andrew Lloyd Webber’s SCHOOL OF ROCK from Monday 17 to Saturday 22 May 2021. CILLA THE MUSICAL will also return from Monday 9 to Saturday 24 November 2020.

HEATHERS THE MUSICAL. Tuesday 3 to Saturday 7 November 2020.

In the immortal words of Heather Chandler, “Honey whatcha waitin’ for?”, The Grand is one of the first venues announced on the highly anticipated 2020 UK tour of HEATHERS THE MUSICAL (WhatsOnStage 2019 award for Best New Musical). 

Produced by Bill Kenwright and Paul Taylor-Mills and directed by acclaimed American screen and stage director Andy Fickman, this high-octane, black comedy, rock musical is based on one of the greatest cult teen films of all-time starring Winona Ryder and Christian Slater. Its West End premiere saw it become the highest grossing show at The Other Palace, and subsequently had spectacular success on transferring to the Theatre Royal Haymarket.

The 2020 Class of Westerberg High will be announced shortly…

DREAMGIRLS. Tuesday 13 April to Saturday 1 May 2021.

Sonia Friedman Productionsis delighted to announce that Leeds Grand Theatre will welcome the sensational, multi-award winning new production of DREAMGIRLS’ on its first ever UK tour.

Featuring the classic songs And I Am Telling You I’m Not GoingListen and One Night OnlyDREAMGIRLS had its critically acclaimed West End Premiere in December 2016 at London’s Savoy Theatre, 35 years on from opening on Broadway.

Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit.

In 2006, DREAMGIRLS was adapted into an Oscar® winning motion picture starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx.

SCHOOL OF ROCK. Monday 17 to Saturday 22 May 2021.

Based on the hilarious hit movie, Andrew Lloyd Webber’s SCHOOL OF ROCK follows Dewey Finn, a failed, wannabe rock star who decides to earn a few extra bucks by posing as a substitute teacher at a prestigious prep school. There he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band – sensationally performed live by the production’s young actors every night with roof-raising energy!

School of Rock – The Musical features 14 new songs from Andrew Lloyd Webber with lyrics by Glenn Slater (The Little Mermaid, Sister Act), plus all the original songs from the movie and a book by Julian Fellowes (Downton Abbey). It is directed by Laurence Connor (Joseph and the Amazing Technicolor Dreamcoat, London Palladium 2019).

The production opened at the New London Theatre (now the Gillian Lynne Theatre) in November 2016 to 5-star reviews and widespread critical acclaim. It went on to win the Olivier Award for Outstanding Achievement in Music.

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

Come From Away celebrates its first birthday in the West End, more tickets on sale

HAPPY BIRTHDAY TO

AS THE OLIVIER AND CRITICS’ CIRCLE AWARD-WINNING “BEST NEW MUSICAL” CELEBRATES ITS FIRST BIRTHDAY IN THE WEST END, MORE TICKETS GO ON SALE TAKING BOOKINGS THROUGH TO 17 OCTOBER 2020


The company of Come From Away West End. Photo Credit Craig Sugden

This joyous musical tells the remarkable true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed, and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships.

On 11 September 2001 the world stopped. On 12 September, their stories moved us all.

The multi award-winning musical continues sold-out, record-breaking engagements on Broadway, in Canada, in Australia, and on a 60-city North American Tour. A feature film adaptation is also in the works.

From Monday 10 February 2020, Come From Away welcomed new cast members in the West End, including Tarinn Callender (Bob and others), James Doherty (Claude and others), Alice Fearn (Beverley/Annette and others), Kate Graham (Diane and others), and Alasdair Harvey (Nick/Doug and others), with Ricardo Castro, Stuart Hickey, Sorelle Marsh, Micha Richardson and Matthew Whennell-Clark.

They join Jenna Boyd (Beulah and others), Mary Doherty (Bonnie and others), Mark Dugdale (taking over the roles of Kevin T/Garth and others), Jonathan Andrew Hume (Kevin J/Ali and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others), Cat Simmons (Hannah and others) and Chiara BarontiAlexander McMorran and Jennifer Tierney.

Under the Musical Direction of Alan Berry (Keyboard/Accordion/Harmonium), the band includes Matt Bashford (Whistles/Irish Flute/Uilleann Pipes), Aoife Ní Bhriain (Fiddle), Oli Briant (Electric, Acoustic and Nylon Guitars), Ray Fean (Bodhrán/Percussion), Joey Grant (Electric Bass/Acoustic Bass), Justin Quinn (Acoustic Guitar/Mandolins/Bazouki) and Ian Whitehead (Drums/Percussion).

Come From Away features a book, music and lyrics by Irene Sankoff and David Hein and is directed by Christopher Ashley, with musical staging by Kelly Devine, music supervision and arrangements by Ian Eisendrath, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, hair design by David Brian Brown, orchestrations by August Eriksmoen, and casting by Pippa Ailion CDG and Natalie Gallacher CDG.

In addition to winning 4 Olivier Awards (London) including “Best New Musical”, and recently the Critics’ Circle Theatre Award for “Best Musical” (London), Come From Away has scooped multiple awards across North America:  the Tony Award for “Best Direction of a Musical”, 5 Outer Critics’ Circle Awards (NYC) including “Outstanding New Broadway Musical”, 3 Drama Desk Awards (NYC) including “Outstanding Musical”, 4 Helen Hayes Awards (Washington DC) including “Outstanding Production of a Musical”, 4 Los Angeles Drama Critics’ Circle Awards, 4 Gypsy Rose Lee Awards (Seattle) including “Excellence in Production of a Musical”, 6 San Diego Critics Circle Awards including “Outstanding New Musical”, 3 Toronto Theatre Critics Awards including “Best New Musical”, 3 Dora Awards (Toronto) including “Outstanding New Musical/Opera” and “Outstanding Production”, and the 2017 Jon Kaplan Audience Choice Award (Toronto).

Come From Away was originally co-produced in 2015 by La Jolla Playhouse and Seattle Repertory Theatre, and presented in 2016 by Ford’s Theatre in Washington DC and Mirvish Productions at the Royal Alexandra Theatre in Toronto, Canada, all in partnership with Junkyard Dog Productions. Come From Away (NAMT Festival 2013) was originally developed at the Canadian Music Theatre Project, Michael Rubinoff Producer, Sheridan College in Oakville, Ontario, Canada, and was further developed at Goodspeed Musicals’ Festival of New Artists, in East Haddam CT. The Canada Council for the Arts, the Ontario Arts Council and the 5th Avenue Theatre in Seattle WA also provided development support.

Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.

NEWYDDION CANOLFAN MILENIWM CYMRU – CHWEFROR 2020

NEWYDDION CANOLFAN MILENIWM CYMRU – CHWEFROR 2020

  • YMUNWCH Â CHANOLFAN MILENIWM CYMRU AR GYFER DATHLIADAU DYDD GŴYL DEWI
  • CAST LLAWN WEDI’I GYHOEDDI AR GYFER MILLION DOLLAR QUARTET
  • AMBER DAVIES A LOUIS SMITH I SERENNU YN BRING IT ON THE MUSICAL
  • CAST WEDI’I GYHOEDDI AR GYFER SISTER ACT
  • DARREN DAY YN YMUNO Â CHAST FOOTLOOSE THE MUSICAL
  • MAE GŴYL Y LLAIS YN DYCHWELYD
  • SIOE NEWYDD! MAE SCHOOL OF ROCK YN DOD I GANOLFAN MILENIWM CYMRU

YMUNWCH Â CHANOLFAN MILENIWM CYMRU AR GYFER DATHLIADAU DYDD GŴYL DEWI ARBENNIG

I ddathlu Dydd Gŵyl Dewi, bydd Canolfan Mileniwm Cymru yn cyflwyno Dy Gymru / Your Wales ar ddydd Sul 1 Mawrth, ar lwyfan eiconig Theatr Donald Gordon. Bydd y digwyddiad am ddim yma’n agored i bawb, yn arddangos hunaniaethau Cymreig gwahanol ac yn archwilio’r hyn y mae’n meddwl i fod yn Gymraeg.

Wedi’i gyflwyno gan Radio Platfform, yr orsaf radio sydd dan arweiniad pobl ifanc, bydd y digwyddiad yn rhoi cyfle prin i gynulleidfaoedd weld talent newydd ac artistiaid o lawr gwlad Cymru yn perfformio amrywiaeth amlieithog o berfformiadau ar lwyfan wefreiddiol. Bydd y perfformwyr yn cynnwys Sing Proud CymruQuaynotesBarracwdaJukebox CollectiveWales Tamil Sangam a mwy.

Bydd y perfformiadau’n digwydd rhwng 3pm- 8pm a chaiff gynulleidfaoedd alw i mewn ac allan o’r theatr trwy’r dydd neu aros am gyhyd a dymunant. Bydd yna gynigion arbennig ar fwyd a diod yn siop goffi’r Ganolfan, Caffi, trwy’r dydd.

Bydd Dy Gymru/Your Wales yn digwydd ddydd Sul 1 Mawrth.

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CAST LLAWN WEDI’I GYHOEDDI AR GYFER MILLION DOLLAR QUARTET

Cyhoeddhwyd y cast llawn ar gyfer taith DU ac Iwerddon y sioe gerdd hynod boblogaidd, byd-enwog, Million Dollar QuartetYn seiliedig ar y sesiwn recordio enwog a ddaeth â’r eiconau roc a rôl  Elvis PresleyJohnny CashJerry Lee Lewis a Carl Perkins at ei gilydd am y tro cyntaf a’r unig dro, Robbie Durham (Johnny Cash), Ross William Wild  (Elvis Presley), Matthew Wycliffe (Carl Perkins) a Katie Ray (Dyanne), gyda rhan Jerry Lee Lewis yn cael ei rhannu ar draws y daith gan Ashley CarruthersMartin Kaye a Matthew Wycliffe, sydd yn dychwelyd i’r  llwyfan yn eu rhannau enwog yn y sioe gerdd arobryn yma a enillodd wobr Tony.

Mae’r cast aml-dalentog o actorion-gerddorion yn ymuno â’r trysor cenedlaethol a gyhoeddwyd ynghynt, Peter Duncan, sydd hefyd yn dychwelyd i’r sioe gerdd boblogaidd. Mae’r cyflwynydd Blue Peter a enwebwyd am wobr Olivier yn chwarae rôl Tad Roc a Rôl, Sam Phillips, unwaith eto, yn dilyn adolygiadau arbennig ar gyfer ei berfformiad yn ystod taith y sioe gerdd o amgylch y DU yn 2017.

Ar 4 Rhagfyr 1956, daeth y pedwar seren gerddorol yma at ei gilydd yn Sun Records yn Memphis, stiwdio’r enwog Sam Phillips, ar gyfer beth oedd y sesiwn jamio mwyaf anhygoel erioed. Daw Million Dollar Quartet â’r noson arbennig honno’n fyw, gyda stori wir y noson fythgofiadwy honno a dathliad unwaith mewn bywyd o bedwar artist recordio eiconig.

Bydd Million Dollar Quartet yng Nghanolfan Mileniwm Cymru 21-25 Ebrill.

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AMBER DAVIES A LOUIS SMITH I SERENNU YN BRING IT ON THE MUSICAL

Mae Selladoor Worldwide yn falch o gyhoeddi y bydd Amber Davies yn serennu fel ‘Campbell’ wrth ochr Louis Smith fel ‘Cameron’ yn nhaith Bring It On The Musical o amgylch y DU ac Iwerddon.

Wedi’i ysbrydoli gan y ffilm o 2000 o’r un enw, mae Bring It On The Musical yn cynnwys sgôr gwreiddiol gan grëwr arobryn “Hamilton”, Lin-Manuel Miranda ac enillydd y Pulitzer Prize Tom Kitt, cyfansoddwr “Next To Normal”. Ysgrifennwyd y llyfr gan yr awdur arobryn a enillodd wobr Tony am “Avenue Q”, Jeff Whitty ac mae’r geiriau gan Lin-Manuel Miranda ac awdur addasiad llwyfan “High Fidelity”, Amanda Green.

Mae Bring It On The Musical yn mynd â chi ar daith fywiog, egnïol sy’n archwilio cyfeillgarwch, cenfigen, brad a maddeuant – yn llawn coreograffi a thriciau ffrwydrol.

Dylai Campbell, capten y tîm sydd newydd ei choroni, a’i ffyddloniaid fod yn dechrau eu blwyddyn olaf fwyaf ‘cheertastic’ yn Truman High School. Ond pan mae rhaid iddi symud i’r ysgol gyfagos, Jackson High, mae Campbell yn ofni bod ei bywyd wedi dod i ben. Er hyn, mae cyfeillgarwch annhebygol yn taflu Campbell yn ôl i ddadlau â chriw pwerus a’r awydd i gyflawni’r amhosib.

Bydd Bring It On The Musical yng Nghanolfan Mileniwm Cymru 23-27 Mehefin.

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CAST WEDI’I GYHOEDDI AR GYFER SISTER ACT

Mae’r cynhyrchwyr Jamie Wilson a Whoopi Goldberg yn falch iawn o gyhoeddi y bydd Lesley Joseph a Brenda Edwards yn ymuno â chast taith y DU ac Iwerddon o’r sioe gerdd hynod boblogaidd, SISTER ACT. Bydd y sioe yn dod i Ganolfan Mileniwm Cymru 12-17 Hydref.

Bydd Lesley Joseph yn chwarae rhan ‘Mother Superior’ ac yn serennu wrth ochr Brenda Edwards fel ‘Deloris Van Cartier’.

Yn seiliedig ar y ffilm eiconig o 1992, dyma deyrnged ddisglair i bŵer byd-eang cyfeillgarwch, chwaeroliaeth a cherddoriaeth. Mae’r sioe’n adrodd stori ddoniol y ‘difa’ disgo sydd yn mynd ar daith bywyd annisgwyl ar ôl iddi fod yn dyst i lofruddiaeth. Dan ddiogelwch y ddalfa, mae’n cael ei chuddio yn yr unig le na fydd neb yn gallu dod o hyd iddi – lleiandy! Yng ngwisg lleian a dan oruchwyliaeth yr Uchel Fam, mae Deloris yn helpu ei chwiorydd i ddarganfod eu lleisiau ac yn ail-ddarganfod ei llais ei hun yn annisgwyl.

Bydd Sister Act yng Nghanolfan Mileniwm Cymru 12-17 Hydref.

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DARREN DAY YN YMUNO Â CHAST FOOTLOOSE THE MUSICAL

Bydd Darren Day, sy’n adnabyddus ym myd y sioeau cerdd, yn ymuno â chast Footloose the Musical fel Reverend Moore yn y daith DU newydd sbon sy’n dod i Ganolfan Mileniwm Cymru 19-24 Hydref.


Bydd Darren yn ymuno â chast ychwanegol yn cynnwys; Geri Allen, Holly Ashton, Jess Barker, Ben Barrow, Alex Fobbester, Josh Hawkins, Lucy Ireland. Evie Rose Lane, Ben Mabberley, Daniel Miles, Tom Mussell, Samantha Richards, Dionne Ward Anderson ac Anna West Lake.

Mae Ren, bachgen o’r ddinas, yn meddwl bod bywyd yn ddigon gwael pan gaiff ei orfodi i symud i ardal ddiarffordd yng nghefn gwlad America. Ond mae ei fyd yn dod i ben pan mae’n cyrraedd Bomont ac yn darganfod bod cerddoriaeth roc a dawnsio wedi eu gwahardd yno. Mae Ren yn anwybyddu’r rheolau ac, yn sydyn, mae’r dref gyfan yn chwyldroi a phawb ar eu traed.

Yn seiliedig ar y ffilm hynod boblogaidd o’r 1980au, mae Footloose The Musical yn sioe sionc, hwyliog sy’n cynnwys rhai o dalentau cerddorol gorau’r DU. Gyda choreograffi arloesol, modern, byddwch yn mwynhau clasuron yr 80au fel Holding out for a Hero, Almost Paradise, Let’s Hear It For The Boy ac, wrth gwrs, y prif drac bythgofiadwy Footloose.

Bydd Footloose the Musical yn cael ei chyflwyno gan Selladoor Productions a Runaway Entertainment, a’i chyfarwyddo gan Racky Plews, gyda choreograffi gan Matt Cole, goruchwyliaeth gerddorol gan Mark Crossland a chynllunio gan Sara Perks gyda chynllun goleuo gan Chris Davey a chynllun sain gan Chris Whybrow.

Bydd Footloose the Musical yn dod i Ganolfan Mileniwm Cymru 19-24 Hydref.

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MAE GŴYL Y LLAIS YN DYCHWELYD

Bydd Gŵyl y Llais – gŵyl gelfyddydau rhyngwladol arbennig Canolfan Mileniwm Cymru – yn dychwelyd i Fae Caerdydd ar benwythnos olaf mis Hydref 2020 gyda fformat newydd.

Am bedwar diwrnod, bydd cynulleidfaoedd yn cael mwynhau gwledd o berfformiadau a digwyddiadau yn arddangos popeth y gall y llais ei wneud, a pha mor bwysig yw cael un. Bydd ganddynt y dewis o brynu bandiau garddwrn ar gyfer un diwrnod yn unig neu ar gyfer yr ŵyl gyfan, fydd yn rhoi mynediad i dros 60 o berfformiadau yng Nghanolfan Mileniwm Cymru a Portland House, sydd o fewn ychydig funudau ar droed oddi wrth ei gilydd.

Bydd Cate Le Bon yn ymuno â’r ŵyl eleni fel perfformiwr ac fel curadur gwadd ar gyfer rhan o’r rhaglen – a bydd yn dod â detholiad eclectig o leisiau o bob rhan o’r byd gyda hi.

Mae’r perfformiadau – cyhoeddir rhestr lawn ohonynt yn yr haf – yn cynnwys cerddoriaeth fyw anhygoel, perfformiadau fydd yn procio’r meddwl, a sgyrsiau ysbrydoledig, gan drochi’r gynulleidfa mewn corws byd-eang o leisiau.

Gallwch brynu Tocynnau Penwythnos Cyntaf i’r Felin ar gyfer Gŵyl y Llais 2020 ar-lein fan hyn www.wmc.org.uk/llais  o 9am ddydd Mercher 19 Chwefror 2020.

Bydd Gŵyl y Llais yn cael ei gynnal rhwng 29 Hydref-1 Tachwedd.

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SIOE NEWYDD! MAE SCHOOL OF ROCK YN DOD I GANOLFAN MILENIWM CYMRU

Bydd School of Rock – TheMusical, sioe arobryn, hynod boblogaidd Andrew Lloyd Webber o’r West End, yn dechrau ar daith fawr o’r DU yn 2021, ac yn cyrraedd Canolfan Mileniwm Cymru 12-17 Ebrill 2021.

Yn seiliedig ar y ffilm eiconig gyda Jack Black.  Mae Dewey Finn, sy’n breuddwydio am fod yn seren roc, yn cael ei wrthod gan ei fand ac yn cael ei hun mewn trafferth yn ariannol. Mae’n smalio bod yn  athro cerddoriaeth ac mae’n cael swydd dros dro mewn ysgol elitaidd. Yno mae’n dangos ei hoff eiconau roc i’r disgyblion ac yn trawsffurfio grŵp ohonynt i fod yn fand roc anhygoel  gyda chaneuon sy’n cael eu perfformio’n fyw gan actorion ifanc y cynhyrchiad bob nos gydag egni anferthol!

Agorodd y cynhyrchiad yn New London Theatre (nawr y Gillian Lynne Theatre) ym mis Tachwedd 2016 i adolygiadau pum seren a chymeradwyaeth eang. Aeth ymlaen i ennill gwobr Olivier am Gyflawniad Eithriadol mewn Cerddoriaeth. Daeth rhediad y cynhyrchiad ar Broadway i ben yn y Winter Garden Theatre gyda’r cynhyrchiad teithiol o UDA yn parhau. Agorodd cynhyrchiad Awstralaidd yn Her Majesty’s Theatre ym Melbourne mis Hydref diwethaf.

Mae School of Rock – The Musical yn cynnwys cerddoriaeth newydd sydd wedi’i gyfansoddi gan Andrew Lloyd Webber gyda geiriau gan Glenn Slater (The Little Mermaid, Sister Act) a llyfr gan Julian Fellowes. Wedi’i chyfarwyddo gan Laurence Connor (Joseph and the Amazing Technicolor Dreamcoat, London Palladium 2019) gyda choreograffi gan JoAnn M.Hunter, set a chynllun gwisgoedd gan Anna Louizos, cynllun goleuo gan Natasha Katz, cynllun sain gan Mick-Potter, goruchwyliaeth gerddorol gan John Rigby gyda Matt Smith fel cyfarwyddwr cerddorol.

Bydd School of Rock – The Musical yn dod i Ganolfan Mileniwm Cymru rhwng 12-17 Ebrill 2021.