Tom Dylan’s 18th birthday celebrations falls on the same day as the celebration of the centenary of Dylan Thomas . There is another coincidence, he with his mam and dad are living in Dylan”s birthplace at 5 Cwmdokin Drive. In Liz Wride’s hilarious play some of the characters created by Dylan Thomas seem to come to life to make sure Tom’s birthday goes with a bang.
In Liz Wride’s hilarious play some of the characters created by Dylan Thomas seem to come to life to make sure Tom’s birthday goes with a bang.
Chapter, Cardiff, Tues 11 Feb 2014, 8pm, £4
The Dylan Thomas Centre, Swansea, Wed 12 Feb 2014, 7.30pm, £4
The Riverfront, Newport, Thurs 13 Feb 2014, 7.45pm,
A sparkling comedy set on the night of the Scottish Independence Referendum investigates if a ‘yes’ vote would constitute crisis or celebration for Wales.
Basing a comedy on an event as taut with tension as the Scottish Independence Referendum is a daring move. After all, north of the border there are few laughs to be had as the clash between Alex Salmond’s ‘yes’ campaign and the ‘no’ campaign, nominally headed by Alastair Darling, looms ever closer.
But in this confident and intelligent comedy from Sara Hawys and Leon Russell, there is plenty to giggle at.
Dafydd and Elsabeth Puw were Welsh – the former a diehard Cymdeithas yr Iaith Gymraeg defender in his youth, the latter a determined social climber.
David Kennet was a wealthy Englishman, while wife Morag was Scottish – and their son dated the Puws’ daughter.
The foursome came together on September 18, ostensibly the night when Scotland’s future could change forever.
But the clashes between them concerning nationhood and neighbourliness created a stink which even the burning haggis dinner couldn’t cover up.
Although the referendum was a hook to hang the play on, there was a distinct lack of cohesion to that point.
However, the fiery reactions of the Cymraeg and the Saes were enough to exhibit the dogmatism inherent on many sides of the same borders.
The appearance in particular of the character of confirmed nationalist Leanne – girlfriend of the Puws’ son – highlighted the gulf between Dafydd’s youthful commitment to the cause and his drift from it into middle-aged complacency.
As Dafydd, Nathan Sussex was a man drawn in opposing directions, giving a heartfelt reaction to Louisa Marie Lorey’s agitating Leanne which could be nostalgia or something more.
Bethan Morgan’s Elsabeth formed the central glue, but John Cording’s blustering David made a strong second. Rebecca Knowles was the sheepish Scottish wife with little interest in the referendum back home.
The plot dealt in broad strokes, and perhaps missed laughs on occasion in favour of making points, but it zipped along nicely and left the audience in no doubt at all that when it comes to an event as pressurised as this, sometimes the only thing you can do is laugh.
(The play was first presented as a Script-held performance On The Edge in September 2009. Then the cast was Rachel – Sharon Morgan, Ernest – Michael Kelligan, Mary – Christine Pritchard, Mrs. Hartson – Olwen Rees, Directed by Allan Cook)
Much of the work of Blackwood based poet, playwright and lyric writer, Patrick Jones, has been strong and challenging. In this new play he is in a much gentler mood. The play is a sensitive tribute to the human spirit. This beautifully written story revolves around the lives of four people, three women and one man living in a hospice. Not much of a place for laughter you might think, but the irascible and determined way Ernest continually strives for his rights and fights against authority brings us many hilarious moments in contrast to the gently beauty that permeates much of the action.
Review by Sam Pryce
This was the first play to make me cry. Not because it was so awful, of course; but because its story, characters and premise would bring tears to even the most cynical of eyes. In fact, the work of Patrick Jones has always been intensely emotional. His poetry is especially controversial and visceral, tackling subjects as taboo as male sufferers of domestic violence. Even the most fearless of playwrights, Harold Pinter, called his work “very strong stuff.” In November 2008, bookselling giant Waterstones cancelled an appearance from Jones at one of their stores after a pious religious group protested outside due to alleged blasphemy.
However, in Dandelion, Jones considers a gentler yet equally anguished subject – old age. Four characters – three women and one man – recount their lives through a crescendo of remember-whens slumped in armchairs awaiting imminent death. Written from actual encounters when Jones served as writer-in-residence at a hospice, this makes the stories in Dandelion all the more distressing. Death has now become a comfort to these dwindling flames; something to look forward to as the days drag on. They are the dandelions withering away in a garden already blossoming new life. It’s a truly heartbreaking premise, made even more so by the intermittent poetic monologues, showcasing Patrick Jones’ scintillating talent for poignant lyricism. Alongside the grief are some outright hilarious scenes played with as much adroitness and dexterity as the more sombre moments.
The acting is simply exceptional. Anthony Leader plays Ernest with the vitality and energy of a young boy, determined to show that his age isn’t getting him down. Sharon Morgan’s deeply moving portrayal of Rachel puts on a brave face despite the inner turmoil brought on by her tragic past. Olwen Rees wrenches the heart strings as Mary, playing her with wide-eyed innocence, and Lynn Hunter gets the audience cackling with her sour, acerbic comments.
The writing, the lighting, the acting, the set – it’s, quite frankly, flawless. It is rare that a play produces as many tears from laughter as it does from grief. As hackneyed a phrase as this may be: this play will make you live a better life. It’s a drama of universal empathy that beats any amount of dreary soap operas. Get off your settee and bag yourself a ticket before you end up like them.