Seize the day or die regretting the time you lost

Words hustle, bustle, crash with each other. They speed up, slow down, just like people going about their business during the day. They wrap around like overcoats that cover their owners on a windy and rainy day, they flow like fresh linen on the breeze. They go high and low, like breaths and hopes of the villagers of Llareggub when they fall asleep, when they start to dream…

‘To begin at the beginning…’

Theatr Clwyd company moulds Dylan Thomas’ classic play into truly remarkable spectacle. The play on words, names, the silliness and all the poignant moment invite the audience to take a peek into the small village community, but also into their own hearts and lives. Dreams and wishes, high hopes and ordinary lives mix with small-town gossip, urban legends and myths. Boredom and imagination serve as fuel to the story’s fire. This incredible play is served hot and with flair, so very in touch with Welsh (and Celtic) culture: the music, the singing, the dance.

This play holds a special place in many hearts (especially Welsh). What makes it even more special: it has been envisioned to showcase inclusion.

Brought by Theatr Clwyd, which is a part of Craidd, which works alongside deaf, disabled and neurodivergent people (and brings together five organisations: Theatr Clwyd, Sherman Theatre, Pontio Arts, The Torch Theatre and The Royal Welsh College of Music and Drama is committed to do exactly that), blooms with vivid imagery and transformative approach.

Theatr Clwyd’s ‘Under Milk Wood’ becomes first and brilliant step towards the inclusivity goal. To create theatre [practice] that is accessible, ‘for all’ and built by artists from all backgrounds.

Under wonderful direction of Kate Wassenberg [Theatr Clwyd Artistic Director] this version becomes truly incredible testament to Dylans funny, spooky, naughty and rhythmic play and becomes a rich, wholesome journey, that opens possibilities both for actors [from all backgrounds], and the audience with integrated BSL and set becoming the canvas for the text appearing at various panels throughout the play (although in Sherman Theatre there has been a minor hiccup when audience members who were sitting further and higher away from the stage were missing parts of the writing appearing on the walls, obscured either by the lights rigs or restricted view).

This version of ‘Under Milk Wood’ is alluring like songs of the sea (you decide if it’s a sea shanty or a siren song), it’s strange and a little bit scary like fairy-tales of old, it gains life of its own like village gossips and tall tales told through centuries…

The company that brings Dylan’s words to life is truly remarkable, their enthusiastic and full of life performance affects each and every audience member and makes it an incredibly emotional journey, not only introducing the play to another generation, but becoming a bridge between the generations, as well as people from all backgrounds to enjoy the universal language of theatre.

‘Under Milk Wood’ by Dylan Thomas, Theatr Clwyd.

Director: Kate Wasserberg, BSL Director: Adam Bassett

Cast: Adam Bassett, Seán Carlsen, Jacob Coleman, Amy Conachan, Mirain Fflur, Chandu Gopalakrishnan, Georgia Griffiths, Izzi McCormack-John, Macsen McKay, Caroline Parker, Douglas Walker

30 April – 9 May 2026 in Sherman Theatre, Cardiff

Who doesn’t know the story of twins, separated by storm, grieving the death of the other, becoming someone else and being a rather confused participant in love declarations, shenanigans and mean-spirited pranks? ‘Twelfth Night’, which name alludes to the pre-Christian festivities filled with cross-dressing, pranks and identity-switching, is surely a well-known William Shakespeare’s comedy and through centuries many have taken it for a spin both in theatre and in film.

Director Juliette Manon takes Shakespeare’s a new route and refocuses on Cesario’s journey as a trans character. This version of ‘Twelfth Night’ feels so right it’s actually hard to believe that in all the cross-dressing, gender-swapping mischief causing comedy THIS wasn’t Shakespeare’s idea. But knowing a thing or two about the Bard, it’s safe to say he’d love to appropriate it as his (read: steal shamelessly, as he did, since back in his times there were not laws protecting intellectual property and infringement law).

So, it goes like this:

Viola, shipwrecked, alone, mourning her twin brother Sebastian, lost at sea, in disguise enters new land. New life begins for her. She becomes “Cesario”. But soon, it becomes very clear, the clothes she unstripped at the shore were not the only thing she shed. “Viola” drowned, old self shed, the youth becomes what it truly is: Cesario. A brilliant tale change in a gender swapping play that is filled with rogues and rascals, but is also a transcending journey. Where else a queer story of one’s rebirth could fit better? What else could embrace and empower it better than water: both deadly and giving life? Death-bringing murderous storm, a cleansing and baptising rain, washing away the remnant of the old.

Elsewhere, Sebastian, stricken by loss of his twin sister, tries to reconcile grief and newfound love for Antonio, who saved his life. Their new lives begin, nobles become servants, friends turn to lovers, the lines between love, obsession, truth, lies and omissions and innuendos blur.  

It’s a queer-ky, loud, vivacious play, full of drag, joy, a true comedy of errors and love triangles, but it’s also filled with unhealthy obsessions, mean-spirited decisions and vices. It’s very… human. Not only laughter, but the silence before ‘to accept or not to accept’ speaks to the audience and resonates so profoundly the standing ovation is a natural reaction when ‘Twelfth Night’ concludes.

This joyous comedy of mistaken and assumed identities becomes a journey to true self, love and self-love and acceptance and Lee [Braithwaite] is dazzling as Cesario. From the very first second, he enters the stage, you are at the edge of your seat, in awe with each gesture and soft yet powerful delivery of each word, completely enthralled by the song he sings, wide-eyed watching the thickening plot and wondering how on earth can this be undone:

‘O time, thou must untangle this, not I.  It is too hard a knot for me t'untie.’ (Viola, Act 2 Scene 2)

The whole company is absolutely wonderfully bonkers and up to no good, causing mayhem onstage and constant and loud salves of laughter of the audience. Arwel Gruffydd’s Feste/Fool is a fabulous menace and makes good on the famous quote: ‘Better a witty fool than a foolish wit.’

Cai Dyfan's set (and superb costumes!) design is simply beautiful.

Twetfth Night. Theatr Clwyd. By William Shakespeare. Dir. Juliette Manon. Cast:

Joseph Benjamin Baker, Lee Braithwaite, Öncel Camci, Philippa Cole, Lucy Ellinson, Arwel Gruffydd, Jax Guerrero, Phylip Harries, Garmon Rhys, Bethan Rose Young

21-23 May, Sherman Theatre

The Tempest. Royal Shakespeare Theatre, Stratford upon Avon

As soon as the doors open, I enter the theatre’s space, blown away by its shape, The Globe shape, intrigued by the stage design – I’m already in awe. I take as many mental pictures as I can, I take couple actual ones – a proof of life, in a way.

There’s this warm feeling brewing in me. It finally hits me that the magic is about to swallow me whole. And, boy, it does! As Kenneth Branagh enters the stage, the audience breaks into thunderous applause. A wave of his hand cuts it short: it’s show time and he’s in control [of the climate]. I find myself holding my breath, starstruck and under a spell. I’m hoping that my mouth isn’t open, because indeed I feel like a child watching a magician performing his tricks. I absorb it all, so into the story that I believe every word floating from the stage in such power (no microphones, but trained voices and stage’s shape), amazed by the mechanics and tricks before my very eyes. I mouth “wow” ever so often and it’s the best feeling in the world.

An exiled Duke of Milan, by fate, has his enemies brought to the very shore of the island he’s fled to. Master of mystical arts, he summons great storm that shipwrecks the crew, including his backstabbing, usurper brother Antonio.  With the help of islanders – spirits of earth (Caliban) and air (Ariel) his plot of revenge is set in motion, but just like storms at sea, things get out of control, unpredictable outcomes surprise everyone. Young lovers, Miranda (Prospero’s daughter) and Ferdinand, son of Alonso (king of Naples and enemy of Prospero) might just save all.

‘The Tempest’ is one mysterious play and to catch the spirit of it is a challenge itself. And to deliver it with a flair at the Royal Shakespeare Company is a special kind of accomplishment.

Its premise is a winding road filled with revenge, magic and love. It can terrify easily, it will make you laugh, just to make you ponder about human nature and what humans are capable to do to each other in the name of: power, status, superiority…

In the middle of all the darkest thoughts and desires, cruel deeds (‘hell is empty and all the devils are here’) there comes purity of first love, a childlike wonder about all things (Miranda’s ‘oh, brave new world (…)’).

Kenneth Branagh’s Prospero is such a strong presence, that even when he’s somewhere on the sidelines, lurking, his shadow looms over others (in the most wonderful and magnificent way, as great mage’s probably would). His Prospero is larger than life, a maestro conducting the symphony of his revenge, the masterpiece which gains life of its own and the ending filled with forgiveness surely surprises both him and his enemies.

In charge of the island spirits, he manipulates not only the events and his enemies, but said spirits, too. To do his bidding, especially Ariel. Faithful dweller of the air, a pixie with a mean streak. Amara Okereke is beautifully ethereal, twirling, weaving invisible webs and shimmering above everything and everyone, causing chaos and terror, as the master [Prospero] ordered, yearning for freedom with each delicate move.

The trope of white saviour (Prospero) and native guide (Caliban) is firmly set, with greenery invoking Amazon forests, the [is]lands taken over by European conquerors, where spirits are in fact the indigenous inhabitants forced to surrender and do master’s bidding and life under new rule, just after they taught them how to survive in a supposedly barren land (Caliban’s lamentations to Prospero).

Joys of [various shades of] love and ugliness of envious plotting go hand in hand in ‘The Tempest’, the full spectrum of human nature, and the company brilliantly breathes life into Shakespeare’s words and respective characters. Young lovers (Ruby Stokes as Miranda and Fred Woodley Evans as Ferdinand) melt hearts with their innocence and pure intentions and stand in contrast to the darkness of Caliban (Ashley Zhangazha portrayal is complex and layered: disgusted by his actions you then pity him, wondering who is actually the monster in this play). The scheming servants Stephano (Guy Henry) and Trinculo (Keir Charles) – a classic comic duo, heavily inspired by commedia dell’arte with their drunken antics and plotting they serve the physical comedy perfectly.

Under Richard Eyre’s direction RSC’s ‘The Tempest’ becomes a spectacle you can’t take your eyes off and the audience is invited to revel in the mysterious, magical world the theatre [and life] is. After all:

‘We are such stuff

As dreams are made on; and our little life

Is rounded with a sleep.’

[Prospero, Act IV, Scene 1]

‘The Tempest’ by William Shakespeare, Royal Shakespeare Theatre, Stratford upon Avon,

 dir. Richard Eyre, cast: Kenneth Branagh, Ruby Stokes, Amara Okereke, Ashley Zhangazha, Fred Woodley Evans, Paul Jesson, David Bark-Jones, Henry Pettigrew, Mark Meadows, Keir Charles, Guy Henry, Philip Childs, Darrell Brockis, Halle Brown, Amber Edwards, Razak Osman, Stuart Edgar, Tallulah Hamilton, Barr, musicians: guitar/guembri – Joseph Roberts, kora – Kadialy Kouyaté, djembe/kamala ngoni – Sidiki Dembélé, percussion – Solá Akingbolá

One would think that miners and homosexuals couldn’t be further apart. Nothing in common. And yet.

1984. Summer. Miners’ strikes are tearing through country and country is indeed torn. Mark Ashton, a young gay rights activist decides to form a support group to help in their peril. Struggling community for struggling community. Lesbians and Gays Support the Miners fate soon bounds them forever with a pit village in South Wales. Two threatened groups join forces in a fight for their lives and soon it turns out that they have more in common than one could ever dream of as they march for bread and roses[1]

Bonkers, bigger than life feverish dream… that turns into reality in the most spectacular way.

An amazing story, that isn’t just a glorified fiction or improbable odyssey, but an epic, true journey of two rejected, slandered and persecuted groups that found each other and by putting their differences aside, seeing beyond the first [wrong] impressions they forged a bond and made history. A truly PROUD chapter in both Welsh and Lesbian and Gay history.

The director Matthew Warchus and the writer Stephen Beresford of the original film unite to bring this extraordinary musical to life filled with songs inspired by punk rock, pop, disco and Welsh choral tradition. And the cast is delivering a performance with fervour, brilliance and flamboyant joy (Samuel Barnett’s Jonathan is the epitome, especially of the latter and boy, how he dazzles). They bring the audience to tears just to make everyone laugh seconds later. The songs they perform touch hearts, bring so much reflection one can barely breath. Songs sang so mightily that bring the chills (the rendition of ‘Bread and Roses’). There spirit of Kushner's 'Angels in America' hovers over this musical approvingly. The anguished soul of [Russel T. Davies'] 'It's a Sin' reveals itself in certain moments. But make no mistake: 'Pride' stands tall and proud on its own feet. Rich, daring, sparkling and strong with excellent performance of the company.

It’s an unforgettable event, fabulous, poignant, warming hearts and watering the eyes of the audience. Bittersweet, beautiful, filled with heartache, disappointment and new-found hope. An inspiring true story about what happens when one looks past the surface and prejudice and discovers a whole new and wonderful world and sense of belonging.

Pride is presented by P&P Productions with the National Theatre in association with Pathé, Calamity Films and David Binder Productions

Book and lyrics by Stephen Beresford Music by Christopher Nightingale, Josh Cohen and DJ Walde Developed and directed by Matthew Warchus Based on the Pathé film

Cast: Samuel Barnett, Lewis Cornay, Matthew Durkan, Robin Hayward, Chris Jenkins, Darren Lawrence, Jhon Lumsden, Kirsty Malpass, Sarah Pugh, Jordan Shaw, Courtney Stapleton, Caroline Sheen, Mared Williams, Matthew Woodyatt, Madeleine Morgan, Catherine Morris, Graham Vick

Previews 31 Mar - 18 Apr 2026 in Sherman Theatre, Cardiff

[1] ‘Bread and Roses’, a political slogan, poem and a song associated with women suffrage movement, symbolises a need for both economic survival (bread) and dignified quality of life (roses). https://en.wikipedia.org/wiki/Bread_and_Roseshttps://en.wikipedia.org/wiki/Bread_and_Roses

Prima Facie. Something Has to Change Tour

Prima Facie, Latin for ‘at first appearance’, used in both civil and criminal law to denote that, on its face, sufficient evidence exists to support a case. Prima facie evidence alone means there’s enough evidence to proceed, but necessarily to convict beyond reasonable doubt.

Tessa is an up-and-coming barrister, she’s smart, she navigates the law and the courtroom with wit, brilliance and she’s is winning. She has earner her place, built herself up from her modest working-class roots. She doesn’t come second. But when unexpected event shakes her very existence, she is left to confront the law and the system she believes in.

But can David win with this particular Goliath where the patriarchy is stronger as ever, where burden of proof, perception and time are against Tessa every step of the way? ‘He said, she said’, the murky waters filled with myths about sexual assault, the mishandling of victims thrown into justice system, the waiting for wheels of justice to actually turn… The statistics are brutal and things do need to change. Even if they do, it still seems too slow or insufficient. In the light of Epstein, Weinstein scandals, the ‘Me Too’ movement it’s not enough. This happens all the time, this happens EVERYHERE. How impossible to comprehend that this happens within the judicial body (it being the workplace as any other, unfortunately), the system so soaked with morality, ethics and law that should be the strong support for the victims, and yet seems to fail them more than other places/ institutions/etc. With the outcome where the victim’s career, life are ruined and the perpetrator soars unscathed way too often things DO indeed have to change.

Jodie Comer’s powerhouse performance has you on the edge of your seat. The laughter from the audience quickly becomes electrified silence, the kind of silence where you can hear the pin drop. Or a sob. The pace of the play, the one-woman show is the trick itself played perfectly on the audience. You sit there relaxed, laughing as the character shows her winning streak, you know where it’s heading (unless you randomly stumbled into attending this play and have no clue what’s it about) and yet it takes you by surprise. It grips you and it constricts your ability to breathe with every passing minute of AFTER. Eyes transfixed on Jodie’s heartbreaking performance, loaded with emotions, trying to make her situation make sense. Heart yearning for a just and right verdict, brain analysing the facts and picking apart the gaps and missteps. You know where it’s heading. And that is what makes it even more impactful. The numbers [the statistics on sexual assault victims and cases, the wait times, the convictions or the lack of] that follow make your stomach drop. The truth versus the law. Emotions versus patriarchal game. The version of ‘I fought the law, and the law won’ where the law should have most likely be rewritten, reintroduced, redone.

Suzie Miller’s play is a gut-punch, eye-opening, eye-watering piece that stays within you. An important message that found a perfect voice in Jodie Comer. She’s mesmerising; Tessa’s strength, unravelling, search for justice and logic – they come alive with such force thanks to Jodie’s performance.

PRIMA FACIE is currently on tour following the run in the Harold Pinter Theatre in London 2022 and transfer to Broadway (2023).

Prima Facie. Something Has to Change Tour by Suzie Miller, starring Jodie Comer

Richmond Theatre 23-23 Jan ’26 | Dublin Gaeity 27-31 Jan ’26 | Edinburgh Lyceum 3-7 Feb ’26 | Cardiff New Theatre 10-14 Feb ’26 | York Grand Opera House 17-21 Feb ’26 | Bath Theatre Royal 24-28 Feb ’26 | Cantenbury Marlowe 3-7 Mar ’26 | Birmingham Rep 10-14 Mar ’26 | Liverpool Playhouse 17-21 Mar ‘26

All the world's a stage... Indeed, so the whole theatre becomes exactly that: from the rooftop (a distant and isolated Mantua), to the backstage corridors and fire escapes standing in for meandering streets of Verona or foyer turning into Capulet's house's halls. Use it all. And at the same time focus on the word: darkness engulfing the stage where vulnerable characters bare their desires. Micro expressions on display as cameras follow the actors around. Lights. Camera. A story of love and hate. A tragedy weaved by fate. Timeless tale.

Some raised the alarm as the casting revealed Francesca Amewudah-Rivers as Juliet, claiming it wasn't true to Shakespeare's spirit. Well, I, for one, am glad that it wasn't. Not that I have anything against men in tights, but that would be a different play entirely. Also may I remind everyone we would be subjected to some pre-teen, prepubescent males with their falsetto trying to nail Juliet's voice timbre. And Nurse's too. But then we would have been deprived of seeing such brilliant performances from Francesca and Freema [Agyeman] which would be simply a travesty. And all in a name of staying true to the original text (may I add also well known fact – Shakespeare's not so secret and nice tendency to “borrow” from other's work thus him being not so original himself).

Even though my first reaction to Freema being cast as a Nurse was: she's too young! Because in my head this character is this elderly matron rather than witty and lively Nanny. But that's the beauty of theatre and interpretation: anything goes! And oh, boy how it worked!

Francesca's Juliet is so youthful, gentle, so full of passion. One's heart sinks seeing her heart's woes. Tom's Romeo has boyish charm, rage and love so bound together it boils. His Romeo is impulsive, emotional, he brings laughter and choked silence as one observes his character being played by fate. Let's not forget Juliet is the driving force. She's “yes” or “no”, black or white, ultimatum giving kind of girl. And Romeo? Well, he's both romantic (grand gestures much?) and... well, he's a fuckboy (how fast Rosalind is in his rearview mirror, huh?). But then he's Juliet's fuckboy and heaven is not on their side.

Maybe I'm a cynic when I look at this great romance and frown and childish overreactions and hyperboles. But these two [Francesca and Tom], they're so gentle and pure, so deep, that one quickly invests in their budding feelings and looks upon them with softness knowing too well what's glooming over. The tragic face of star crossed lovers.

But these two aren't the only ones shining bright on that stage. Mercutio always has been one of my favourite characters – flamboyant, fast with words and weapons, mad or is he? Harold Perrineau made such an impact with his Mercutio [in Baz Luhrmann's Romeo+Juliet], even though not on stage, there was no other version of this character for me. But I dare to say Joshua-Alexander Williams comes real close or maybe even matches the performance. Which is incredible considering it's his professional debut. Exuberant, cheeky sidekick, cursed... and cursing the feuding families. Seemingly insane with his flowery talk turns out to be the voice of reason and prophecy in the end.

The staging is stripped back, functional, raw in it's simplicity, but not dull. Focus is on the actors and the text. Blaring music and flashing lights prevent the audience from being too comfortable in their seat – it's a tragedy after all.

'Romeo and Juliet', a tale as old as overplayed. Yet, always attracting both actors ready to add their version to the pile and crowds eager to see lovers' tragic fate onstage (and/or on screen).

Shakespeare's plays always were the entertainment for the masses, even the tragedies have characters being bigger or smaller 'comic relief'. In 'Romeo and Juliet' it would be surely the Nurse, but thanks to Freema's brilliance this character is so much more than crazy old lady. The wit is her weapon of choice, true, but the emotions and layers that spill out thanks to Freema shine a new light on this character.

It takes a special kind of talent to breathe a new life into the text and a play as a whole (and the assemble did a marvellous job at it!), especially one so well-known, played so many times that people think they have seen it all. But Jamie Lloyd has carved a reputation for himself and his innovative and bold approach (and vivisection) is doing only favours to dusty classics. It is an unmissable event.

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William Shakespeare's ROMEO & JULIET.

Dir.: Jamie Lloyd

Cast: Tom Holland, Francesca Amewudah-Rivers, Freema Agyeman, Michael Balogun, Tomiwa Edun, Mia Jerome, Daniel Quinn-Toye, Ray Sesay, Nima Taleghani, Joshua-Alexander Williams, Callum Heinrich, Kody Mortimer

In Duke of York's Theatre, London from 13 May to 3 August 2024

You are invited to celebrate the marriage of Leyla and Joel. Dress code in place. Time of the exchange of the vows set. Entertainment will begin shortly after. That's the official version for this gathering. For the Ministry. And Motherland.

What's really happening is: this performance is stage without the licence from the Ministry and players commend your courage and will to participate. The risks are great. Welcome.

A mechanic writing a play - a mirror of his reality. A director of the Ministry of Culture who claims to be a patron of the arts, a benefactor. As long as the art is aligned with what the Ministry says happened. As long as it's art and not the depiction of the real world, because "a mirror is not a painting!". A young woman caught between two men. A celebrated playwright to guide the young mind. Because no one really wants to face the reality or rather relive it for what it is (was) - especially not the ruling regime when the truth is not exactly compatible with the doctrine. Theatre is supposed to be this profound spectacle lifting spirits. It does not raise doubts in the official version of history.

The thing with truth and art? It always finds its way to the surface. Bruised and battered? Maybe. But eventually comes to light...

'A Mirror' is such a careful web, each thread reveals something different, each delivers a gut punch - with finesse and precision, I may add. Layer, after layer, digging deeper - each character searching for... well, something. Artist versus censor. Truths and recollections of events excluding each other. And somewhere between: valuable lessons on how to write a play. How to build characters, arcs, differences between writing comedy and tragedy, character's choices and challenges, what could influence character's change. All excellent points to explore by a playwright. The very same points being picked apart by censors so the play fits the image of a great motherland.

Very Shakespearean (but careful! these books are banned!) - a play within a play exposing truths of a rotten system ('Hamlet'). The tragedy is imminent, the audience knows how the story ends and yet one hopes that this time it will be different, that it will defy the odds, gods and all the chaos between (like one would hope for star-crossed lovers, Romeo and Juliet). A quote from 'Macbeth', completely unmatched with the situation only adds to the drama.

The tension grows and grows throughout the play, until it becomes this heavy knot weighing you down.

It starts small: a little red light at the back of your head as you laugh, a part of the collective ('wedding guests'). It changes hue slightly later: it becomes a chip on your shoulder, but you're still laughing. What danger? The fourth wall doesn't exist. The boundaries are a blur. So it creeps up on you when the grand finale unravels and your heart beats a little too fast. The laughter? A bit forced by then, covering the unease.

Palms sweating as the tragedy peaks right before your eyes. The sense of urgency never leaves you and is fed by the players through 2-hour "ceremony".

Company led by excellent Jonny Lee Miller is playing on the audience's emotions like it's a Stradivarius. Tanya's Mei and Michael's Adem battle their own demons, the reality, lose and find themselves, they shine and burn bright within the tragedy presented onstage.

Sam Holcroft's 'A Mirror' is a whirwind of twists and turns, raising questions about morality, ideals and whether it's better to live on your knees or die on your feet. And how far can one go to silence rebellious voices.

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'A Mirror' by Sam Holcroft. Directed by Jeremy Herrin.

Cast includes: Jonny Lee Miller, Tanya Reynolds, Michael Ward, Aaron Neil, Geoffrey Streatfeild, Miriam Wakeling

The clash of the titans: Gielgud and Burton. Theatre versus film. Art versus stardom. Classic versus modern. Veterans in their craft Gielgud and Burton try to reveal yet another side of Shakespeare's 'Hamlet' and show what they're made of.

Egoes and artistic differences start to dismantle the play before if fully becomes the play – at the rehearsals tension is tangible, to say the least, when the director (Gielgud) and the actor (Burton) don't see eye to eye when it comes to the version of 'Hamlet' they intend to produce.

Chaos expands with each day, devouring good intentions, bad tempers and even worse habits don't mix very well and the pile of wrongs threaten to bury everybody under it.

Fears and insecurities threaten to ruin the show, the vision and relationships. But it may be the fear and insecurity that will be its saving grace, where the friction becomes the edge and the edge produces the defining moment. The motive and the cue.

The company delivers an exceptional show (along with the deep dive into 'Hamlet', perhaps one you didn't know you needed, yet fascinatingly insightful). The chemistry between the actors is undeniable, Gatiss' Gielgud is awkward, seeping with knowledge about Shakespear and rigid about his vision, Flynn's Burton is changeable, unruly, larger than life, yet drowning in self-doubt star. You can't take eyes off of him, he's magnetic, mesmerising and every encounter with Gielgud provides sparks. Tuppence's Taylor might seem underperformed at first (even though there's no doubt that eyes of everyone gathered in the 'room' are indeed fixed on her as she hosts the parties for the company), but there is a very good reason why she's actually on the backseat of that ride. To paraphrase – she's happy to serve Richard for once and support him. She's a broker of peace, she's providing entertainment, she is his stimulus. But it's his time to shine.

Stage design is a beautiful, intricate clockwork: different 'rooms' appearing effortlessly within curtain's drop and raise. A paradox really, but classic and modern solutions working perfectly in sync together (machinery of stage design, décor, journal's entries projected on the black curtains).

Sam Mendes directs Mark Gatiss as Gielgud, Johnny Flynn as Burton and Tuppence Middleton as Taylor in this funny, brilliant, surprising play by Jack Thorne posing the question of art, stardom, revisiting classics and maybe even the essence of the theatre itself.

Inspired by 'Letters from an Actor' by William Redfield and 'John Gielgud Directs Richard Burton in Hamlet' by Richard L. Stern 'The Motive and the Cue' offers a look into rehearsals, an insight into the process and deep analysis of well known classic.

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The Motive and The Cue.

Dir. Sam Mendes, play by Jack Thorne, cast includes: Mark Gatiss, Johnny Flynn, Tuppence Middleton.

In Lyttelton Theatre (National Theatre) until 15 July '23.

'To begin at the beginning: It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courters'-and-rabbits' wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboatbobbing sea [...]'

The village is asleep and dreaming. And it's not a quiet sleep: in the darkness the ghosts, desires and regrets haunt the sleeping. As people wake to another day a small Welsh fishing village (Llareggub) comes to life (and light) with stories more or less insane, with longing, solitude, gossip... The sea captain haunted by dead crew and lost love, landlady with penchant to clean obsessively and of fear her tenants, two wives of one man both strong characters, all knowing postman... All trading in secrets and trying to adjust to their realities. They get (en)tangled in peculiar dance of mundane routines and night visions.

Somewhere in between, or rather: right in the midst of the robust stories a son tries to reconnect with his father.

The company delivers an incredible performance that prompts the audience to laughter, reflection... With Michael Sheen commandeering the stage and holding the spectators by their throats with his extraordinary lead. Not a single word is wasted, not a single pause. Like a kick in the teeth or punch in the gut his words are his weapons and audience is disarmed completely. Superbly balancing the line between opposite emotions: with laughter still sounding in the ears audience goes silent choking on tears. His character is full of pain, regrets and desperation and one just can't take eyes off of him as he struggles to connect with his frail father who doesn't seem to recognise him.

Dylan Thomas' play is ripe with words and sounds – they circle and drown the audience in them like funfair's cacophony, attacking all senses. It can be full of chaos and ruckus – just like dreams, or rather like fragments of memories of someone losing them, one by one, along with himself. Then it can be poignant with quieter moments and lonesome songs sounding like a mournful trumpet throughout the theatre.

Originally radio drama gets breath of fresh air with National Theatre's adaptation. It's an absolute gem with intimate and engaging storytelling.

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'Under Milk Wood' by Dylan Thomas

additional material by Siân Owen

directed by Lyndsey Turner, cast includes: Michael Sheen, Karl Johnson, Siân Phillips

Followig the release of their greatest hits album 'Greatest Hits vol.2 - The Better Noise Years' Papa Roach have released a video for 'Broken As Me'. The video is intricate and incredibly simple at the same time. It's beautifully shot. It's hearbreaking, poignant and at the same time carries very powerful message.

Watch the video for 'Broken As Me' below:

You can order your copy of 'Greatest Hits vol.2 - The Better Noise Years' here.

Rise Against have dropped a video for their powerful new track 'Nowhere Generation', which is also the title of their upcoming album (out June 4th).

Song's the anthem of (and for) one who feel ignored/unheard/lied to. Fast riffs, soaring vocals and lyrics etching deep into the heart. Couldn't expect anything less from Chicago punks.

Watch the video below:

Pre-order/pre-save the 'Nowhere Generation' here.

Wild ride for the mad knight.

Terry Gilliam - a man who killed or rather resurrected Don Quixote... Movie – 25 years of making and unmaking (as it states at the beginning). Years of technical problems, issues with distribution and what not, years of constructing the plot and characters. And deconstructing.

A myth. A legend. A story retold. A tall tale about a knight. A man. Hopeless dreamer. Idealist. An obsessive knight with penchant to vibrant storytelling and colourful lies (but are they lies though if he believes in all he says?). Adventures and dreams collide. A journey where beginning and the end blend together into a blur, into a quest of finding true self.

Terry Gilliam invites the viewer into full bodied, multisurfaced world. The layers: reality, fantasy, past, present, time itself intertwine in a form of an intricate device, like old watch's mechanism, it captures viewers' attention and keeps its hold over them until the very last second when jaws drop collectively on the floor. Details, costumes, cinematography – all reflect rich and complicated story.

Toby (played by Adam Driver), a movie director is stuck between producer's money and artistic vision (or rather lack of it). Once visionary and very inspired young artist he turned into hip, white suit, soft shoes clad hit filmmaker. He's lost his identity, looking for ideas for the script and running from furious producer he gets lost in Spanish landscapes and unexpectedly revisits his past and his student era movie about Don Quixote. People, places bombard his mind, body and senses as he becomes Sancho Pansa, a squire to mad shoemaker he once hired to play mad knight in his film, who came to believe to be Don himself. Or did he? Who convinced who and of what? Questions pile and as plot thickens and boundries between real and dream get thinner and thinner.

Hilarious moments are chased by rapid turns of events, fast paced action, pompous speeches and layers to discover. It's not your slapstick comedy or action movie, some may not find it satisfying nor appealing. But for those expecting wild ride and coming with an open mind it will be a delightful time. The way the characters evolve, gain more depth with momentum only adds to movie's concept. Nothing's really as it seems, everything goes.

Play by Edmond Rostand. Adapted by Martin Crimp. Directed by Jamie Lloyd. Starring James McAvoy.

Man has a big nose. Really big nose. Also, he's an excellent swordsman. His poetry, wit and words'  mastery is exceptional and puts him above his peers. Cyrano de Bergerac is a house name. Ask anyone. But he has a big nose. If it wasn't enough – he's in love too. Ugly and in love. She's the most beautiful. Jaws drop when she comes around. Roxanne. And she just saw this handsome boy. Christian. Thing is 'he doesn't write letters' and generally he's not great with words. He's fit. He's a soldier in Cyrano's regiment. And there's this filthy rich, theatre's sponsor, free speech opponent, censor of too liberal arts and well connected (not everyone is related to Cardinal Richelieu, you see) man – Count Le Guiche. He's got eyes on Roxanne too, his plan simple: sex. Tragic triangle comes to life: Cyrano's words and looks of Christian create a perfect man. She's smitten, she loves a lie. Too deep to stop. When war knocks on the doorstep it's bound to get worse. War and love don't really go together.

Story of love, loneliness, low self esteem. Words take the lead, so much power and beauty. Showing new depths beneath the surface. Looks versus inner sparks. Money versus true feelings. Obsession. Revenge. Never changing question of beauty standards in society. A bit of prose, science ficion as  you please, about big nosed people on the moon, respected for this unique feature.

A lot is going on in this revival of Edmond Rostand's play. Words like knives. Martin Crimp's adaptation is a modern twist – seventeen century's surroundings but rap battles and clothes suggesting sometime between this 20th century 90s and now. Beatbox supporting the flow. Love troubles and loneliness are rather universal. Unfortunately. Now, when shallow beauty is glorified more than ever. Jamie Lloyd stripped down desgin puts all focus on language. Words take centre stage. Classic resonates boldly and loudly throughout theatre walls, speak volumes as it gets new life. It's thought provoking, inspirational. James McAvoy dazzles as quick with words and prone to make enemies in high places Cyrano de Bergerac. Mesmerised audience follows his every move, drinks every word, laughs, gasps in awe as he leads the cast of fantastic individuals to the end. 'I love words, that's all' – sums it all up perfectly.

In the big pile of 'There's Nothing to Watch', between movies you have seen and the ones you don't want to watch, every now and then there comes a revelation. This 2012 movie is something else. The tags under this title say 'sci-fi' and 'romance'. Well, it's kinda there. But there's so much more. It's this quirky, weird sense of humour carried by four actors. Jake Johnson's Jeff: washed-up, cynical, mostly shallow journalist with regrets and good advice that he provides here and there is a great surprise, so grey in his action that you can't decide if you like him or not. Karan Soni (Armau) now probably known as Deadpool's taxi driver is quite convincing as a nerd, awkward with everything and everyone, not really embracing 'living'. But it's actually the chemistry between Aubrey Plaza (her character is called Darius and you're so close to think of her as Daria; yes, the one from animated series on MTV in late 90s – early 00s) and Mark Duplass (who is no stranger to stranger movie characters) that makes it so special. The pace is not too slow not too fast, technically nothing much is going on but things run their odd course and at some point you really can relate to the dialogue:

'What's the story about?

I don't know anymore'

But it's not the bad thing. It's because it's so rich and everyone gets to have their little story told, one way or another. And you're kinds rooting for Kenneth (Mark Duplass), but aren't sure if he's onto something or is completely bonkers. Dialogues are funny, very true and capture the bittersweet, yet strangely warm and cozy vibe the movie has. It's a good quality cinema till the very end.

It starts with an idea for an article. Journalist and his two interns follow the ad of a guy looking for a partner in time travel. The ad says he's done it before and that safety's not guaranteed. Does he believe it? Did he do it? Is he mad? The only way to find out is to get close to the guy and investigate. One thing leads to another. Each of them goes on the journey of their own.

Directed by Colin Trevorrow movie debuted at 2012's Sundance Festival and was dubbed 'one of the most influential films of the last decade'. Strangely relatable, heartfelt story of struggles, searching, yearning, ambitions, dreams and reality of living.

Play by David Harrower. Directed by Yaël Farber. Cast: Judith Roddy, Christian Cooke, Matt Ryan.

Somewhere in the village. In the time before industrial boom and technological progress. A ploughman and his wife live a simple life. Meeting with hated local miller changes everything. The game, the awakening begins. Lust, desire, attraction, power, knowledge and understanding things and their world dominates their relations. Driven through darkness under the shadow of the grinding stone they leap headfirst into darkness... or maybe into the light? Questioning everything they discover and try to name what has been unnamed.

‘Knives in Hens’ is odd. Not your typical play - neither modern, nor Shakespeare’s alike. It’s out of time yet extremely present. It’s magical. Mesmerizing. Surprising. Tension is tangible. And actors are on top of their game: mad, frantic, deliver most fascinating performance. Characters they play are torn by feelings and sensations they taste the new ground, tease, bend and cross the boundaries in this dark, gloomy world showing that some desires are with humans for ever and are the primal drive for many [unexpected] turns.

The chemistry between three actors is electric, it sparkles, explodes. Danger, light and darkness are bound together with an excellent performance.

New York. America. 1980s. AIDS crisis. Reagan's conservative administration. And in the middle of it people wrestling with life, death. Falling in and out of love. Having sex. Discovering themselves. Reaching heaven and hell. Prior Walter, Luis Ironson, Belize, Joe and Harper Pitt, Roy Cohn touch each other's lives in the strangest ways. Politics, religion and things in between... What could go wrong, right? Oh, and there's an angel (although it reminds more mad creature, a fallen bird than magnificent and mighty angel descending from heaven in glory) and a prophecy (and it gets even more interesting from that moment).

Tony Kushner's play takes a spin at the National Theatre and it's funny, odd, sad, moving and packed with emotions.

Andrew Garfield's Prior is fabulous, terrified, stricken, heartbreaking, yet hopeful. It's one of these performances that give you chills, the one you watch holding your breath. But he's not the only one shining onstage. Russell Tovey makes his Joe naive, lost. Joe's awakening is painful, freeing, full of contradictory feelings, yet not annoying. Annoying is the “ideas man”, secularized Jew, “mister know it all”, “the drama queen of all”: Luis. And James McArdle shows all his colours perfectly. Denise Gough's Harper is a mess, she's troubled, she's lost and hurt. And Belize played by Nathan Stewart-Jarrett is so sassy, he's the fairy godmother of sorts in this play (considering the fact that he's playing Harper's hallucination, travel agent, granting her wishes). And he's one fine fairy.

The stage splits, moves and opens up, showing countless possibilities and depth beyond depth. It's functional, simple, but appealing, with metal construct in the shape of America lurking above. Lights flickers, magic happens onstage. A tale of love, sacrifice, loyalty, beliefs, good, bad and ugly is told in unorthodox way. This play is a must see. One of the most important plays in 20th century and its postulates still stand. Now maybe more than ever.

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Angels in America: A Gay Fantasia on National Themes Part One: Millennium Approaches & Part Two: Perestroika by Tony Kushner dir. Marianne Elliott