At Sgript Cymru |
| Sgript Cymru- Cymru Fach , Chapter Arts Centre Cardiff , March 3, 2006 |
Not long after the Second World War my father had to take us back out of Wales because he’d lost his job in a shop in Aberdare. People refused to buy anything from him, as he couldn’t speak Welsh, despite marrying into a family where the first language was Welsh. What little Welsh I had at the time was soon lost.So I am only able to give an impression of what clearly was a very fine play acted and directed with an assured professionalism that made it a joy to watch even though the detailed intricacies of the plot remained a bit of a mystery. Bad acting is quite obvious to a critic in whatever language it is performed, what I can’t be exactly sure of is just how good the great quality of the acting here, with this cast really was. Wiliam Owen Roberts has clearly written a very modern and sophisticated play, Cymru Fach, my very basic understanding reads that as ‘Little Wales’, well we have ‘Little Britain’ – and they’re welcome to it! It seems that one of the strengths of the Welsh language is that very simple words used in the right context can take on much more subtle meanings and here the title of the play is open to the interpretation that each member of the audience puts onto it. It’s a sharply written comedy of manner fondly satirising human failings and the complexity of the relationships that they tie themselves up into. There is a complex narrative involving politics, sex and the media – all human Welsh life is set out before us! Gwyn Vaughan-Jones may not draw very different personalities in the three characters he plays but to each of them he brings very warm and assured playing, a beautifully understated performance with a nice touch of fun and understanding. Each member of the cast was completely captivating at all times, very true to the characters they were playing: at the same time inviting us to join in the conspiracy that this was no more than an excellent theatrical conceit Elen Bowman is, without doubt one of the most understanding and successful directors working in Wales today. She is able to bring a great deal of sensitivity and empathy to her work at the same time always appreciating and celebrating the art that is theatre. She has obviously developed a great rapport with her cast, and ever conscious of the importance, in a play that so frequently changes its setting, of the bits in between the scenes, she has brought in movement expert Marc Rees to choreograph these moments. They certainly assist the play to move along but at the same time help to set the mood for each subsequent scene. Sara Lloyd’s gamin good looks belie the strength she always brings to her work. A very intelligent actor she moves from the hesitant Avril, sacrificing her innocence to the more ‘with it’ Alison with starling alacrity. Sion Pritchard won the James Westaway award, as best young actor in Sgript Cymru’s production of Miec Povey’s fine play, Indian Country in 2003. He has now become an excellent rounded actor with a twinkle in his eye that reveals his great sense of humour. Ffion Dafis in her role as Kerry-Anne is much freer with her sexual favours. In the opening moments of the play she is ‘at it’ with Cliff on a deserted railway platform, bing-bang thank you mam! I counted eight moments of human copulation in the first hour of the play, they were not always completed but the reasons for the interruptus of the coitus was not always clear to me. But this is no bedroom farce but a first class piece of playwriting that informs and amuses much more than it might titillate. The play tours to Swansea, Bangor, Felinfach, Pwllheli, Harlech and Mold. For details see www.sgriptcymru.com |
Reviewed by: Michael Kelligan |
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