My last blog post was before Christmas. There was a moment when I considered the possibility that this issue may be linked intrinsically to a bout of festive laziness. However, this moment was a brief one, and the thought was quickly dismissed. I then began to wonder whether  the lack of blog post was due to a lack of Welsh Theatre, but then I remembered I’d already written that blog, so I couldn’t go down that route for fear of becoming tedious and languorous, repeating the same old concerns(what do you mean you haven’t read it? Go and read it, then come back to this blog, and appreciate the reference. It might even make you laugh. That’s a bit presumptuous actually. It would be more of a light titter if anything. A playful smile perhaps. But again, I’m being presumptuous.) I have therefore come to the conclusion that I simply haven’t written a blog since December because I had nothing to say, and as tragic as that sounds, I really was just saving you all the bother of reading pointless drivel.  You’re welcome.

I should have written a review of ‘Deffro’r Gwanwyn’. I should have done that. I took notes on the performance and everything. I had a special private preview of the show with the director Elen Bowman in preparation for my impending review subsequent to its performance.  Now I wish I had written that review, because the production was really enjoyable, and coming from a musical pessimist, that statement in itself is a favourable review.  I think the show really struck a chord with me because it harked back to my school days. I found the whole experience extremely nostalgic, and as a great believer in the cathartic nature of Theatre, the fact that this production was able to affect me in this way is surely an indication of its merit.  Perhaps it was something to do with bumping into my school drama teachers in the foyer, but I like to think it was largely due to the former reason.  The translation of the music (my particular favourite, ‘Totally Fucked’ translated to ‘Dwi’n Fucked’) and the immaculate choreography were the productions strongest points. Aled Pedrick took on the lead role of Melchior, and gave a strong performance.  I think his performance probably would have had more of an effect on me had I not witnessed his talents several times before at school (naturally he was often the lead, and I was usually on a wall or squashed against the lighting box as part of the chorus), so I was definitely expectant of a flawless vocal performance, and I was not disappointed. I was slightly more mesmerised by the performance of Iddon Jones, who played the sexually naive Moritz. In fact, I found myself retrospectively wishing that I’d held onto his hand a little longer than is perhaps socially acceptable when I was introduced to him at one of the rehearsals in Carmarthen.  So, consider that my compressed review of ‘Deffro’r Gwanwyn’ by Theatr Genedlaethol. I’m glad I got that off my chest.

This blog post isn’t just to vent repressed theatrical criticisms. Oh no, it is so much more than that. Actually, I feel that comment might be slightly misleading, in the sense that I’m potentially building this up to be more than it inevitably will be. Don’t be disheartened by my own pessimism. I’m being modest.  Unless you think that’s somewhat arrogant, in which case, the blog is what it is, but I think you should continue reading. Moving swiftly on...

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