Category: Acting


A few weeks ago I was in Cardiff visiting one of my closest friends. We met in college eleven years ago and, despite her moving to Cardiff in 2009, we’ve remained bestest buds. When we she first moved down we used to write to each other a lot. To a stranger, untrained in our ridiculous comedy, the letters would read like some sort of cry for help, but to us they were hilarious. We used to send each other all sorts of stupid stuff, writing letters as characters and sometimes creating over the top, ridiculous stories to entertain each other. On my recent visit, we were talking about these letters and how it had been a few years since we sent our last. I’d taken down a particularly long and bizarre ‘book’ that she had written for one of my birthdays and it had provoked plenty of hilarity.

‘Where did we get our ideas from? I couldn’t think of anything like this now….’, she sighed flicking through the pages of Christmas carols she had adapted with rude and absurd new meanings.

It’s a worrying thought that has also crossed my mind. Up until a few years ago I was constantly writing.  Whether it was short stories, bits of screenplay, notes of ideas, or bonkers letters to friends. There was a point where I was constantly typing in ideas into my phone or scribbling on the back of my hand. I often used to leave my evening job with my pockets stuffed full of till roll which I had covered with ideas during the laboriously dull shifts. I was bursting with ideas.

The last time I really sat down to write (and complete!) anything was in February, when I wrote a full script for the Performing Arts concert in school. Before that, I hadn’t written anything since the September following my PGCE, when I went a bit mad with freedom and channelled all my pent up creative energy into a short story. That was about two years ago now. Before that, I hadn’t written anything worth talking about for a long time.

So, when discussing this sudden halt in creativity, our first morbid thought was ‘It must come with age’. Now that we have reached the sickeningly disgusting age of 27, and hover on the brink of *gulp* 30, it seemed obvious that that creative vein from our late teens had just sort of slowed. But age can’t be to blame, really can it? People don’t just stop being creative once they reach their late twenties! It doesn’t happen!

So, what is it? We both have quite demanding jobs and, as I’ve said lots of times before, I do sometimes feel this horrible sense of creative restriction since I started my PGCE (3 years ago this week!). I don’t perform anymore and I don’t really have the time to write, which has resulted in me feeling quite frustrated that I’m not able to express myself like I used to. My friend’s job is similar – she works long hours and by the time she comes home all she wants to do is switch off.  On the rare weekend, where I’ll feel so frustrated that I’ll force myself to just sit and write, what comes out is re-tellings or twists of real life events. Things that have happened to me or my friends. My writing now is more grounded to real-life – totally different to Reset, which I started writing in 2009, that I created a whole new world for.

Maybe it’s not ‘work’ so much, just ‘life’. We’ve got all these horrid responsibilities now that we didn’t have as teenagers and it seems that life is just clogging up our heads. In the last year or so I’m finding myself getting increasingly forgetful. Whether it’s names or memories or highly important jobs I need to do – I always had a very good memory but I’m noticing a steady increase in my ‘scatty moments’. A few weeks ago I totally forgot the word for ‘flannel’, so how can I expect my mind to focus on creating a story?

Perhaps creativity is like a muscle. My life has seen big changes in the last couple of years and it’s meant that I’ve had to give up performing and not had much time to write. Maybe the problem is that I’ve neglected to stretch that muscle that was so strong just a few years ago, which makes it tricky for me to carry out any kind of lengthy writing session now. When I think about it, my ‘creative peak’ was at a time when I was writing daily and that time itself has come off the back of my time in education. At GCSE level, story writing was part of the exam so I had plenty of opportunity to practise (‘write a short story about friendship’ *shudders*). At A level I wasn’t so much writing but devising stories and improvs as part of a Drama and Theatre Studies course, which also involved writing analytical essays about how I would creatively stage productions. Then, finally, at degree level I chose a Creative Writing module which resulted in Reset being written. It’s important to remember that during that time in university I was constantly required to read all kinds of literature, so perhaps immersing myself in other people’s writing is another way to inspire my creativity.

It’s a sad fact, one that at times is difficult to accept, but my life now requires me to focus on things other than writing and performing. Once my ideas might have blossomed and flourished but now, my exhausted brain just tends to let them fester for a bit and then crumble away. But, determined to end on a positive, I’m going to make a promise to myself: to try to find the time to be creative. Whether it’s late-night writing, surrounding myself with inspiration novels, or spending time with fellow theatricals. That’s my promise….and I’m making it just as I’m going back to school!

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Right, it occurred to me that this year I have seen a lorra lorra theatre and, ridiculously, have only written about a few shows. So to catch up, this week I’m giving you four fast reviews for the productions I missed, but really did deserve to be talked about…..

Wonderland, Venue Cymru, LlandudnoImage result for Wonderland the musical

I’ll start with Wonderland because it’s got a bit of a tragic story.  I saw this in Llandudno in June and it was spectacular. Wonderland is the familiar story of Alice given a modern twist. Alice is a 40-something divorcee with a teenage daughter who enters Wonderland via a dodgy lift in her apartment block. She doesn’t take the trip alone as she’s joined by daughter Ellie and awkward love-interest Jack. Whilst in Wonderland they’re encouraged to go through the looking glass, a magical archway that exposes the other side of their personalities (cue Alice becoming stern and sensible and Jack transforming into a confident charmer.)

Wonderland boasted many memorably songs, particularly ‘Through the Looking Glass’ and ‘Finding Wonderland’, sung with passion and energy by a very talented cast. Rachael Wooding was a powerhouse as Alice, revealing Alice’s faults and insecurities poignantly. Bree Smith gave a cracking performance as the sassy Queen of Hearts, slaying with her performance of ‘Off with their heads’. Ben Kerr and Francesca Lara Gordon were also brilliant as the March Hare and Mad Hatter, giving us refreshing twists on the classic characters. The set pieces were gorgeous, fully immersing into the crazy world of Wonderland where anything is possible. Most striking was the way the famous tale of  Alice was re-worked into a modern setting, giving the characters (particularly Alice) a bit more depth along the way. Wonderland was a work of art and must-see, modern musical.

However, just a couple of weeks after seeing Wonderland, the tour was cancelled due to problems behind the scenes. There’s plenty of speculation online, but, whatever the reason, it’s a great shame that the hard work, commitment and talent of the cast and crew will go unseen.

Les Miserables, Queen’s Theatre, London

Image result for les miserablesThis was a bucket-list show that lived up to all of my expectations, and beyond. The star of the show is its musical score and I was not disappointed to hear Claude-Michel Schönberg’s music played by a live orchestra. ‘At the end of day’ saw the full cast launch into action with breath-taking harmonies whilst ‘Do you hear the people sing?’ gave the audience goosebumps you could strike a match on. Simon Gleeson was made for the role of Jean Valjean, whist Hollie O’Donoghue was perfect as Eponine, giving a beautiful performance of ‘On My Own’. Katy Secombe and David Langham stole every scene as the dastardly Thenardiers, providing much needed comedy amongst all the tragedy! The revolving set works really well, seamlessly taking the story across France and through the ages. The battle sequence in the second act is particularly stunning, with tense performances (and gun fire!) keeping the audience well on the edge of their seats. At one point it took all my will not to cover my eyes. The deaths during this battle scene are especially heart breaking (no spoilers), and many gasps were heard as the barricade revolved to reveal the true carnage. Les Miserables remains packed with emotion throughout and it ends in spectacular fashion with the beautiful finale. There’s no question as to why this show has been around for so long. It’s a must-see and a show that I’m sure I’ll revisit.

Don Juan in Soho, Wyndham’s Theatre, LondonImage result for don juan in soho

Sex, drugs and David Tennant – what’s not to love? Though, admittedly, the main pull to this production was, initially, that is starred a certain former Time Lord, I was pleasantly surprised to find a sparkling script and stellar performances waiting for me at Wyndham’s Theatre. Updated to 2017 and relocated to Soho, Don Juan tells the story of a privileged, hedonistic party-goer as he sleeps his way around London, picking up plenty of hookers and cocaine along the way. David Tennant was, of course, fantastic as the titular bastard, unleashing his inner-Russel Brand and being fantastically horrid to every other character, including his loyal aid, Stan, played excellently by Adrian Scarborough. The relationship between Stan and DJ is surprisingly endearing, though Stan, on the edge of a breakdown, is desperate for DJ to pay him so he can retire, he can’t help but stay by DJ’s side. Don Juan in Soho is strikingly contemporary, with references to the ‘strong and stable’ government we find ourselves trapped under today as well as several witty remarks about American politics. DJ deliciously berates the world we live in, stating social media, fake news and lying politicians as factors of a crumbling society in one passionately performed monologue that had the audience on the verge of shouting ‘Amen!’. DJ tries to explain to Stan that life is all about pleasure – shamelessly seducing the chavtastic Lottie (a brilliant comic performance from Dominique Moore) in a hospital whilst simultaneously trying it on with grieving bride Mattie in one ridiculously outrageous scene. Don Juan in Soho was theatre at its best as it forced the audience to think before they left their seats. It was engaging from the first moment, topical and surreal, and definitely one of the best plays I’ve ever seen.

The Curious Incident of the Dog in the Night-time, Venue Cymru, Llandudno

Image result for the curious incident of the dog in the night-timeA really touching story told in a refreshing, and visually brilliant, way. Christopher finds his neighbour’s dog has been killed and takes it upon himself to solve the mystery. His mission sees him uncover a family secret, which in turn takes him to the terrifying world of Central London. Scott Reid was phenomenal as Christopher, giving a truly powerful performance, particularly as Christopher’s condition begins to take control. The modern and tech-heavy set pieces drew us in to the story using clever effects (a green box giving the effect of a football match on TV, a remote control train bringing London to life before our eyes) to add an extra fizz to the already sparkling performances. Surprisingly, Christopher has uncovered the culprit by the interval, leaving the second act to explore the secrets of Christopher’s family and the effects his ‘behavioural problems’ have on his loved ones. Anyone who doesn’t feel prickly-eyed throughout Act 2 is incapable of emotion. The emotional energy of the performances is sometimes borderline unbearable, and the sequences in London are also quite overwhelming, as we experiences flashing lights, loud noises and almost nightmarish scenes, we’re forced to view the world from Christopher’s point of view. This is a play that will stay with you long after you’ve left the theatre.

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‘Darkness, grief and unspeakable sorrow.’

Well…not quite. Darkness, yes, but there were plenty of laughs at the WMC in Cardiff on Friday night. I’ve been reading a lot on twitter about The Addams Family musical so I was really excited when, by pure luck, I bagged two tickets for last Friday.

As the orchestra struck up the familiar theme tune, what was initially clear was just how well cast this show was. Samantha Womack is a perfect Morticia – cool and sultry throughout – whilst Cameron Blakely makes a terrific Gomez. Both actors have sizzling chemistry together (proven with a sexy tango) and match each other with each witty punchline. They both resurrect these iconic characters perfectly. Perhaps surprisingly, ‘Love’ is a key theme of this production, most prominently the love between a family, and Blakley shows Gomez’s love for his daughter,Wednesday, beautifully, particularly during the song ‘Happy/Sad’, where he reflects on the memories he has of his young daughter, such as the first time she set fire to the Jehovah’s witness, evoking the dark humour we associate with the family.  (Another example, when Alice asks if the Addams’ have a little girls’ room, Gomez responds with ‘We did, but we had to let them go.’)

At first, Wednesday’s (Carrie Hope Fletcher) change of character is a bit awkward, but all becomes clear when Wednesday belts her showstopper number ‘PRelated imageulled’, explaining that her change is a result of her love for Lucas. As the show progresses, it becomes clear Wednesday’s sadistic side is still lurking as she tortures her brother and gets very excited about potentially shooting Lucas in the head with her crossbow (all in the name of love, of course).

Valda Aviks was also fantastic as Granny, particularly during her ‘Full Disclosure’ speech. It was a smart move to address the ambiguity around Granny’s connection to the family from the cartoons and movies, by having Morticia refer to her as Gomez’s mother before Gomez retorts with ‘My mother? I thought she was your mother?’.

 

Les Dennis gave a great performance as Fester and his story thread of being in love with the moon was typically ‘Addams’ and, at the end, quite sweet. Dickon Gough also deserves a mention for his scene-stealing performance as Lurch. Lurch doesn’t speak but became a clear audience favourite thanks to Gough’s comic timing and surprising hip action in the finale number. (One complaint – where was Cousin itt?!). The main cast are supported by an excellent cast of ancestors, complete with choreography reminiscent of Thriller.

As well as the familiar quirky characters, the show boasts a catchy score. Andrew Lippa nails the new music and each number feels very natural to the characters. In particular, the opening number ‘When you’re an Addams’ is a definite ear worm and the final number, ‘Move towards the darkness’, will haunt you after you leave your seat.

What’s also impressive is the way the gothic Addams mansion is brought to life on stage via moving staircases and hidden entrances. The suspended moon above the Addams family home creates an eery and dramatic scene.

Overall, The Addams Family is a treat for theatre fans with a gorgeous score, fantastic visuals and a stellar cast.

Watch the opening number here

Watch the trailer here

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Image result for 42nd street londonI had an unexpected and very last minute trip to London last week.  Amongst the walking, talking and dining, I found myself at the Theatre Royal for a surprise tap-dance down 42nd Street.

I had very few preconceptions about the show, and I didn’t really have time to consider it too much, but I knew I was in for an old-fashioned, high-kicking performance. Four rows from the front, I had perfect seats (courtesy of TodayTix rush tickets) which gave a great close-up view of the stage.

The shows standout quality is its sheer spectacle. The sets and costumes are absolutely dazzling and during several musical numbers it’s hard to be anything but totally absorbed. The lights, moving set pieces, harmonies….It really is mesmerising. During one sequence a huge mirror is lowered to firstly, reflect the audience, and then tilted to show the dancers lying on the stage floor carrying out a very intricate synchronised sequenced. It was so impressive even the mirror got a round applause!

Tom Lister and Gabrielle Lewis-Dodson gave great performances as theatre producer Julien Marsh and clumsy chorus girl Peggy Sawyer. Sheena Easton was also brilliantly bitchy as the acerbic actress Dorothy Brock. I really enjoyed Jasna Ivir’s performance of Maggie Jones, delivering her witty one-liners with perfect comic timing (On musicians ‘Let’s just say they’re in a pit… and there’s a reason we keep them there!’)Image result for 42nd street london

Musically, the show boasts lots of catchy numbers, many of which I wasn’t familiar with until I’d seen the show, but caught myself humming many times since. ‘Go into your dance’ and ‘42nd Street’ are big tap numbers that get the audience going, but it’s ‘The Lullaby of Broadway’ that really steals the show. Ear worms a-plenty in this show!

The overall plot, a chorus girl getting her big break in a huge Broadway show, is a bit flimsy in parts, particularly some of the songs in the ‘Pretty Lady’ musical (What is the plot of that show?!), but that doesn’t distract from the energy and passionate performances of the cast.  42nd Street is a spectacular night out of good old fashioned West-End magic.

Watch the trailer here

Image result for Pink Ranger gifWhen I was a child I was obsessed with Power Rangers. Many weekends were spent high kicking and karate chopping in the garden attacking imaginary Zed Putties. My favourite ranger was the Pink Ranger. I thought she was awesome and kick-ass. I didn’t even think about her suit colour or the fact I was a different sex to her.

I just thought she was great.

My mum and dad did not approve and I was bluntly pushed towards the blue ranger with all the subtlety of Rita Repulsa’s transition to Dad-Eye-Candy in the new film. (Whole different blog post there.) But regardless of what my parents thought, I still thought she was great and, in a very child-like way, she was a bit of hero for me (until I grew out of my Power Rangers phase).

And then as I got into my teens the Doctor came along, bringing with him a range of heroes and role models for me to fantasise about (Errm…excuse me. Not like that.). How awesome was Rose? Loyal and quick-thinking. Donna Noble – hilarious, sensitive, self-less and selfish at the same time. Awesome characters – I wasn’t going to pretend I didn’t like them just because I’m a guy.

I was sixteen when Torchwood started and I was instantly obsessed. Part of the pull for me was the relatable characters – including Gwen and Toshiko, both fearless and flawed, making terrible decisions but fighting their way back on top and learning from their errors, however painful.

I didn’t think that because they were women I shouldn’t admire them. And who wouldn’t want Storm’s powers in X-Men? She’s brilliant!

So, my point is, it shouldn’t matter what gender your favourite TV character is. I’ve got girls in my class who love Spiderman, but somehow that is a bit more acceptable in society than a boy who likes Wonder Woman or Elsa or Clara Oswald. It shouldn’t be. One girl in my class LOVES Doctor Who, she’s actually obsessed with Matt Smith and David Tennant. If a six year old child is able to look past gender then so should adult fans of the show. A female Doctor has been on the cards for long time and, judging by how incredible Missy turned out to be, I’m looking forward to seeing Jodie Whittaker’s take on the time lord. A role model is a role model and gender should not be a factor. We admire these characters for their personalities and their responses to various situations, so there’s no reason we should be discouraging boys from watching Doctor Who now that the main character has changed sex.

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Oh. My. God.

48hours left.

Months of planning and prepping and rehearsing have led us to this week. We’ve spent today on a last minute hunt for props and costumes before having our final rehearsal.

Everything is as ready as it will ever be. A tree has been erected in the dinner hall and the PE cupboard is now home to Excalibur.

With just one full day left before the performance, the children are far more relaxed than the staff (which is how it should be!). Although today’s performance was not quite as energy-fuelled as other rehearsals, the children have worked hard to put this production together and I’m sure they’ll dazzle for the school and their parents on Wednesday.

Strangely, for me, an odd calmness settled over me today. I’ve got faith in the children to pull it off but it’s also oddly comforting to know that I only have to days left to worry about anything performing arts related! Bring on the show!

Drama and performance is a passion for me so I was really pleased when I was asked to take over the Performing Arts club. We’ve got a bunch of very talented and enthusiastic children this year, and they’ve been working super hard since January to put together a show based on (a topic of their choice) Welsh Myths and Legends.

We’ve seen everything – from costume confusion to corpsing to totally improvised dialogue! Now we’ve got two weeks left until the performance date. Rehearsals are going well but that anxious ‘oh-my-goodness-two-weeks-left’ feeling is starting to trouble me. We’ve got a child who doesn’t know how to yawn, a tyrannical barber’s wife and I’m having to give lessons in villainy at lunch time. The children have done a fabulous job at learning their lines so I’m not too concerned about that, but I am concerned about what I can do to aid their performance. They’ve worked tremendously hard – fashioning a story, a script and creating some brilliant performances – so they deserve the best support they can get. So it’s a shorter blog post from me this week, because I’m neck-deep in music-editing, prop-sourcing and set-designing.  Wish us luck!

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There are two inspirations for this week’s post. The first is a festive memory, so let me take you back to Christmas Day 2016. Picture the scene:

Christmas dinner has been eaten. We’re all crashed out in the living room, Grandad flicking through the channels with the remote control. He stops at a cartoon meerkat and warthog. It’s Disney’s The Lion King. We’re all enjoying watching Timon and Pumba through the fuzzy full-of-food-ness when my Nanna pipes up. ‘What on earth have we got this on for? Load of rubbish…’. Me and my brother are obviously horrified. It’s The Lion King! Although our efforts are in vain, we try to convert her. We explain that it’s a classic that we watched as children and she sighs ‘Well, you’re not children now. I prefer things for adults. So should you.’ (My Grandad took a lot less convincing and he was soon gripped by Simba’s saga.)

Alright, she might have a miniscule point but my argument is – children’s films can be enjoyed by anyone. Some of the classics might seem fluffy and sickly on the outside but they are actually works of art. Someone’s livelihood has gone into creating this piece of film. The superficial piece of fluff my Nanna saw is actually the end product of many people’s hard work, so to class it as unworthy of adult attention isn’t very fair.

Many children’s films carry very grown up themes and dark moments, especially those that have taken inspiration from traditional tales. Look at Hercules, for example, Meg sacrifices her soul to the underworld. In Robin Hood, the villagers are being taxed into poverty. In Pinocchio the orphan boys are promised paradise and turneImage result for pinocchio gif donkeyd into donkeys! Some of these tales can be pretty grim (Pun fully intended. I make no apologies). And anybody who doesn’t cry during the first ten minutes of Up is simply inhuman. In The Princess and the Frog, the Ray the firefly dies! That’s right, Disney heartlessly kill off a character and audience members have to just get over it, whatever age they are. I was twenty when I was forced to watch the characters of Toy Story 3 accept their death in the incinerator and the tears still dripped from under my 3D glasses. Of course, before that, we had The Lion King, where Simba is led to believe he has killed his own father and lives with that guilt for years before learning the truth. Dark stuff for children to handle but they do so all the same. It might give us a few nightmares when we’re younger but it armours us for real life. The world isn’t sweets and bubblegum.

It’s a fact that as adults we get bogged down by all the life-stuff like careers and relationships and paying bills, we forget to let our imaginations stretch. Sometimes, opening your mind to a fantasy film is the perfect form of escapism. Sometimes after a day of work, when I’m flicking through my on-demand movies, I don’t want a gritty thriller that’s going to make me think. I want something that’s going to be visually appealing, some catchy tunes and perhaps a bit of magic on the side. That’s when I’ll unashamedly head for the family movies section.

Anyway, now that I’ve shared my Nanna’s disgraceful lack of movie taste, the second inspiration for this post comes from my favourite Disney film *drumroll* Beauty & the Beast. As I child I was desperate to be Lumiere. I love everything about the cartoon from the characters to the music so I was so excited to see the live action version this week (my review – perfect. My favourite character was the wardrobe. I’m only disappointed the wardrobes in my bedroom aren’t as fabulous.) Watching the new version transported me back to my childhood but I could also appreciate it from another point of view. I noticed the new variations on the score, beautiful visuals, easter eggs and subplots – stuff I might not have spotted as a child. Incidentally, this new version included Disney’s first ever ‘gay moment’ and first ever interracial kiss. So, in the world of film, it’s groundbreaking. Not bad for just a kids’ movie.

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Alright some of the old Disney stuff can hardly be seen as feminist (Cinderella and Ariel both changing in order to get a man? oi vey!) but a lot of these films can give good lessons to both children and adults. If you look at some of the more recent films, realistic relationships and moral dilemmas are being explored more and more. Big Hero 6 has the main character dealing with death twice. Up explores moving on after the death of a loved on. Frozen has Anna and Elsa realise they don’t need to marry princes, and instead the focus is on their sibling-love for each other. Things still aren’t perfect but the movie world is making small steps towards sending healthier messages to our children.

So I suppose I’m saying don’t judge a book by its cover….OR a film by its poster. Films for children were made by adults and it’s important we acknowledge the end product because some of them are works of art. Don’t be put off by their label. Release your inner-child, let your imagine run wild and be free!

Oh, and never diss The Lion King in front of me.

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So it’s back. I always forget just how much I’ve missed Doctor Who until those opening titles of a new series roll out.  Series 10 kicked off on Saturday with the introduction of a brand new companion – Bill Potts. After the initial intro clip last year I wasn’t too sure about Bill. She came across as a bit too cartoony and goofy and I could see her being very annoying very fast. However…(wait for it….rare moment coming up) I was wrong. Bill definitely made her mark in her premiere episode – showing that she was an intellectual match for the Doctor and adding a fresh new dynamic on board the TARDIS.

Bill is a new kind of companion. She sees things from a view point we’ve not had before. (She even asks the classic question in a different way – ‘Doctor what?’) She is refreshing for many reasons but mostly because of her humanity. I loved Clara, but by the end of her run if felt like she was saying the same things over and over again. The same quizzical expression. The same sarcastic comments. The same sort of cutesiness. Bill is different. Bill isn’t afraid to call the Doctor out on his faults – which of course Clara was happy to do too – but I can imagine Bill doing it with a bit less sass. She’s honest, grounded and flawed. She’s just a bit more human! The ways she’s written comes across so naturally. Perfect qualities for a classic companion. Bill also had one of the best introductions to the TARDIS, with the lights slowly booting up as the camera pans out…..only for her to liken it to a kitchen (its’ true) and a lift (also true). In her first episode she experiences heartbreak as she is forced to let Heather go. Her strength, complexity and emotional depth in these scenes are promising. It’ll be interesting to see how her story unfolds…

One thing that did stick out as odd was the re-appearance of Nardole. Nardole seems to have just…happened! Probably due to the large gap between his introduction in the 2015 Christmas special and his more recent appearance last Christmas.  Nardole just doesn’t quite seem to work yet. Still, I’m hopeful a satisfying explanation as to why the Doctor has him sticking around will be revealed as the series rumbles on. Though at the minute it does sort of feel like Moffatt is keeping him so he can kill him off in the finale (he’s promised it will be a ‘bloodbath’.)

The Pilot demonstrates one of the shows keys themes – regeneration. Doctor Who has the gift of being able to overhaul everything once things start to get a bit stale. It’s great to keep things fresh and allow a ‘stepping on’ point for new viewers….but what about old viewers? Doctor Who has gone through a lot of changes over time, particulary since it’s return in 2005, and next year will see the show have a new Executive Producer, a new Doctor, a new look and possibly a new companion. So did we really need this new revamp so soon? Sometimes the constant changing between series’ can be off putting to those who want to immerse themselves into a story they have already invested so much in. It can be a bit frustrating when the reset button keeps being pushed. Take Capaldi’s Doctor, for instance. This is only the beginning of his third series and he has transformed so much. He’s gone from grouchy and dangerous to a wise old grandfather figure. What happened to the snarling beast Moffatt promised after Matt Smith’s regeneration? I’d have liked that process to take a little longer, to have really been explored. It’s a shame this is to be Capaldi’s last series as his Doctor hasn’t really had much chance to shine.

So, overall a good opening episode but I’m hopeful for a bit less re-booting and a few more references to the show’s history in future episodes. Having pictures of River Song and Susan on the Doctor’s desk was a nice touch. The new TARDIS dynamic is going to give us some interesting moments in the lead up to Capaldi’s exit. I think it’s gonna be a good one.

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Right, it’s official. I can’t stop buying theatre tickets. I’m seeing six productions before June and already looking for summer productions. I’ve been keeping up to date with West End productions lately and I noticed The Harold Pinter Theatre has become the first to request that audience members do not eat or drink during its performance of Who’s afraid of Virginia Woolf?. Apparently Imelda Staunton, who plays Martha in the production, is very much against people eating in theatres and has cited it as distracting and rude behaviour.

I must admit, I’m with Imelda. When you think about it, it’s an odd notion. ‘You just stand there and speak and I’m going to watch you whilst I eat popcorn.’ As someone who has dabbled with treading the boards, I can imagine just how infuriating it must be to be mid-monologue, only to have the tension broken by someone opening a bag of Doritos. Imelda apparently said she can’t understand why people can’t go a few hours without eating. Again I agree. It seems to be the norm to see people piling into theatres carrying bags of sweets and crisps and whatever-else, but really they have paid for a ticket to watch the play. Not shovel Rolos in their mouths. In most cases people would have perhaps gone for dinner beforehand too so….why all the food? I can understand an interval ice cream and I’m certainly pro-water. The last thing the actors need is to put up with one of my unfortunately timed coughing fits so I always make sure I have a bottle of water with me.

Imelda’s comments reminded me of something I’ve often thought when visiting the theatre. Whatever happened to Theatre Etiquette? I’ve been going to the theatre since I was a child and I was always aware there were some rules. No talking being rule number one. But in some productions I’ve been to lately, people just don’t seem to care! They’ll gladly and loudly chat to their friend, sometimes about the price of the programme, sometimes about the view (or ‘I can’t hear what she’s saying! Can you?’) and is there anything more annoying than someone providing their friend with a running commentary? (‘That’s the brother she thought had died….)

Another important rule – Make sure your phone is switched off. I went to see Stig of the Dump at the Open Air Theatre in Chester last summer. One man in the audience was talking so loudly to the people around him that we thought he was part of the production! Then, just as the story was really kicking in, this man’s phone rang….and he answered it! Not only that, but he continued the conversation for a good two minutes before an usher politely asked him to stop…and he shushed her! I’m sure you can imagine the huffs, puffs and glares coming from our corner. Ooh it makes me furious just thinking about it!

Thirdly, and I’m aware this might be a personal preference, but I always thought of the theatre as a place you visit in your best clothes. I’m not talking tux and ball gown, but certainly smart/casual. I went to see Joseph last year and I was shocked at how many people had rocked up in tracksuits. TRACKSUITS! It’s also worth mentioning that at this performance of Joseph a bunch of people in front of me were singing along! Cue sighs, tuts and eyerolls from G. I prefer to save my singing for outside the theatre and let the performers do their job. I also prefer to shut up and allow the people around me to enjoy listening to the trained singers. Surely, it’s a mark of respect. These people are performing for us, putting themselves all out there and sometimes going through horrendous emotions. The least we can do is not dress like we’re going to a gym class.

I say bring back theatre etiquette. Oh, and next time you’re at the theatre, particularly if you’re sitting behind me, don’t eat, don’t talk, don’t sing and for God’s sake make an effort!