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Woordkunstenaars storten hun ziel uit in Grand Theatre. Van poëzie, proza en storytelling tot rap, spoken word en motivational speakers. Freedom fighters, singer-songwriters, hiphop artiesten. Let's Get Lyrical is een maatschappelijk geëngageerde show met ruimte voor het vrije woord, met warme presentatie in huiskamersetting door Cissy Joan.

Delen = lief
#Groningen #grandtheatre #woordkunst #poezie #verhalen #spokenword

https://www.grandtheatregroningen.nl/nl/programma/archief/let-s-get-lyrical-met-cissy-joan-februari-26

Nish Kumar brings his ‘angry humour’ to Swansea as new UK tour announced

Fresh off the global success of his 2024/25 show Nish, Don’t Kill My Vibe, the award‑winning comedian has announced Angry Humour From a Really Nice Guy, a new hour promising existential angst, political chaos and the trademark high‑energy fury that’s made him one of Britain’s most influential comedy voices.

The tour kicks off in Belfast on 9 September 2026, with Kumar heading to Swansea Grand Theatre on 31 October.

‘The world is ending… so I’m going back on tour’

Kumar, co‑host of the hit podcast Pod Save the UK and former frontman of BBC’s The Mash Report, says the new show arrives at a time when the world feels like it’s “breaking apart”.

“I looked out of the window and the world was ending,” he said. “Stand‑up comedy was the only thing that made sense to me — then it was co‑opted by charlatans in service of autocrats. I’m going back on tour to try and reconnect with the thing I love more than anything else. I promise the show will be funnier than this.”

A comedian at the top of his game

Kumar’s last tour sold out venues across the UK, North America, Australasia and Europe, earning rave reviews for its mix of political bite and personal honesty. Critics have called him “roaringly funny” (The Times) and “the pre‑eminent comic political polemicist of our time” (The Guardian).

Now entering his 40s, Kumar says audiences can expect a show that’s bold, fast‑paced and unflinchingly smart — tackling big questions with the fury, intelligence and warmth that have defined his career.

From Taskmaster to global tours

Named one of the 50 Best Comedians of the 21st Century by both The Guardian and The Telegraph, Kumar has become a familiar face on TV and radio, appearing on Taskmaster, QI, Have I Got News For You, Live at the Apollo and more. His stand‑up specials have aired on Sky Comedy and Netflix.

Tickets for the new tour go on pre‑sale on Wednesday 28 January, with general sale from Friday 30 January at www.nishkumar.co.uk.

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Laurel and Hardy Swansea centenary tour to celebrate city’s link with comedy legends

The centenary celebration, which includes screenings, talks and live performances, is being launched by the Laurel and Hardy Appreciation Society to mark a century since Stan Laurel and Oliver Hardy first appeared together on screen. Organisers say Swansea will feature prominently in the tour’s historical material, thanks to the city’s role in the pair’s post‑war British tours.

Laurel and Hardy performed in Swansea on 22 September 1952, taking to the stage at the Empire Theatre on Oxford Street. The venue, once described as a “mecca” for live variety, regularly attracted the biggest names in entertainment. During their stay, the duo were based at the Mackworth Hotel on High Street, where they were often seen waving to fans from their balcony.

They were due to return to Swansea in May 1954, but the booking was cancelled after Oliver Hardy fell ill. It would have been one of their final UK appearances.

The Empire Theatre itself was a landmark of early 20th‑century Swansea. Built in 1900 by Moss Empires, it seated around 2,500 people across stalls, pit, dress circle and gallery. It stood next to the Carlton Cinema, now Waterstones, and hosted comedians, dancers, bands and circus acts until its closure in 1957. The building was demolished in 1960 and later replaced by a discount store.

The centenary tour will also highlight the renewed interest in the pair following the 2019 film Stan & Ollie, starring Steve Coogan and John C. Reilly, which charted their final UK tour and introduced a new generation to their story.

https://www.youtube.com/watch?v=wqWb8GGkpuQ

Neil Brand, composer and silent film historian, said the duo’s appeal has endured because of the warmth and humanity at the heart of their comedy.

“Laurel and Hardy are still loved because they were the most human of clowns,” he said. “They were vulnerable, they were funny, and they were always on the side of the audience. That’s why people still respond to them today.”

Brand will bring his new centenary show, An Evening with Laurel & Hardy, to Swansea Grand Theatre’s Arts Wing on Saturday 14 March 2026 at 7.30pm.

Neil Brand said the Swansea date would be a highlight of the tour.

“I’m really looking forward to bringing the centenary show to Swansea. The Grand Theatre audience is always warm and knowledgeable, and this new production gives me the chance to share restored silent films, rare clips and the stories behind them. It’s a celebration of everything that made Stan and Ollie timeless, and I can’t wait to share it with Swansea in March.”

https://youtu.be/5dnxwREvcOg

A spokesperson for the Laurel and Hardy Appreciation Society said the Swansea connection remained an important part of the duo’s legacy.

“Swansea was one of the cities where Stan and Ollie were welcomed with real warmth. The Empire Theatre was a major stop on their British tours and the stories of them greeting fans from the Mackworth Hotel balcony have become part of local folklore,” they said.

The tour will include memorabilia, rare footage and talks from historians who have traced the pair’s movements across Britain. Swansea’s appearance in the programme is expected to draw interest from local film and theatre fans, as well as those who remember the Empire Theatre before its demolition.

The Empire’s history continues to fascinate researchers and nostalgia groups. Though long gone, it remains one of the city’s most fondly remembered entertainment venues, often confused with the still‑standing Swansea Grand Theatre but distinct in both design and purpose.

The centenary tour is expected to run throughout the year

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REVIEW: Our Town, Swansea Grand Theatre

⭐⭐⭐⭐
By Pierre Donahue

Swansea Grand was buzzing for opening night of Thornton Wilder’s classic play Our Town, the very first production by Welsh National Theatre. With Welsh cultural icons Charlotte Church, Melanie Walters, Steffan Rhodri, Luke Evans and Iwan Rheon in the audience adding a sense of occasion, the anticipation was palpable, but all eyes were on Michael Sheen. Sheen, who has single handedly driven this relaunch of national theatre in Wales, also takes the starring role here. 

Thornton Wilder’s Pulitzer prize winning play first opened on Broadway in 1938, and has since become a beloved part of American theatre repertoire. It’s a tender portrait of small town America and set in New Hampshire. So it seems, on the surface, a bold choice of material for a brand new Welsh company. On explaining why this particular piece was chosen Michael said “Our Town is about life, love and community. That’s what matters to us in Wales. It’s a play that compels us to celebrate the everyday, to hold the ones we cherish.”

Opening with Sheen as the ‘stage manager’, striding alone onto the stage with the house lights up, he signifies for the lights to dim, and we begin. Wilder’s stage instructions specify ‘No curtain, no scenery’, but here they have been creative. Hayley Grindle’s production design is subtle but effective. The cast use planks of wood, step ladders and plants painting an impression of buildings and furniture and movement. It’s very physical. No doubt the cast have had to work hard in rehearsals. With Swansea natives Francesca Goodridge as director and Russell T Davies creative associate, it is beautifully staged and lit. 

It may be set in America in 1901, but it’s clear that this is a Welsh community with Welsh accents. Early Welsh settlers did move over in the 17th century, so they do exist. In fact the state of Pennsylvania has some well known areas with names such as Bryn Mawr, Bala Cynwyd, Narberth and Gwynedd that prove it. However, here it’s a somewhat awkward mix. Phrases like ‘playing ball’ and ice cream ‘soda’ make you a little unsure where this fictional town is supposed to be. 

Grovers Corners, we are told, is a place where nothing ever happens. This is comically reinforced by listing the mundane aspects of small town life. But it’s also a place where Emily (Yasemin Ozdemir) and George (Peter Devlin) are destined to fall in love. Together we learn that life is precious but fleeting. Sheen, in magnetic form here, tells us early on that some of the characters will die. But not who or when. So when we find out who it has a real emotional impact. 

Wilder originally intended for the audience to see themselves on common ground, unified by being in each other’s presence, alive at that moment. This is definitely keenly felt by me and many in attendance. This is my hometown, my people, my community, and the power of seeing this less than a mile from where I was born cannot be underestimated. My thoughts turn to my family and my loved ones and pretty soon I’m a blubbering wreck. That’s not to say it’s depressing. Far from it. It’s uplifting in its celebration of the beauty in all of our daily lives that perhaps go unnoticed. There is a line that has stayed with me “Does anyone ever realise life, while they live it..every minute?”

Is it sentimental? Yes. Is it a little dated? probably. But it holds up well. There is a clear parallel to Dylan Thomas’s play for voices Under Milk Wood. Which is perhaps no coincidence as Thomas was known to be a big fan of Wilder’s work and the two are known to have met. However whilst Thomas’s work is darker and he delves deeper into the secret lives of a town’s residents, Wilder’s is much simpler but with no less a poetic punch.

When the play first opened in 1938, Wilder wrote “Our Town is an attempt to find a value without price for the smallest events in our daily life”. In a troubled world on the eve of World War II, this was a revelation, and it seems a comfort for many. With world events taking a dark turn in 2026, it is perhaps then no coincidence that audiences may well take the same comfort from this play as I do. 

As the lights go out, I wipe the tears from my eyes and stand to applaud Michael Sheen and the cast who get a deserved standing ovation. I’m not sure I’ve ever seen something so sweet and warm and quietly devastating. I’m quite sure it will be a great success. Michael deserves immense credit for getting all of this off the ground. Theatre in Wales is in safe hands.