REVIEW: Mr Jones: An Aberfan Story Review


Rating: 4 out of 5.

A superbly written tribute to one of the worst tragedies in Welsh history.


On the 21st of October, 1966, an unthinkable tragedy struck the close-knit Welsh mining village of Aberfan when a colliery spoil tip collapsed, sending 150,000 tonnes of coal barrelling down the mountain and claiming the lives of 116 children and 28 adults. In the aftermath of what is still regarded as the worst mining-related disaster in British history, the Aberfan disaster not only left its physical marks on the village but permanently and irrevocably scarred its inhabitants. With ‘Mr Jones: An Aberfan Story’, its writer, Liam Holmes, not only pays tribute to those 144 lives lost in the disaster but creates an incredibly emotional and compelling narrative centering on the lives of Stephen Jones (played by Liam Holmes) and Angharad Price (played by Rhiannydd Andrews). 

Stephen Jones is introduced to us as a talented young football player with dreams of one day playing for Wales. Holmes is a truly phenomenal talent, delivering an incredibly nuanced and raw performance that indicates the future successes awaiting him in the performance industry. He embodied the character with such effortless authenticity that it was sometimes easy to forget that I was watching an actor and not a real person. The progression of the character throughout the play is written and acted beautifully and only furthered the impact of the devastation, as a bereft Stephen attempts to navigate loss and change as his whole world is permanently and irrevocably altered in a matter of hours. Playing Angharad Price, the compassionate and driven nurse that consistently features as one of the most central characters in Stephen’s life, Rhiannydd Andrews is an acting powerhouse in her own right and presented an equally lifelike character, executing the performance with remarkable skill.

The writing itself was superb, and the humour sprinkled throughout is a wonderful reflection of Welsh humour and spirit. While humour does pose a risk of diminishing a tragedy, that wasn’t at all the case in this instance, and so much thought had been put into making this production as true a representation of the Aberfan community as possible. The set was minimal but effective in communicating important elements of the story, such as the wall painted with the title of the Welsh song ‘Yma o Hyd’, meaning “Still Here”, a powerful message offering hope in the darkness of it all.

The only slight change I think should be considered was with pacing, as some of the scenes did feel like they began to lag at certain points, but that could be down to personal interpretation!

Overall, ‘Mr Jones: An Aberfan Story’ was an incredibly moving tribute to one of the worst tragedies in Welsh history, and I would love to see this show be given the opportunity for a longer run in the future!

REVIEW: Toy Soldier


Rating: 3.5 out of 5.

Toy Soldier is a poignant tale of loss, love and family in wartime, offering a relevant and hard-hitting exploration of conflict and its long-lasting repercussions.


Toy Soldier is a poignant tale of loss, love and family in wartime, offering a relevant and hard-hitting exploration of conflict and its long-lasting repercussions. Set in the Falkland Islands, the story starts in 2002 with Jane (Lucy Bromilow) packing up her family’s farm, when she rediscovers a box full of the belongings of an Argentinian soldier, Alejo (Nico Conde) that she once knew. This subsequently takes us on a journey 20 years into the past – 1982, when Argentina had invaded the islands and initiated 74 days of conflict. Bromilow’s level-headed and attentive Jane attempts to guide her 17-year-old brother Billy (Michael Tantrum) as he attempts to navigate this new reality of war with the clashing guidance of his logical sister and his extreme, menacing friend Mark (Spin Glancy) who wants to take on the Argentinians themselves. Underpinning the whole story is the plight of Alejo, the soldier who ends up injured and alone, relying on the help of someone who is supposed to be his enemy. 

Featuring an incredibly strong 4-person cast, one particular standout for me was new LAMDA graduate, Spin Glancy. Playing Mark, a young man who has been radicalised and drawn into the dangerous ideologies of the far-right, Glancy’s acting skill brings to life a provocative and volatile antihero, aiming to corrupt his friend Billy. Mark and Billy’s plotline alone offered a harrowing perspective on the indoctrination of young men into right-wing extremist groups in real-time. One small criticism I did have here however was the vagueness with which Mark’s past was discussed, as Billy’s ideas were very clearly planted by Mark, but we never actually gain insight as to where these beliefs stemmed from for him.

While not speaking in every scene, Alejo’s presence in every scene serves as a reminder of the real people who suffer as a result of conflicts started by leaders who treat them like cannon fodder, never bloodying their own hands. With Alejo remaining on stage for almost the entire production, the character humanises the Argentinians that Mark and Billy talk about with such an emotional disconnect, we are reminded that these soldiers are not just faceless adversaries, as the two boys would have you believe, but they are real people who are only there because someone higher up put them there. Nico Conde gives an emotional and sincere performance, with my only wish being that, similarly to Mark, we were not given as much backstory for Alejo as I would’ve liked. 

Featuring a minimal set of cardboard boxes in the intimate theatre, I found the set to be perfectly timeless, allowing the actors to jump seamlessly between decades without a set that contrasts the era. I also interpreted the use of cardboard itself as the primary set material as a comforting reminder of the brevity of struggle; no matter how dark the subject matter of the show got, you are reminded that nothing is permanent, war cannot last, and everything has its end. The level of consideration that has gone into the tech of the show was impressive, and I loved the use of projection, not only aesthetically, but with the content of the projection reinforcing the reality of the events on stage, only furthering its emotional impact.

It is worth noting that this show marks Helen Goodman’s London directorial debut, and I think that the refreshing newness and masterful direction of Toy Soldier is merely a signifier of great things to come in the future of her directing career.

Author: Charlotte Flynn