St Paul by Mendelssohn ~ 3 Choirs Festival, Worcester Catherdral

3 Choirs Festival runs until 27 July 2017 book tickets for the various events here: 3 Choirs Festival

Star rating: *****

Mendelssohn’s St Paul is rarely performed, therefore it’s selection for this year’s 3 Choirs Festival came as a treat indeed. With the Philharmonia Orchestra providing stunning backing to the stunning vocals of the Three Choirs Festival Chorus and the incredible soloists; Eleanor Dennis (soprano), Yvonne Howard (mezzo-soprano), James Oxley (tenor) and David Stout (baritone). As most enthusiasts are only familiar with St Paul via recordings, which certainly is the case where my knowledge of the libretto is concerned, to listen to parts I and II performed live was an unforgettable experience.

The oratorio begins with an introduction (Nos. 1-3), and continues with the martyrdom of St. Stephen, and St Paul‘s conversion and baptism (Nos. 12-22). Part Two continues with the mission of Paul and Barnabas (Nos. 23-27), Paul’s persecution at the hands of his former co-religionists (Nos. 28-31), the healing of the lame man of Lystra (Nos. 32-36), the resistance of the Jews and heathen (Nos. 37-40), Paul’s departure from Ephesus (Nos. 41-43), and following the mention of his martyrdom, a final chorus based on Psalm 103.

Both Eleanor Dennis and James Oxley provided a form of narration between them and their vocals were clear, pitch perfect with precise diction. David Stout’s baritone voice lent itself exceptionally to the oratorio and his voice possesses a rich, engaging quality which I am keen to hear again. Yvonne Howard, I was already familiar with, she is one of my best-loved opera and classical singers. Although in this piece her mezzo-soprano voice is used little in comparison to the other soloists, the quality of her sumptuous tone was a joy to behold and carried superbly by the acoustics of Worcester Catherdral.

The Three Choirs Festival Chorus performed spectacularly well as an ensemble, their voices blending seamlessly together as they followed the lead of their Conductor, Gerraint Bowen. I have not had the privilege of hearing the chorus before but they are the jewell in the crown of Herefordshire, Worcestershire and Gloucestershire.

The festival overall has been organised superbly, hats off to the team – and Break A Leg can’t wait to support this marvellous event again.




The Beggar’s Opera ~ Storyhouse Theatre, Chester

Beggar’s Opera run at Storyhouse Theatre 19 August 2017 The Beggar’s Opera Tickets

Star rating: *****

Bawdy, brutal, a rollicking good ride of a show with fantastic vocals from all cast members and a script filled with local, relevant references – making a classic piece a very current piece. The Beggar’s Opera is a musical based in 18th century Chester with a varied mixture of genres of music giving edge, energy and substance to it.

The tale of Mac (Macheath) The Knife (Alex Mugnaioni) is at the root of the plot, he’s putting himself about all over town while he’s supposedly engaged to Polly Peachum (Charlotte Miranda-Smith) and knocked up Lucy Lockit (Nancy Sullivan) yet he’s regularly cavorting with prostitutes and not Son-in-Law material as far as Polly and Lucy’s father’s are concerned. That’s because Peachum (Daniel Goode) and Lockit (Jonathan Dryden Taylor) are involved with Macheath in so much as they pocket the belongings of the victims Macheath. The fathers decide to close in on Macheath and hatch a plan to have him hung. However with two love-struck females desperate to be loved by him, the one thing that slippery Macheath has is people on his side, to begin with at least! Add to the mix Mrs Peachum, who is the epitome of Madame Therardier from Les Miserables, devoted to her husband who appears to have an inappropriate lust for his own daughter, Polly.

The set provided its own ambience and was atmospheric to the extreme, it even felt as though there was a musty stench in the air which is what one would expect from the era and location of the story. There was also an excellent array of audience interaction which was innovative in itself.

Alex Mugnaioni gave a stellar performance as Macheath, he was sly, cunning and occasionally quite ditzy in his manner which gave delightful nuances to the character. Daniel Goode was over-bearing and wickedly crooked as Peachum, he has excellent chemistry with Charlotte Gorton who played his wife as well as two other characters, Mrs Vixen and Mrs Trapes. Considering that Gorton was playing three different characters in total, I occasionally had to do a double take because she played each one so vastly differently. She’s the proverbial chameleon and an extremely strong member of the ensemble. Nancy Sullivan performed the role of Lucy Lockit with sharp comic timing combined with a level of emotion appropriate to a girl in Lucy’s predicament. Charlotte Miranda-Smith played Polly in stark contrast to her love rival, simpering, sweet and slightly dim at certain junctures! Jonathan Dryden Taylor also put in a strong performance as Lockit and he had some delightful scences with Goode as Peachum.

It’s a piece that’s stood the test of time and the fact that actor-musos were used provided an extra dimension to what was already a fantastic night at the theatre. A must-see which offers a modern take on the 18th century!


Alice In Wonderland ~ Grosvenor Park Open Air Theatre, Chester

Alice In Wonderland runs at Grosvenor Park Open Air Theatre, Chester until 20 August 2017 – book here: Alice In Wonderland Tickets

Star rating: *****

I’ve seen Alice In Wonderland in almost every incarnation, now and watching this version, adapted by Glyn Maxwell, in the glorious open air setting of Grosvenor Park Open Air Theatre was a real treat. It’s set in the round with a fairly moderate space for the action to occur in but plenty of opportunities for the cast to interact with the audience and make appearances sitting beside the unwitting theatre-goers. It all added to the fun and made for an energetic, exciting and unpredictable Alice In Wonderland – and given that unpredictability is at the heart of the story, the direction by Derek Bond has proved to be exceedingly on point.

This particular version follows Alicia (Anna Leong Brophy) as she worries about going to school and is confronted with Alice (Rebecca Birch) who proceeds to chase after the White Rabbit (Tom Connor). There’s excellent use of large prop letters which form the word ‘Wonderland’ as Alice goes about her adventure, encountering all the usual suspects, The Mad Hatter (Alex Mugnaioni), a rather sporty Duchess (Charlotte Gorton), three sneering school girl flowers, the science teacher in the form of the caterpillar (Jonathan Dryden Taylor) and Humpty Dumpty (Daniel Goode), who is rather well to do and was obviously laid with a silver spoon in his mouth!

The costumes are notable, they add to the ambience of the piece and I have to add that it poured with rain during the second half and they bravely soldiered on – with Alicia becoming extremely soaked in her white nightdress! The Mad Hatter’s tea party table is also a wonder in itself and extremely cleverly assembled, so basic yet so effective.

The cast work together amazingly well as an ensemble, they’re a tight unit and all exceptional in their roles. Rebecca Birch is a fun and frivolous Alice while Anna Leong Brophy is a serious and emotional Alicia. Charlotte Gorton puts in an incredible performance as the Duchess, high kicks, cartwheels and long strides – a real physical portrayal, she also shines as Alicia’s mother. Alex Mugnaioni is wondrously mad as the Mad Hatter and Tom Connor is a skittish White Rabbit and also brings hilarious madness to the March Hair. Daniel Goode as Humpty Dumpty was one of my personal highlights, his toffee-nosed accent was such stark contrast to his appearance. Jonathan Dryden Taylor was laid back to the extreme as the Caterpillar and fantastically ditzy as the King. Most of the cast played multiple roles and were adept at putting different characterisation into each part that they performed as.

It’s a show not to be missed, my favourite incarnation of the story to date and I could watch it again and again if offered the opportunity! I recommend that you embrace the open air setting and head to Chester by 20 August!


Casualty ‘Somewhere Between The Silences – Part 2’ ~ Episode Review

Well, well, well – Ethan certainly took revenge to a whole new level in Saturday night’s episode didn’t he? I could almost see that end coming, and then convinced myself that Ethan wouldn’t have it in him – but he did! Here are the highlights while I try to come terms with what the young doctor has done!

Picture Shows: Mickey Ellisson (MITCH HEWER), Denise Ellisson (LUCY BENJAMIN) – (C) BBC – Photographer: Screen Grab

….murdered by his brother? ~ We picked up from where we left off, with Scott lying on the floor not looking too clever after his brother had accidentally ‘thrown’ him over the railings on the upper floor. It’s all hands to the pumps, of course as the wounds are assessed and Scott has certainly survived the fall thus far…

Ethan’s dilemma ~ Ethan is in turmoil when he discovers the situation – he’s out for revenge for Cal, so here is an opportunity to take it. However, professionalism takes over, to start with at least.

On the mend ~ Some good news in an otherwise grim episode, Grace is on the mend and demonstrates the benefits of her physio to Charlie! Connie is also delighted of course and it seems that her relationship with her daughter has also healed. Connie’s offer for Grace to move back home is met with a big smile. Happy days! Although it’s not all plain sailing and by the close of ‘play’ Grace has come to terms with the fact that her mum is always going to be busy. The gal’s growing up!

David’s date ~ Noel and Grace play a trick on David, he’s still mooning after a love life and a series of text messages lead him to believe he’s got a date… until the pesky pair’s meddling is uncovered!

Pay-back ~ Scott is still waiting for a full assessment of the injurie he’s sustained – he signs his own death warrant by admitting it was he who murdered Cal, but tries to convince Ethan that he brought it on himself. Not really the best way of going about things. So, when Scott starts to choke, what does Ethan do? Leaves the room. Revenge might not be so sweet, though….

Full cast list can be found here:

Casualty Episode Cast

Funny Girl ~ Wolverhampton Grand Theatre

Funny Girl runs until Saturday 29 July 2017 Wolverhampton Grand Theatre Box Office

Star rating: *****

The toast of the West End has been celebrated in Wolverhampton this evening as Natasha J Barnes (Understudy for Sheridan Smith in the show last year) gave a performance to remember as Fanny Brice. It’s easy to see why audiences took Barnes to their hearts last year and long may she reign, what an incredible find she is.

Funny Girl follows the story of Fanny Brice, a wannabe star who hasn’t the conventional beauty and figure of the traditional chorus-line girl. This does not faze her as she feels able to bring something different to the stage, her proposal being to become a featured comedy act. With her mother, Mrs Brice (Nova Skipp) behind her all the way and the aid of her confidante, Eddie (Joshua Lay) hot on her heels and also head over heels in love with the funny girl, she pursues her dream all the way to the top. Along the way we meet her mother’s cronies, Mrs Meeker (Zoe Ann Brown) and Mrs Strakosh (Myra Sands) who love a little flutter when they get together, usually Poker. However, it’s the introduction of big-time gambler Nick Arnstein (Darius Campbell) which not only turns Brice’s head, but her career and life as she knows it on its head. Arnstein doesn’t want to be tied down, but once he’s declared his love for Brice, she is hell bent on tying him down.

There are some stand-out musical numbers in this epic production, ‘People’, ‘I Want To Be Seen With You’, ‘Sadie Sadie’, and of course, ‘Don’t Rain On My Parade’. The piece has been beautifully choreographed by Lynne Page, plenty of solo work – the tap dancing in particular was extraordinary and ballet en pointe too. The set was quite something to behold, the scenery depicting the theatre in which Brice was playing was stunningly constructed and drew me in.

Darius Campbell is quite an imposing presence as Nick Arnstein, he had excellent chemistry with Barnes and his performance of ‘Temporary Arrangement’ was beguiling. Nova Skipp (standing in for Rachel Izen) gave a fine performance as Mrs Brice and demonstrated why she is a Swing in the show, an extraordinary all-rounder if ever I’ve seen one. Joshua Lay was incredible as Eddie, his dancing skills alone were stupendous and I felt that he worked brilliantly with Barnes. I was also thrilled to see Zoe Ann Brown back at the Grand having seen her in The Sound of Music last year. When she appeared in The Sound of Music she stood out for me, and this time in the role of Mrs Meeker, she was both comedic and gentile in equal measure – a firm favourite here at Break A Leg.

The hype around Natasha J Barnes is justified in my humble opinion, she gives Streisand a run for her money. From comic timing to rival any stand-up comedian, to her vocal capabilities and an uncanny ability to switch emotions on and off – this actor has it all. So grab the chance to see her in the role – you’ll be mighty glad you did. She’s more than just a Funny Girl, that’s for sure.

Spotlight on Stars of Odd Man Out ~ Gregory Ashton & Luke Adamson

Odd Man Out runs at The Hope Theatre from 26 July to 12 August 2017, book tickets here: The Hope Theatre Box Office

Odd Man Out is composed of two plays, Rabbitskin written by Dominic Grace and performed by Luke Adamson, and Diary of a Welshcake written by Lesley Ross, performed by Gregory Ashton. Break A Leg caught up with both of the actors to find out what their pieces are all about.

Interview with Gregory Ashton:

Tell me about the piece and your character

Well it’s the story of a man escaping a bad relationship and re-inventing himself in Hong Kong. It’s a love story about cultural identity and finding out who you are, no matter how old you are. I play Ralph, who is a Welshman who sounds more Michael McIntyre than Michael Sheen: he is, I suppose, still trying to discover where he fits in, and he gets in to some pretty ridiculous scrapes along the way.

Was it easy to translate from page to stage?

I think so, but a lot of that has to do with Steve Marmion, the director. He was so careful in his handling of both me and the piece. We had worked together on the award winning Madam Butterfly’s Child so I really wanted to have him back as he puts me in a secure framework to just tell the story truthfully, which ultimately is all you can hope for as an actor

How does the space lend itself to the piece?

Well, I’ve been performing this all over the world for quite a few years now, and the spaces are constantly changing, but there is a unique challenge to performing on three sides… In many ways it is more immersive, which I love, but I also have to be constantly aware of how much I am including all sides, so it is always an adjustment. Then there is the throwing stuff… Will have to think hard about how that will work in the space. What I love about The Hope though, is it is so intimate, which hopefully will help draw the audience into Ralph’s world.

What would you say to encourage people to buy a ticket?

Well, firstly Luke Adamson is great, and I have read Rabbitskin so I can’t wait to see what he will bring to the piece.

I think people often shy away from one man shows and I understand that… but these two pieces are storytelling at it’s most engaging, so I’d say “come along, grab a drink and be transported for a couple of hours”. And of course… you may be lucky enough to be fed.


Interview with Luke Adamson:

Tell me about the piece and your character…

Well Rabbitskin is a beautiful one man show written by Dominic Grace that came out of the new writing programme at The West Yorkshire playhouse a few years ago. It tells the story of Joe who grew up the youngest of five brothers in Leeds. Thanks to his wonderful father he develops a love for stories and literature and he can name his twenty favourite authors off the top of his head! Rabbitskin is Joe telling his story.

What was your initial impression of the script?

I loved it. Absolutely loved it. When I was first asked  to audition for it and read the script I just thought ‘this is so beautiful, I have to get this part’ luckily I did!

Was it easy to translate from page to stage?

The beautiful thing about monologue is that it is storytelling at its purest, it is one actor on a stage talking to an audience. Rabbitskin requires quite a lot of mime alongside the storytelling which is a wonderful challenge for me and really brings the world of the play alive with a beautiful simplicity.

Did you have any ideas about what you wanted to bring to the role?

Mainly I wanted to bring truth and honesty to the role along with an enthusiasm for the stories Joe tells. There’s also a great amount of humour in the script that I was keen to bring out.

How does the space lend itself to the piece?

The intimacy of The Hope is ideal for this piece. Being a single actor in that space talking to the audience, most of whom will be within touching distance, promises to be very special. It will draw the audience right into Joe’s world of magic, dragons, family and rabbits.

What would you say to encourage people to buy a ticket?

This is a double bill of beautifully written stories examining how these two characters fit into the world, at some point I’m sure we all wonder this! These wonderfully human stories will connect to something within all of us and ultimately provide an audience with a memorable night at the theatre.

Thanks to Luke and to Gregory, and as an extra special treat, we have the writer of Diary of a Welshcake, Lesley Ross, here’s what Lesley had to say about the piece…

Tell me about the piece and your inspiration for it

Well, there is always an element of the semi-autobiographical to my work, so many of the things that happen to Ralph have happened to me. I have always had an interesting connection to identity and where I fit in, so they are the themes I often come back to and when I first wrote the piece I was living in Hong Kong so culture and cultural identity were foremost in my mind. The weaving of the love story into Ralph’s journey was the hardest part because I wanted it to be truthful, even though it is uniquely odd. Of course nowadays there is much more talk of sexual fluidity so perhaps I was ahead of my time.

Was it easy to put it all down on paper?

Actually, yes, in this case it was. I mean, I spent months thinking about it, structuring it, finding the beats of comedy and pathos, but the actual writing was relatively quick. There was one major change in the show, which happened around the time we brought Steve Marmion on board and that was to reflect an older version of Ralph to accommodate an older actor playing the part. But that made Ralph’s story more interesting because there are many stories of younger people discovering themselves: it’s nice to explore those themes with someone slightly older; someone who may already know themselves in a lot of ways, but is still discovering new depths and opportunities for enlightenment.

Is it translating well from page to stage?

Well I hope so. I think, over the years, different audiences have responded to different things in the piece and that has often been directly connected to where the audience is from. I remember in one country a certain moment was seen as so shocking that there was this huge intake of breath, but that same moment usually gets a big laugh anywhere else. I find all that fascinating. And of course there is the “audience participation” moment, which always goes down well, but we could never have predicted that until we put it in front of an audience. That is why I love live theatre.

What do you hope the audience will take away from the production?

I hope that people go away with a sense of how with just one person and a few props, an entire world can be created! I love the Fringe… it is so important and proves that you can have an amazing night out for a lot less money! There is nothing more exciting than discovering a hidden gem, or a budding actor or director. But more importantly, if one person leaves that theatre and plans to be kinder to the next odd man out that they meet, well I will be satisfied

Finally, any advice for budding writers?

Write what you love to write about… and keep writing! The artist’s life is not a steady line but a mess of peaks and troughs… and I wouldn’t want to change that for a moment… so I just keep writing…

Huge thanks to Lesley – Break A Leg can’t wait to review Odd Man Out at The Hope on Saturday.


Despicable Me 3 ~ Malvern Theatres

You can book to see Despicable Me 3 at Malvern Theatres Cinema, here: Malvern Theatres Cinema

The Despicable Me franchise has plenty of mileage left in it yet and the third follow-up film goes to prove that and more. Of course there was also the prequel, Minions, which our three year old loves – so we decided to make Despicable Me 3 his first trip to the cinema. It was a hit!

The old faithful minions are back of course, what would Despicable Me be without them? They’re getting rather tired of their boss, Gru, as he has turned to the light side since meeting and marrying Lucy. In fact he’s the devoted father and husband now and his little yellow friends are not on board with it. Their journey to find a new life of villainy leads them to one of the highlights of the film (in my humble opinion, anyway!) where they land in an X Factor-style situation and sing a rousing rendition of Modern Major General. Hilarious!

Gru and Lucy having been sacked from their ‘respectable’ jobs, the main storyline revolves around Gru’s discovery that he has a twin brother, Dru and that his father did not pass away years ago, but more recently. The boys are reunited with laugh a minute consequences, while Lucy is trying to get to grips with motherhood and Agnes is still obsessed with unicorns. The new villain for this story is Balthazar Bratt, a deluded eighties throwback who bears a grudge because he television show from way back when got cancelled. He’s a bonkers mixture of mullet and bubble gum!

I’ve always thought that the Despicable Me films worked on more than just a kids level, this sequel has proved that point and I feel that more of these films wouldn’t go amiss. At just short of 1 hour 30 minutes long, it’s the perfect length of time to hold a toddler’s attention if you want to attempt a cinema excursion with your young breed! The ending certainly left it open for more sequels too and who else wouldn’t mind seeing Gru venture back towards villainy? Hands up!

IMDb Link

Vlog with Star of Don’t Blame The Bankers… $t00pid, Anne Musisi

Don’t Blame The Bankers… $t00pid runs at Camden Fringe (venue: Canal Cafe Theatre) from 11th – 13th August and 18th – 20th August 2017.

Press Release:

Don’t Blame The Bankers… $t00pid Press Release Camden Fringe

Here’s Break A Leg’s vlog with actor, Anne Musisi from the show talking about her role and telling you why you must come and see it!

Visit the show’s website here:

Don’t Blame The Bankers… $t00pid

Wonderland ~ Milton Keynes Theatre

Wonderland stays at Milton Keynes Theatre until Saturday 22 July 2017, book your tickets here:  Wonderland Tickets

Star rating: ****

Alice in Wonderland has been incarnated on more occasions than I care to remember, but one thing’s for sure, the story never gets old (in my humble opinion) and the magic, craziness and wonder remains as curious as it did when I first read the book by Lewis Carroll.

This musical version with music by Frank Wildhorn, lyrics by Jack Murphy, book by Gregory Boyd & Jack Murphy and directed by Lotte Wakeham – didn’t play out how the way I had expected. In fact the first half I found to be a little slow, the lighting and set creating a murky atmosphere although I found it fascinating that the setting is in a modern period of time. Having Alice (Kerry Ellis) living in a block of flats and working in a call centre job she despises couldn’t have been more current. The arrival of the White Rabbit (Dave Willetts) signalled the shift from real life to fantasy, however I felt that the ensuing transition caused the show to take a distinctly pantomime-style turn. Musical numbers also appeared to be inserted for the sake of it rather than fluidly integrated into the flow of the piece.

In this version, Alice has a daughter called Ellie (Naomi Morris) who is willing her mother to get over her failed marriage and desperately seeks change in their lives. Alice also wants a different life and is not at all at peace with the real world. Neighbour, Jack (Stephen Webb) desperately wants to be a hero and has admired Alice from afar since she first moved in to her flat. The White Rabbit was once a judge who dreamed of being a rabbit and who was able to remain in Wonderland because the Queen of Hearts had cut off his head. It seems that once you are beheaded by the Queen you are permitted to remain in her land and you are reunited with your head! Another distinct difference is that the Mad Hatter is played by a female – which works brilliantly and she and the March Hare (Ben Kerr) have a thing for one another. I loved this spin on the classic tale, insightful in my view.

The arrival of Wendi Peters as The Queen of Hearts was also an unbridled joy, I wager that never will you have witnessed anybody munch on a jam tart so comically and my my my this actor can sing. In fact her vocals rivalled Ellis’s extraordinary and instantly recognisable singing voice. When the Mad Hatter (Natalie McQueen) landed, her bonkers characterisation was glorious and again, captured my waning interest. There was also a stellar performance from Kayi Ushe as the Caterpillar and Dominic Owen was a fabulously skittish Cheshire Cat, an intelligent and physical performance was offered by him. Dave Willetts has long been a favourite performer of mine and he didn’t disappoint, this was a different yet intriguing role to watch him play.

Although I took time to warm to the production, the second half was the defining moment and I was glad to have returned after the interval. The musical numbers in the show are engaging, toe-tapping and as an overall soundtrack, they impressed me. I Will Prevail (the Mad Hatter’s big number) is a powerful piece and I Am My Own Invention which is mostly led by the White Rabbit is stunning. Advice From A Caterpillar is a soulful tune and the choreography matched it, perfectly. Equally, The Cat Shoe Shuffle was a highlight, it appeared chaotic and precise all at once. In fact I noted that all choreography seemed to follow a contrary theme which worked brilliantly.

The set is quite a construction to behold and the looking glass is the piece de resistance. Costumes are as spectacular, as would be expected given the story and the Mad Hatter’s outfits are particularly outstanding. Overall, this new musical grew on me and by the finish I felt I’d be keen to see it again.


Casualty ‘Somewhere Between The Silences – Part 1’ ~ Episode Review

Wow, I’m still reeling from last Saturday’s Casualty episode! What an ending, I did not see that coming and what the after-math will be? Who knows, I need to know now, though! Here are a few highlights while I wait in nervous anticipation…

Jez (LLOYD EVERITT), Mickey Ellison (MITCH HEWER) – (C) BBC – Photographer: Alistair Heap

Connie & Sam ~ Connie’s very quick to put Sam back in his place about their hanky panky in the cupboard the previous week. I’m sure for shippers of the pair, that has come as a disappointment – however, with Mr Chambers returning to the stage, I fear Sam won’t be around for much longer.

Speed Dating ~ This was simply hilarious, Dylan’s part in it in particular! His dismissiveness and pointed comments made my night, is it me or does his character just get better? He’s like the unintentional comedian of the show.

Ruthless Ethan ~ Ethan was less than impressed to see the Ellisson family back in the ED and his feud with Scott is far from over, rightly so as he is his brother’s killer after all! Ethan knows that Scott’s brother Mickey is having a relationship with Jez, of course… so he sows a seed.

Jez in danger ~ Ethan’s revelation to Scott causes repercussions, naturally! Meaning that Jez and Mickey find themselves on the other end of his wrath and his knife. It doesn’t look promising until…

An accident? ~ So, Scott comes a cropper when he is intending to harm Jez – the episode ended on the murderer falling from the upper floor and landing on the ground floor below. There’s blood, of course, so is this the end? Has it literally been the case of an eye for an eye? I can’t wait to find out!

Full Cast:

Casualty Cast