from The Captain’s Daughter
Our lovely apple tree
has no young shoots and no fine crown;
our lovely bride
has no dear father and no dear mother.
No one to dress her
in a wedding gown,
no one to bless her.
by Александр Сергеевич Пушкин (Alexander Sergeyevich Pushkin)
a.k.a. Aleksandr Sergeyevich Pushkin
(1836)
translated by Robert Chandler
It is said that he went gaily to that scaffold,
dressed magnificently as a bridegroom,
his lace lying on him like white frost
in the windless morning of his courage.
His red blood was the water of life,
changed to wine at the wedding banquet;
the bride Scotland, the spirit dependent on
such for the consummation of her marrriage.
by R. S. Thomas
from Laboratories of the Spirit (1975)
Fun fact: This poem is about James Graham, 1st Marquess of Montrose, a Scottish nobleman, poet and soldier, who initially joined the Covenanters in the Wars of the Three Kingdoms, but subsequently supported King Charles I as the English Civil War developed. From 1644 to 1646, and again in 1650, he fought in the civil war in Scotland on behalf of the King and is generally referred to in Scotland as simply “the Great Montrose”. His spectacular victories, which took his opponents by surprise, are remembered in military history for their tactical brilliance
The sky is torn across
This ragged anniversary of two
Who moved from three years in tune
Down the long walk of their vows.
Now their love lies a loss
And Love and his patients roar on a chain;
From every true or crater
Carrying cloud, Death strikes their house.
Too late in the wrong rain
They come together whom their love parted:
The windows pour into their heart
And the doors burn in their brain.
by Dylan Thomas
(September 1945)
The different first version published in January 1941 was prompted by his third wedding anniversary.
Not the autumn wind in the forest,
not streams hurtling down to the plains –
what we hear is Frost the Commander,
patrolling his far-flung domains.
Has snow been swept by the blizzards
over every pathway and track?
Is there any bare ground still showing,
any last brown fissure or crack?
Have the oak trees been handsomely dappled,
are the tops of the pines fluffed just right?
Have the ice floes been shackled together
so that every lake is gripped tight?
Frost comes striding over the treetops;
shards of ice crackle under his tread.
Lord Frost moves closer and closer;
beams of sunlight dance in his beard.
What pathway is closed to a wizard?
Ever nearer the widow he draws.
Now Frost is looming above her,
rehearsing his wintry laws.
There he stands in a pine tree,
beating time with his cane,
boasting of his own glory
and repeating his old refrain:
‘No need to be bashful, sweet maiden,
see how fine a Commander I am!
Speak truthfully now: have you ever
glimpsed a more handsome young man?
‘Blizzards, downpours and whirlwinds –
I can quieten them all in a trice;
I can stroll out over the ocean
and build myself chambers of ice.
‘One breath – and the greatest of rivers
lie silenced beneath my yoke,
transformed to the strongest of bridges,
broad roads for the merchant folk.
‘I love dropping down into graves
to scatter diamonds over the dead,
to freeze the blood in their veins
and ice the brains in their heads.
‘I love frightening a lonely robber
riding home with a purse he’s plundered:
in the depth of the forest silence
I make branches resound like thunder.
‘Old women go rushing back home,
their heads full of spirits and devils.
But there’s more pleasure still to be had
with drunkards returning from revels.
‘I don’t need chalk to whiten their faces!
I set their noses ablaze without fire!
I freeze beards to reins in a tangle
not even an axe can sever!
‘I’m rich, there’s no counting my treasure;
my fortune’s as great as the world.
Every day I bejewel my kingdom
anew with silver and pearls.
‘Dear Maiden, I bid you now enter
my empire. Let me make you my queen!
We shall reign in glory all winter,
then let summer slip by in a dream.
‘Come, maiden, and let me warm you
in a palace of pale blue ice!’
So Lord Frost sings out above her
as he swings his sparkling mace.
‘Are you warm enough there, dear maiden?’
he calls from high in the pine.
‘Oh yes,’ the young widow answers –
and icy shivers run down her spine.
Now Frost has dropped down lower,
his mace swinging ever so near,
and he whispers softly and tenderly:
‘Warm enough?’ ‘Oh yes, my dear!’
Warm enough – but what does she feel?
Frost’s breath has already numbed her
and needles of ice from his beard,
though colder and sharper than steel,
are lulling her into slumber.
‘Are you warm enough now?’ Frost whispers,
his arms now encircling her waist –
and she hears not Frost but Proklyusha
and all she sees is long past.
On her lips and her eyes and her shoulders
Darya feels the wizard’s long kisses –
and she sees not Frost but her husband
and she drinks in his honeyed whispers.
He’s talking to her of a wedding,
his words so caressing and sweet
that Darya’s eyes are now closing
and her axe lies still by her feet.
And the arc of a smile now parts
the poor lips of the wretched widow.
White flakes now cover her eyelids
and needles of ice her brow…
A lump of snow falls on Darya
as a squirrel takes a flying leap,
but Darya does not lift a finger;
she’s frozen, enchanted, asleep.
by Николай Алексеевич Некрасов (Nikolay Alexeyevich Nekrasov)
(1864)
translated by Robert Chandler and Boris Dralyuk
A Welsh farmer’s daughter brings her English fiancé back to meet her rural West Wales community and family leading to a number of misunderstandings and hilarity ensuing the day before their wedding.
The Harri-Parris are a West Walian farming family. Hilarious and dysfunctional, they love nothing more than having visitors round. And that’s you! Anni, the farm’s only daughter, is getting married and so the Harri-Parris want to celebrate the big day with you. Well, not the actual big day, they’re not made of money. How about the night before? The night they’re going to meet Anni’s new English, vegetarian, indie musician fiancé for the first time. What could possibly for [sic] wrong? Dust off your posh hats and join the Harri-Parris for a thoroughly entertaining evening of songs, stories and cake. Lots of cake.
Mai oh Mai productions and Little Wander in partnership with Chapter and the Torch Theatre presents: The Harri-Parris: The Big Day
Script and songs by Llinos Mai
Directed by Owen Lewis
Cast:
Llinos Mai – Anni: The only daughter of the Harri-Parri family. Actor, writer, director and farmer’s daughter. Wrote this play and the first outing of the Harri-Parris entitled The Harri-Parris: The Leaving Do.
Rhian Morgan – Mrs Harri-Parri: Widowed, overbearing, matriarch of the family and proud member of the ‘Not the Welsh W.I.’ (Played Anne Jenkins in Tir, Susan in Stella and Sian Blathwaite in August, Anthony Hopkin’s adaption of Anton Chekov’s Uncle Vanya back in 1996 which I saw when I was very little in the New Theatre, Cardiff).
Dan Rochford – Ifan: Anni’s terse brother who runs the farm day to day. (He played the role of Dean in Hinterland / Y Gwyll for two episodes). [My personal favourite character of the show but each one has their qualities contributing the the ensemble piece].
Rhys Ap Trefor – Deiniol: The camp cousin to the Harri-Parri siblings acting as the wedding planner (Huw in the Torchwood episode ‘Countrycide’) [The role was played by Rhydian Jones in The Leaving Do and he features in the promotional video for The Big Day though for whatever reason has been replaced and it may only have been temporarily as far as I am aware though Ap Trefor does an excellent job so you would never think he was replacing someone else in the role].
Oliver Wood – Ben: Anni’s English fiancé (Who you may recognise as Charlie Jenkins from Boyd Clack’s comedy series High Hopes).
For those expecting to see Gareth Wyn Griffiths who played Branek, a Slovakian seasonal farm worker in ‘The Leaving Do’, he does not return to reprise his role but that is understandable as the character was a seasonal worker who would have moved on and perhaps, as a foil to the previous play’s events, would not have added anything to the proceedings of this play and was replaced in the four person ensemble with the character of Mrs Harri-Parri.
The light hearted narrative is a simple to follow one of a farm daughter bringing her finance to her home for the first time and the dissonance which arises from the perceptions everyone has based on the lies Anni has told and the realities when they finally meet. The Harri-Parris meet him in traditional national dress with a song, playing an accordion, before laying out a lavish buffet, “Go on have a bit… have a bit more… bit more? Go on!”, but Anni and Ben have already eaten at the service station before arriving (and everyone in the community knows they have as Mrs Harri-Parri relates who spotted them where and when… There and no secrets in the close knit community of Llanlai). Anni has told her family that her fiancé, Ben, is a sky diving, charity working, man-amongst-men when in reality he is a vegetarian indie musician. This of course riles the farming, animal slaughtering, family who soon drive him to fainting during a musical number where they place him on the table and ritualistically gut him as if he were a chicken. Other issues include Ifan slaughters a pig in the downstairs toilet ruining Anni’s wedding dress, Ben’s mother had made a wedding cake that, safe to say, is not to Mrs Harri-Parri’s expectations and inevitably there is a fall out.
The stage layout is very tight perhaps due to Chapter’s small stage area but there is no sense it is overly compacted but rather lends itself to a realistic dimension for the kitchen area of a farmhouse. To the rear on either side are doors: on the left it leads out into the farm’s courtyard and on the right further into the house. On the rear wall are the rosettes the family have won at farming contests, probably the Royal Welsh Show, while a drum kit, electric guitar and bass sit beneath them.
On the left is the cooking stove filled with a turkey and all the food. In front of this is the telephone say on a small podium which Mrs Harii-Parri goes to throughout the play to gossip, in Welsh (although its Pobl-Y-Cwm Welsh so there is nothing lost as you will easily pick up what she is saying even if you’ve no knowledge of the Welsh language as its about what has just occurred on stage). Just off centre of the stage is the kitchen table and a few chairs.
On the right is the Welsh dresser sideboard (display cabinet for anyone not familiar with this piece of furniture) in which the ruined wedding dress is hidden unsuccessfully, a piano used during most musical pieces and the chair in which Ifan often sits reading a tractor magazine when not involved in immediate events.
There is a little bit of audience interaction once or twice during the performance early on in terms of the cast pretending people are members of the local community. The pretence is that we, the audience, have been invited en masse to come celebrate the event and are all members of the local Llanlai community. As long as you are not in the front two or so rows there is nothing to be concerned about if you do not like this sort of thing. Most of the humour here is of the ‘no you didn’t invite that person did you!’ variety with some being the gossipy women of the community who Mrs Harri-Parri doesn’t like, Anni’s past boyfriends (some whom Ifan invited as they are his friends though he clearly gets some mocking pleasure from inviting them) and one lady who gets the pleasure of being Ifan’s girl that he is seeing (and will proceed to gesture at during one or two moments later). During this point the house lights will be up but they are few and far between and a natural continuation of the previous Leaving Do play where they actually handed chocolate cake out apparently (they do not hand out cake during The Big Day) but it helps the ‘world building’ of the setting. Of course it may be that the people selected were ones the production knew I cannot hazard a guess. Personally I don’t like audience interaction but as it was restrained to the front few rows it was fine and something to be expected if you chose to sit there.
Before going in you are handed a Llanlai newsletter which aids in the world building and serves as a one page list of the people involved in the production in one column. It’s free so that was a nice, unexpected, bonus of Welsh humour to get you in the mood.
The approximately 90 minute performance, with no interval, has a few bits of dialogue in Welsh but these are for the most part supplemental and all the key dialogue is done in English with a few Wenglish-isms. As mentioned Mrs Harri-Parri speaks on the phone in Welsh but these are easily followed and concern the immediately preceding events of the play.
There are musical sequences involving agriculturally lyrical R&B, indie guitar anthems, wistful balladry, rap and even one song involving Bollywood styled bhangra choreography.
The seating in Chapter was ‘first come first served’ with no seating allocation so if you go to anything there best make sure your are on the door early ready to go in and get your choice of seat. The stage is less than a metre in front of the front row so preferably gets seats about 3 rows back if you want to have seats similar to the front rows of other, more traditional, theatre venues. I didn’t notice any issue with leg room unlike other venues and only now, when writing this, realise it wasn’t an issue unlike other locations I have been. I have to assume the misspelling in the promotional blurb (highlighted in blod above) was intentional…
The play is quite straightforward in its humour and music but it is one of the first ones Llinos Mai has written and I think given time she will develop a more distinct voice and can be considered to be testing the waters as this play is more theatrical compared to the more musical based The Leaving Do. Certainly the BBC is willing to invest in her as soon there will be 3 episodes of The Harri-Parris Radio Show on BBC Radio Wales soon. In a comparison Boyd Clack started in a very similar vein with Satellite City which began as a radio show on BBC Radio Wales so if all goes well this may be the start of some big things and Llinos Mai becoming a big name in Welsh comedy!
It was a very enjoyable evening and Chapter is a good venue for new, inventive, shows. The big question is would I go see this again? Yes without question but more importantly it makes me want to see more from not just Llinos Mai but also everyone else involved in the production and I can think of no greater compliment to pay them than that. I am really looking forward to hearing more from the Harri-Parris on BBC Radio Wales and will be keeping an eye out for the nativity based third entry in the series when it comes around.
http://www.theharriparris.co.uk/
A delay to the promised A View From The Bridge as the last performance of The Big Day is tonight and from the sounds of it has been sold out every night which is good to hear!
I wonder if there is a recording of The Leaving Do somewhere online. I tend to see things being recorded but never know where these recordings go afterwards. To some archives somewhere but it seems a shame to do that in this day and age even if you had to charge a small fee to view the recording.
Rambling At The Bridge Head 
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