Hi Katherine, great to meet you,
can you give our readers some background information on yourself please?
I’m a writer that works mainly in theatre and I’ve done a bit of film and TV and radio.
I love words and people and questioning things so I think being a writer is probably where I always would have ended up. I’m not from a theatre/arts background at all, I left school before A levels like all my friends. I was more or less always working from leaving school. Me and my friend worked for her Dad on the markets and street trading for a while and I was a waitress for different places. I did a stint on the breakfast shift in the Angel Hotel, Cardiff and also a few years in the Masonic hall for the Masons. When I didn’t have work I signed on and I was put on a YTS scheme that was for kids that had left school like me without qualifications. I happened to be sent to the Sherman Theatre , Cardiff and it changed everything for me.
I was in the finance and admin dept but loved being around the shows. Phil Clark who was Artistic Director at that time (Phil is the Director of a play I wrote ‘Peggy’s Song’ by National Theatre Wales which is about to go on tour) encouraged us all to go and see whatever was on. It was the late eighties, the time of Willy Russell and John Godber, perfect plays for someone like me who never went to theatre. I just loved it!
I worked at the Sherman for six years, I was always hanging around the production office and started volunteering to do stuff on the shows. So I chaperoned a bit and shadowed stage management and helped out on the Sherman Youth Theatre that sort of thing. When I was twenty-four I applied to Welsh College to do the Stage Management course, I didn’t have any qualifications so I really was surprised when I got on. I stage managed for a bit and then when I had kids I started writing. I had a very tough few years personally in my twenties and early thirties and it really changed the way I looked at life. I decided not to waste any more time, I wanted to be a writer and so that’s what I did.
I’ve never done any kind of
writing course but I think just being around performance for all of those years
gave me a sense of how to write for theatre. I believe that anyone can write a
play, that’s what I love about script writing, I wish more people from
backgrounds like mine would give it a go, it’s been a real joy for me to be
able to do something that I love.
This chat is specifically
about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening
At the moment I’m listening to James Brown and Aretha Franklin. I have to choose some songs for Peggy’s Song All the music used in Peggy’s Song is by artists who have died. Ghosts that stay with us.
When I write I more often than not have music attached to the play, which the director may or may not choose to use. Before it Rains was The Super Furry Animals, Bird was Curtis Mayfield, Thick as Thieves was Nina Simone and Lose Yourself was The Commodores. Sometimes when the show has finished it takes a while before you can go back to those songs because you are transported back to the play.
Peggy’s Song has lots of music in it because the main character Danny played by Christian Patterson is a hospital DJ.
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
so difficult but I think it’s going to come down to memories for me.
Songs in the Key of Life – Stevie Wonder
It’s a masterpiece. Everything about it, the production, the lyrics, the groove, the voice.
I could have chosen a few of his
albums because his work from the early seventies is genius, he’s up there with
the Beatles for me but this is the
I don’t talk a lot about losing my sons but an interesting thing happened and this album leads me to that. In the period around and a few years after they died I really wasn’t able to listen to a lot of music. I think probably because you’re too raw and music gets into you. You put a hard shell around you, I think so you’re able to function and music was too manipulating. This was one of the only albums I listened to during that time. I remember playing it in the car a lot when my daughter was little, driving her around to different clubs and singing ‘Knocks Me off my Feet’ to her. It always makes me think of the kids being little and precious times with them and Guy. It’s a sunny day, windows open, album. Love and happiness.
2. Saturday Night Fever – The Motion Picture Soundtrack
Just because it takes me back to my childhood. Family parties, Christmases’, Discos, A Benidorm holiday in 1979, my Dad, my Uncle, my sister, my cousins. We’re a family that likes to have a good time. You could rent us for a disco or a wedding to fill your dance floor to this album.
I love Disco. Donna Summer, Earth Wind and Fire, Chic, Chaka Khan, Odyssey. I have most of our disco albums from the seventies that I still play. I also love the Bee Gees but ‘If I Can’t Have You’, Yvonne Elliman is the song for me from this album, her voice is so full of full of heartbreak and drama.
3. Setting Sons – The Jam
The Jam and Paul Weller could have taken three of the five albums for me. I love Dig the New Breed, Sound Effects and Wild Wood but I keep coming back to Setting Sons.
I used ‘Thick as Thieves’ as a title for a play; it’s one of my favourite songs. Paul Weller is a master lyricist. We really felt he was speaking for us as teenagers. I think there’s a wave of working class kids who are now in their forties and fifties that hold Paul Weller in the highest regard, it’s like a club we all belong to. This album takes me back to my early teens, there was a mini mod revival. All the boys were wearing stay press trousers and Harringtons and Fred Perrys and Y cardies. Our youth club did a Thursday night disco and it was all The Jam or The Specials, The Selector or The Beat. Me and my friends Cath, Sheenagh and Lisa would go to the Northern Soul disco in the Transport Club in Grangetown on a Saturday. My love for Motown and Soul comes from that time and it’s the music I still listen to the most.
4. I Never Loved a Man the Way I Love You – Aretha Franklin
I mean. If I wanted to lose myself this is where I’d go. Perfection. ‘Do Right Woman, Do Right Man’ is the song for me from this one. Such a sassy song. She’s not asking him to do right by her, she’s telling him. I love it.
5. An Eighties Hits Compilation
I can’t decide the final one so I’m going for an eighties compilation record that has New Order, Depeche Mode, Human League, Yazoo, The Police, Wham, Michael Jackson, Prince, David Bowie, The Style Council, George Michael, Paul Young, Frankie Goes to Hollywood, Madonna, Bananarama, Scritti Polliti, The Cure, Aztec Camera, Tears for Fears, Spandau Ballet, REM, Luther Vandross, Curiosity Killed the Cat, Cyndi Lauper, Crowded House, Talking Heads, Tracey Chapman, Anita Baker and many, many more.
I wanted an eighties album. It was going to be Prince, Purple Rain or George Michael, Faith but then there’s Human League Dare and and and – so I’ve gone for a compilation. A big one with loads of songs on. Full of memories.
Just to put you on the spot could
you choose one track from the five listed above and tell us why you have
It has to be ‘Knocks Me Off My Feet’ Stevie Wonder. My kids and Guy are Love and happiness for me and that’s also what this song is.
Many thanks for your time
Tickets for the tour of Peggy’s Song produced by National Theatre Wales are available to book below.
Riverfront Newport – 25 September, 7.45pm BOOK NOW
Pontardawe Arts Centre – 26 September, 7.30pm & 27 September, 1pm & 7.30pm BOOK NOW
Theatr Brycheiniog, Brecon – 1 October, 7.30pm BOOK NOW
Grand Pavilion, Porthcawl – 2 October, 7.30pm BOOK NOW
Theatr Hafren, Newtown – 3 October, 7.45pm BOOK NOW
Taliesin Arts Centre, Swansea – 4 October, 7.30pm BOOK NOW
Theatr Richard Burton, Royal Welsh College of Music & Drama, Cardiff – 5 October, 7.30pm BOOK NOW
Borough Theatre, Abergavenny – 7 October, 7.30pm BOOK NOW
Blackwood Miners Institute – 8 October, 7.30pm BOOK NOW
Torch Theatre, Milford Haven – 9 October, 7.30pm BOOK NOW
One of the worst movies last years was Hereditary, though it generated a lot of buzz and gathered quite a bit of critical acclaim it fell flat with this critic. To me, it was indulgence in the frankly unpleasant and awkward, not the scary, and meandered around until it gave up on the plot and simply ended, leaving nothing but ash in my mouth. But it was a success so writer-director Ari Aster is back and with probably even more creative freedom and budget.
When the movie opens, it is, actually, pretty good! We see a young woman named Dani, who is nervously scouring her e-mails, she’s conversing with someone who doesn’t sound right. She phones her boyfriend Christian (Jack Reynor) that talking with his other friends about how he doesn’t want to deal with her anymore, but he still takes her calls and essentially gives support through autopilot. We learn that Dani is conversing with her sister who has been suffering from mental health issues and these specific words she’s been using make her nervous, she’s stopped e-mailing back. Dani calls the police and the go and investigate but its too late, her sister has killed her and their parents. This scene is unnerving, atmospheric, efficiently establishes much about the characters and their relationships and is genuinely scary. Then the rest of the movie happens.
We cut to six months later and
Dani and Christian are still together, really because now would be a
terrible time to break up with Dani being very fragile. It’s learned
that Christian is planning on going abroad to Switzerland to visit their
friend Pelle’s (Vilhelm Blomgren) home village and also write their
thesis on the place and their culture. The other friends are Josh
(William Jackson Harper) and Mark (Will Poulter). Out of comfort
Christian invites Dani along but assures the boy’s shes not really
coming, she comes!
But as soon as they arrive in the
town the movie nosedives and it never stops, it just keeps going and
when it hits rock bottom it just keeps going.
Pugh made a name for herself with the Park Chan Wook mini-series Little
Drummer Girl, then went on to impress further in the Wrestling movie Fighting with my Family.
Here is a project where she really gets to demonstrate what a talent
she is, she has to convey complete polar opposites of emotions to the
extreme and a whole bunch of other shades in between.
give credit where credit is due this one starts on solid ground and
that is used to push the characters and the narrative further going into
the movie, but once we get to the place it all starts to unravel. You
don’t know where the plot is going and you really start to not care as
it goes on and on because it has all just become a series of weirdness
and unpleasantness and indulgence. When the movie finally ended I was
exhausted and one of the last images they present us with is something I
suspect that the filmmakers believed was scary but was frankly
hilarious, I would have been laughing except I was just too damn tired
of being here.
One of the great crimes of the movie is
its cinematography and the unique accomplishment of the color
correction. These are meticulously composed shots, with imagery that
sticks in your mind, this will probably go on to be a very iconic movie.
Color grading is a process where they take the raw footage and it is
processed so that it either looks more saturated, less saturated, deeper
blacks, etc. What they’ve done here is make the image look like an old
pastel painting. It has this grainy, flat, but also vivid look to it
that I haven’t seen in a movie ever. Such effort and panache, wasted on this dismal project.
I have never hated the experience but been so in awe over the craftmanship in a movie. The sounds, the images, the performances, but it all goes to waste on an experience that I think means something but looses its meaning in its own indulgence and style. I guess this is better than Hereditary but also weaker. Just another journey of draining and unpleasantness.
A while after seeing Man of Steel and making very clear my dislike for it one of my friends posed this question for me “Is it that this is a bad movie or just that this is a bad Superman movie?” Interesting question, could it be that I’d be easier on the movie if it wasn’t meant to represent my favorite character? Well it does have Supermans name in it and the filmmakers knew that, so either way no point dwelling too much on that. But now here is Brightburn which is clearly taking the concept of the Superman origin story but pushing it through a horror filter.
Taking the concept but not having it directly be the exact thing gives the creatives the freedom to twist, reinvent and add any kind of layer over it they wish. Creatively I’m sure that’s a great luxury and could absolutely lend itself to some good stuff. But lets stay focused, we see a kindly young couple of the Breyer’s, Tori (Elizabeth Banks) and Kyle (David Denman), they have a farm and are very much in love and want to start a family, it just doesn’t seem to be in the cards for them, until one night they hear a loud crash outside and go to investigate, it leads them to the smoking crater, then cuts to years later and they are now parents of a young boy (any of this sounding familiar?).
boy’s name is Brandon (Jackson A. Dunn), he’s a shy kid, that likes to
draw and gets bullied at school. He’s not what you would call the most
sociable, but seems gentle and nice, except for one night when he seems
compelled to go into the barn and something underneath is calling him.
He also realizes that he has super strength, invulnerability, can fly
and laser eyes (know of anyone else with those powers?). Underneath the
barn is the pod that he arrived in years ago and it seems to send a
message into his head. From here on he knits himself a red mask that resembles a gas-mask, dawns a red cape embraces the use of his super abilities.
here on it is a series of him talking down each person that annoys him
in extremely brutal and quite frankly fetishized ways. Not just due to
the fact that the murderer has superpowers but that they dwell on all
the gory elements we are just left to watch a series of brutal murders
with the aid of superpowers
Everyone here is a very
good actor, they sell the moments of leisurely downtime and humor and
excel when they need to be scared. When Brandon toys with them like a
cat with a mouse they are so worried about their lives and it shows.
I’ve said it before but in an action movie you can have someone face
down an insane threat and look cool as a cucumber doing it, but in a
horror movie we need to feel the fear and one way you do that is to cleary show that the characters themselves are afraid.
is the old saying “All power corrupts and absolute power corrupts
absolutely” but I prefer how Robert Caro put it “What I believe is
always true about power is that it always reveals. When you have enough
power to do what you always wanted to do, then you see what the guy
always wanted to do.” But maybe this is adding too much, the point is
that this movie doesn’t really have any of this in mind, is it that
Brandon was always a psychopath? Did the message from his ship rewire
his brain to make him perform these horrendous acts? I’m not sure and
I’m also sure neither are the filmmakers. I just feel like they wanted
to take the concept of a character that embodies optimism and hope and
put their own, mean spirited bleak icing over it.
Ultimately this is a movie without a soul and means nothing. Is about a kid who just seems to be a bad seed and because he is of a species that has superpowers can inflict his sadistic tendencies upon helpless humans, or a case of a bad seed, or the corrupting ability of power? It says nothing about why someone would be like this, about the corrupting element of power or the redemptive or limits of parental love. It wants to take a concept about pure goodness and put it own, cynical, malicious spin on it and I have, frankly, no patience or appetite for it.
Forget revision, intense study (I remember those days well) Forget the “clipped” British film version or the American theme portrayed on Venice Beach – (seemed strange with those costumes and a “Californian Dreaming” background, unless of course, you are an ardent fan of Leonardo DiCaprio). This was a thoughtful retelling of Shakespeare’s tragic play “Romeo and Juliet” directed by Matthew J. Bool and skilfully performed by Avant Cymru.
The Amphitheatre at Penrhys – built over 20 years ago as a Project by world wide students – became the 21st Century Globe Theatre as the area sparkled like a magnificent gem linking an intricate necklace from its vantage point on high above the two Rhondda Valleys
was a murmur of anticipation hanging in the air; we were all seated on the
amphitheatre stone steps, almost like elephants sitting on top of lollipop
sticks. Sunhats, sun cream, drinks and cushions were necessities. Bird song and
traffic could be heard in the far distance, then silence as we were all
transported to our very own Verona high in the mountains of the county of
Glamorganshire. Guitar music and song emanated from a trio of cast members as
the Chorus/Nurse introduced us to the famous story.
The story is as of old, boy meets girl, they fall instantly in love but they are from opposite sides in an age old vendetta between the two families. They find themselves as star crossed lovers, marry secretly, Juliet discovers that her parents have arranged a marriage. There are fights and Romeo’s friend Mercutio is killed by Tybalt (who through the couple’s marriage is now a kinsman of Romeo). Romeo kills Tybalt and is banished from Verona.
A desperate plan is needed; Friar Laurence provides Juliet with an herbal draught which will induce a “deathly” sleep. He has promised to notify Romeo of this scheme. Juliet will awake and be reunited with Romeo and all will be well. Alas the message goes undelivered. Romeo, fearing the worst buys a phial of poison which he imbibes on finding Juliet in the Capulet Family Vault. Juliet wakes to find her beloved dead, a last kiss and using Romeo’s dagger she kills herself. The families are reunited in their sorrow.
Freyja Duggan as Benvolio was like a happy sprite, full of mischief and mayhem. Matthew J. Bool as Mercutio was like a supercharged Jack in the box, in turn volatile, serious and sensitive to the varying moods Romeo was in. As friends of Romeo, they try to lift his spirits believing that he is not in love with his present amour, Rosaline, just besotted. On a whim Romeo decides to gate-crash the Capulet Family Masked Ball thus lighting the touch paper in this conflict. Douglas Guy plays the romantic Romeo who, on meeting Juliet, played by Gabrielle Williams, believing her to be pure, dreamlike with her beautiful hair flowing like a waterfall, he loses all senses; their combined emotions wobble like a blancmange in an earthquake. There is no denying the ignition of passion, they do not realise how the situation will implode – they only see each other.
Jamie Berry, who plays Juliet’s cousin Tybalt, is steadfast and strong in his role pursuing the family feud. Romeo refuses to fight Tybalt, as a result of which Tybalt mortally wounds Romeo’s friend, Mercutio. Romeo ends up killing Tybalt for which he is sentenced to banishment from Verona. Romeo seeks the counsel of his mentor, Friar Lawrence played by Eleri Bowden who is busy as a bee reporting everything via an IPad. A secret marriage ceremony is performed little realising that an arranged marriage has been organised by Juliet’s parents to Paris, a cousin of the Prince of Verona. Juliet is in worse despair as Friar Laurence comes up with the desperate plan to fake her death.
Nurse, played by Menna Sian Rogers is a delight; a Valleys Mam/a “Bopa”
(neighbour, not related but still an Aunt that would look out or after the
children) a knot of gossip, almost supplying a comedic wordplay to the tragedy
as it unfolds.
is set, Juliet is found presumed dead the following morning; taken to the
Capulet Vault to lie in state. The uncompromising Lord Capulet, played by Shane
Anderson and the fair Lady Capulet played by Rachel Pedley crumble in their
anguish. Romeo, learning of Juliet’s “demise” buys himself a phial of poison
for his life is nothing without her, he comes to the Vault closely followed by
Paris, played by Jack Wyn White, they cannot console each other, the stakes are
too high, there is a fight and Romeo kills Paris. In his grief, Romeo imbibes
the poison and lies down beside Juliet.
Juliet awakes to find her beloved dead; her final act is to kiss Romeo
and uses his dagger to kill herself.
It was a wordy and worthy adaption of the play. We have all grown up in the time of HRH Elizabeth II with social media fuelling the age of selfies and such emoji’s making their impact on lives.
This was what it would have been like in the reign of Elizabeth I, a play performed in the round, people eating conversing as the story enfolds. To think of it as a blank page, like a story book awaiting a tale to tell. It brought Shakespeare to life and we were all part of it. The staged fights were expertly choreographed by Jamie Berry – and when he was mortally wounded we wondered what happened to him as he disappeared into the “other valley”. We were concerned about the actors playing the main roles as they expired hoping that the sun wouldn’t cause more harm to their fatality!
part of it all, as a scene that has been repeated over the years with barriers
such as the Berlin Wall separating East from West, the Gaza Strip. Love stories
amidst the differences of creed, colour and religion.
Small sadnesses, great tragedies link us all in love. Never was a story of more woe than this of Juliet and her Romeo
On my Facebook newsfeed , a post from Tempo Time Credits page caught my eye. It was offering tickets to see Annie, in exchange for Time Credits.
When musical theatre offers come up with Time Credits they usually sell out super fast.
We were in the car on our way to Bristol Zoo to celebrate my partner and our son’s birthday. I thought let’s try see if I can get any! It took about 40 minutes to get through on the phone, my hopes were slowly fading. They offered 3 different days, I could only do the Bank Holiday Monday evening as my partner was working the other days. I got 3 tickets including a wheelchair space, carer ticket through the HYNT scheme and another seat. This cost me 4 time credits. (2 Time Credits per ticket, but with the HYNT scheme the carer is free).
I wasn’t sure at first who would go, myself my mum and dad (it was my dad’s birthday that day too), or myself and oldest two children. I firstly offered them to my parents. I felt they deserved a treat, and that it was my dads birthday. Cody had been to see Madagascar the musical earlier in the month, and Cerys went to see The Little Mermaid with her nan and cousin. They kindly declined and wanted Cody and Cerys to have them to enjoy.
Sunny warm Bank Holiday Monday came. May I emphasise sunny and warm, as most bank holidays are cold, windy and wet in Wales.
It was a super busy day for us all. Cerys attended her extra gymnastics session in the morning. They were celebrating their one year anniversary being open.
Chris’ sister managed to get us tickets for the Chepstow Racecourse Family Fun Day, so we went along and met up together.
From here we called in to see my dad and sang happy birthday. I would have liked longer there, was a very short visit.
Then off we went to the Wales Millennium Centre in Cardiff Bay. My partner Chris dropped us off and looked after our youngest, while Cody, Cerys and I went to watch Annie.
If you are visiting the Wales Millennium Centre, or Cardiff Bay in general, there are a few places you can park. A blue badge holder can pay to park backstage, on site at the Millennium Centre. Or anyone can pay to park at the Red Dragon Centre close by. If you spend money (over £5 I believe) in any of the places at the red dragon centre, parking is free.
There is a multi storey car park close by too. I’m unsure of the prices I’ve never used it. Very slightly further away, a lovely little walk taking in some of the sites, is the Mermaid Quay 2 floor car park, and a pay and display car park near the St David’s Hotel and Spa.
My son likes to use the toilets and go straight up to our seats, even if the doors haven’t been opened to go in yet. We were outside the theatre doors an hour early, first in line! Then he asks every 2 minutes what the time is and how long is it until the open the doors and how many minutes for the show to start. I believe this is part of him, his additional needs. Still no diagnoses for him. (I know a lot of children do ask what time is it and how long etc many times, but this for Cody is different. He appears to get overly anxious, and become more unsettled if the time isn’t told and seen. I was probably asked over 20 times at least.) Cody decided he wanted to wear ear protection headphones out this evening, for the journey here and for the performance. He doesn’t always use them, only occasionally when he feels he needs to. I noticed he was tapping on the wooden side of the balcony and rubbing his hands against it to make a squeaky sound.
I felt like including this in my blog post today, because my eldest does have additional needs and requires that extra support. I’ve mentioned it a little before in my blog, in the post called ‘is it the A word?’ These behaviours stood out to me during our evening. and I mindfully notice this more and more.
We hadn’t had tea, so we were snacking on buffet style foods while waiting, mini sausages, savoury eggs and strawberry lace. What a selection!
A little bell sounded, half an hour before the start time of 7.30. Cody jumped up and down, shouting mum it’s time, get your tickets out. He ran after the usher going to open the doors. I haven’t really mentioned Cerys in this. But she was with me too. She’s quieter and more mellow. Cerys was taking it in, asking about Annie, saying she had seen the modern film version and clips of the older Annie musical film. Standing by my side, walking nicely as we go in.
A bit of background about the Broadway Annie the Musical. It was put together by a player writer named Thomas Meehan who wrote the book, music Charles Strouse and lyrics Martin Charnin. It was originally based on a comic strip called Little Orphan Annie created by Harold Gray.
Annie the musical is about a little orphan girl called Annie, who lives in Miss Hannigan children’s home. A billionaire (Mr Warbucks) invites an orphan (Annie) to come stay with him for Christmas, his love grows for Annie as a daughter and he wants to adopt her. Annie clings on to hope of finding her real parents and Mr Warbucks tries to help her. Miss Hannigan makes a plan with her brother and his girlfriend, to pretend to be her parents in order to get the money reward. They are caught out and arrested. Annie finds out her real parents are no longer alive, and Mr Warbucks adopts her.
I’m always quite contented and happy with the wheelchair space at the WMC (Wales Millennium Centre). We have always had seats in the front on the middle stalls. It gives a good view and plenty of leg space, apart from when the ice cream and merchandise cart comes around, which is very close, and lots of people nearly pile on top of you, but I can put up with that for a few minutes. I’m usually in a good mood at this stage, with being blown away with how good the first half of the show has been.
That certainly was the case with Annie. The start of the musical began in the dorm of the children’s home, the orphaned girls in their bed waking up to Molly having a bad dream and singing the first song “Maybe” followed by Miss Hannigan first entrance and then the song “It’s the Hard Knock Life”.
I was impressed by the talent of the children straight away. I wasn’t sure what to make of Miss Hannigan at this point but in a later scene with her brother and his girlfriend, their trio performance was fantastic. How they interacted on stage with their superb singing and choreographed dancing in the song “Easy Street” and “Easy Street reprise”, absolutely brilliant! They seemed to just click perfectly!
Another of my favourite moments of the musical was “I Think I’m Going to Like it Here” and “N.Y.C”. It reminded me of that ‘classic’ musical feel I get from the older musicals with the likes of Gene Kelly and Frank Sinatra. The variety of different types of dance including tap was wonderful to see.
My little girl said to me, before the end of the first act, can we come back and see it again mum, I really like it.
Annie, is a vibrant family musical with catchy tunes and a talented mixed cast of children and adults.
The Time Credit opportunity to pay for tickets, gave us this chance to experience and thoroughly enjoy it.
When we came out of the main auditorium, and back down into the main foyer, the Luke Jerram artwork called Gaia, planet Earth looked spectacular. It’s there from July 30th – September 1st.
When we previously saw it during another visit in day time, my children laid down underneath mesmerised by it.
Annie plays at the Wales Millenium Centre until the 31st of August.
From its setup and concept, Booksmart could easily be just another teen movie where shenanigans ensue and jokes are sprinkled throughout and it’s either pretty funny or a dud. But through a tightly written script, actors that have great timing and nuance and a director that knows what they’re doing and brings a few bold choices to the table it is not only very funny but one of the best movies of this year!
Opening the movie is a girl sitting in her room, in a meditating pose and listening to a motivating track, the voice tells her to believe in herself, tackle all problems in the way of her goals and to all the people that look down on her “Fuck those fucking fuckers!” we also see that her room is decorated with an assortment of ribbons, medals, and inspirational women, this is Molly (Beanie Feldstein) and this tells us almost everything we need to know about her character. Pulling up outside her best friend Amy (Kaitlyn Dever), the two greet and break into dance over a track on the radio and they tell each other that they’ve missed one another even though they saw each other yesterday. This tells us everything we need to know about their friendship.
they get to school it is established that it’s the last day of the
school year, they are about to graduate to college, and both girls are
very invested in extra curricular activities. The other students are
more interested in the big party that will be happening tonight as they
have for most of the year. during an encounter in the bathroom where
Molly flaunts her getting into Yale to the popular girl (Molly Gordon)
where she learns that she will also be going to Yale and the other
students that she’s looked down on are all going on to good schools.
it is the night before graduation, Molly is shook with the realization
that they didn’t have to make a choice between school and having a
social life that she dedicates herself to the idea that her and Amy will
be attending the big party and have fun, experience and memories before
So this is a pretty standard setup
for a teen comedy. We have youths, we have a party that lends itself to
the very likely possibility of something crazy happening as well as
characters that want something crazy to happen. Indeed crazy things do
happen and their journey to the big party is anything but smooth, but it
is the fact that all the jokes themselves are funny and not predictable
that make this familure road seem refreshing.
comes to crime movies, or mysteries, or action movies it’s a simpler
thing to make the story tight. Every character and element must serve a
function, like the old phrase “Never introduce a gun in Act 1 if you’re
not going to fire it by Act 3.” However comedy is actually a completely
different beast, it is allowed to throw in all kinds of meaningless
bells and whistles for the sake of it, there can be a moment or a
character that comes in briefly and never makes a return and as long as
we laugh I doubt anyone would really cry fowl about it. This, however,
is both tightly woven and very funny, the characters hobbies, their wild
actions, things that are said in passing come back and pay-off later
down the road and they are all funny. This has set a dangerously high
bar for comedy with not excess fat.
directing chair is Olivia Wilde. An accomplished actor in her own right
now she helms her own project. Usually, when actors take up duties on
the other side of the camera their focus goes to the actors and their
performances. She definitely spends time with her actors, honing their
performances but she has brought a keen visual flair to this project.
She has experience shooting music videoes which was most likely the
biggest help. Many of the jokes play out for their visuals, there are
strong, bold lighting choices and there are a few times when she lets
the story play out in a purely visual way. It also comes with one of the
most unique and memorable drug trip-out scene you’ll see in a movie for
There’s a great use of music in the movie.
Much of the songs are “Gangsta Rap” which is about seeming bigtime and
bragging about all your accomplishments and worldly possetions. Whenver
the girls are in their true element it kick in but they are not doping
the actthat would most likely be associated with the music e.g. going
into a library to study. It is the knowing disconnect but filmming it
like its legitimate that makes it funny. The score adds the the
over-the-top overblown ego of these characters and situations. Later on
in the movie there is a more tender score to even out the bombosity.
these laughs and shock and colors are fun and everything but unless it
all means something then the movie would just be like sugar, enoyable
while your having it but the sensation quickly fades away. Underneath
all the swearing, crazy acts and punchlines is a story about two best
friends whos lives are about to change forever and just because your
outside of the normal in your school life that doesnt make you better.
There’s a tender, vry honest heart beating at the center of this movie
and that’s what will stick with you after you see it and keep you coming
From it’s vivid characters that represent some form of insecurity/stereotype, to it’s basic setup that becomes on epic quest, to generous visual flourishes and a rock solid script for all this to be built upon, Booksmart is one of this years and a few other years best comedies.
Well, this is an interesting franchise that’s been started. Godzilla from 2014 was a very bad movie, however Kong: Skull Island was a cinematic highlight for me, so now we have the sequel to Godzilla that will lead to the two iconic monsters clashing. It does away with Gareth Edwards and brings in Michael Dougherty, how does all this fair?
entrance into this movie is a young girl named Maddison (Millie Bobby
Brown), whose mother Emma (Vera Farmiga) is a scientist that is studying
an enormous larva, suddenly renegade soldiers burst into their facility
to awaken or steal the larva, it hatches and Maddison and Emma are
taken. Cutting then to Maddison’s father Mark Russell (Kyle Chandler)
who’s also a scientist (that’s convenient!) is brought in by Monarch,
the high-tech organization that specializes in dealing with these giant
monsters or kaiju.
Of course, it isn’t long before the
main player shows up, Godzilla himself. When you are dealing with one of
the most iconic pop culture figures, a cultural landmark and who is
essentially a force of nature within your movie you’d better do them
justice. He isn’t redesigned from the 2014 version though he has
apparently grown a few extra feet making him a nice even four hundred
feet high. He has a simple silhouette that makes him instantly
distinguishable and when we get close we can see loads of little details
that I’m sure the C.G.I. team
worked very hard on. He is mostly filmed from low angles and moves very
slow adding gravity to him. This is an honorable and appropriate
presentation of him.
Along with Godzilla, we are also
treated with a few other classic monsters from the lore. We have Mothra
who is (as the name would imply) a large moth-like creature who’s always
been humanity’s defender, Rodan a giant pterodactyl essentially, and
finally, there is Ghidorah Godzillas most popular and staple
arch-nemesis, a dragon with three heads and able to breathe lightning.
focus of this movie is in the right place. We are here for the
monsters, they are what are on the poster and who the movie is named
after. Really we need the humans to inject some, well humanity and to
string along the fights and their actions, maybe even give the good ones
a helping hand or a point in the right direction. focus on the
monsters, with humans along for the ride.
some choices that are made, which I always fail to understand that for
you to take a movies subject matter seriously, you need to have
predominantly dark colors with a bleaker image throughout. I do
understand that an element of Kaiju movies are about dealing with a
natural disaster but even then you have a giant lizard that shoots out
fire, it is only so serious you can take that before the filmmakers look
like the silly one for trying to convince us this is serious. This
movie much more earnestly embraces it’s fantastical and overblown
concept and gives us vivid colors for each of the main kaiju, Godzilla
is blue, Ghidora is yellow and Rhodan is red. This works to make the
image onscreen vibrant but also when the monsters clash so do the colors
and so you can much more easily register who is who.
in the last movie they adopted a documentary feel to the camera work,
this isn’t a found footage movie so why they decided to frame these two
giant monsters biting and clawing each other in such a low-grade way
still strikes me as a poor choice. This movie goes in the opposite
direction again, deciding to be very Hollywood with their depictions,
they frame the monsters with epic majesty. Low angles and well-composed.
you are to see this movie see it on the big screen. Every movie should
be seen on the big screen, there isn’t a movie that benefits from a
smaller screen less sharp and reduced sound, but this is a special case.
This movie is about big images and sounds, in order for you to absorb
the scale of these mighty creatures and hear all the music and sound
effects the movie theater is the place to see it. I would hope that’s
where you are seeing most of your movies but if not then do and if you
plan to see this one, make sure it’s on the biggest screen you can find.
nice touch is that they use the classic monster theme’s from the
original series of movies. Now if you watched the movie and were
unfamiliar with the classic series then it wouldn’t mean anything to
you, that’s ok. But fans always like to be rewarded and recognized in
some way and this is a way of doing it. Plus they are just good,
distinctive tracks so why not utilize them?
This is not
a deep movie. I can’t really tell you what this is about below its
surface. Plus there are plot elements that either don’t make any sense
or are just left dangling in the wind by the time the movies over. But
it is entertaining and it took every bad creative decision from the
previous movie, turned left and now we have a much more enjoyable,
easier to see movie.
So what we have is a movie that’s the third part of this cinematic franchise and doesn’t require you to see the previous two, these movies are generous with not being heavily continuity focused. It is a great improvement over Godzilla though it lacks the panache and memorabilia of Kong. Though in terms of paying respect and doing justice to these monsters it does indeed do its job. you won’t need to see the previous two movies in this franchise, nor any other Kaiju movie and it could indeed turn you into a fan.
Hi Owen great to meet
you, can you give our readers some background information on yourself please?
I have been a Playwright for almost 20 years. My plays include ‘Benny’, ‘The Wood’, and ‘Richard Parker’. I have a lifelong love of storytelling and the rhythm of words. How the dialogue sounds to an audience is always as important to me as the strength of the narrative.
The play I am best known for is ‘Grav’, a one-man show about the life of Welsh cultural and sporting icon, Ray Gravell. This year saw ‘Grav’ complete its 100th performance and counting.
I grew up on a farm in Mid Wales where my parents still live and work. I
now live in Tongwynlais on the edge of Cardiff. I am married to Amelia, and we
have twin daughters, Sofie and Brooke. I love swimming and running and, for my
sins, I am a fanatical supporter of Tottenham Hotspur.
So, what got you
interested in the arts?
urge to write was always there. My earliest inspiration was my Primary School
Headteacher at Bronllys Primary School, Mr Dave Cooke. He was also a writer and
would occasionally play us a radio play he had written. I was transfixed by the
idea that something you had written could entertain people. This was where the
idea of being a writer took root.
went to a secondary school where drama wasn’t taught and with no history of
school shows. One day I asked the Head if I could write a play and put it on.
The result was a rather strange effort called ‘Where Have All the Foxes Gone?’.
It was staged as part of the Christmas concert and the reception to it, as well
as the buzz of writing dialogue for actors, was instantly addictive.
was my first love, and I had some poems published whilst at school. I won some
prizes for my writing at local eisteddfods. In my recent writing I feel I am
returning to my poetic roots, and my new play, ‘West’, is certainly the
most rhythmic and lyrical play that I have written.
wasn’t until I was living in London that I had the confidence to stage a play
professionally. One day I rang all the Pub Theatres in the phone book
pretending I was a successful writer looking for somewhere to stage my new
play. The Hen and Chickens in Highbury and Islington offered me a weekend in
December 2003 and the result was my first play, ‘The Dead of Night’.
Your background is in education. I believe you left teaching to
work full time as a writer? This must have meant some risk for you in terms of
you career, why did you feel the need to make this move?
I was a Head of Drama in various schools for almost 20 years and I thoroughly
enjoyed the job. I still do some Freelance teaching at venues such as Welsh
College. But, in my own life, as with so many other people, there had been a
few reminders that your time is finite, and that if there is something you
really want to do then sometimes you just have to go for it. Carpe Diem. I
thought about making the leap for many years, and felt I had enjoyed enough
success to encourage me to go for it. But yes, it was a huge decision and one
that I didn’t take lightly.
Playwriting is my passion. It is the job I have always wanted to do. I
wanted to give myself the opportunity to see how good a writer I could be if I devoted
myself to it. So far, the decision has proved to be the right one. In the past year
I have written two new plays, ‘West’ and ‘The Night Porter’. ‘The
Night Porter’ is a life-long ambition, a good old-fashioned ghost story in
the vein of ‘The Woman in Black’. I am delighted that the Arts Council
of Wales have granted me a large research and development grant to bring the
play to life in January 2020. We have an amazing team lined up I can’t wait to
bring a chill down the spine of Welsh theatre very soon.
You have successfully written plays based around the lives of
Benny Hill and the Welsh Rugby player Ray Gravell. How do you approach
transposing these real lives to the stage?
I have always been fascinated by the lives of real people. The key to bringing a life to the stage is thorough research. There is a huge responsibility in ensuring that you do your homework and present an accurate depiction of your subject matter. When ‘Grav’ was launched at Parc Y Scarlets there was a moment of genuine terror just before Gareth first took to the stage to showcase an extract. The Chief Executive of the Scarlets jokingly said to a room full of dignitaries, ‘well, I hope you’ve got his right, because there’s an awful lot of people in here who loved and knew Ray.’ I went white. Thankfully the reaction to the scene was great.
Finding the voice of a person is crucial. This comes from watching all that you can, and meeting people who knew what they were like. Ray’s widow Mari and his daughters Manon and Gwennan were incredibly supportive. The trust they placed in me to do justice to someone who was so loved by them personally was the primary thought kept at the forefront of my mind.
With Ray Gravell it was easier in that he was a well-loved figure. I
chose Benny Hill precisely because he is more of a marmite figure. I wanted to
get under the skin of a more divisive character, and to explore the impact of
society changing around a person. I have always been interested in the lives of
old comedians. With Benny Hill I was intrigued by how a man who was the most
famous comedian on the planet for a time had become airbrushed out of popular
culture. There was some hostility when the play was first unveiled, but
thankfully this dissipated when people saw the play, and Liam Tobin’s skilful central
performance as Benny.
I am just about to start writing a brand-new play about another
much-loved Welsh icon. The team behind it are excellent. It is somewhat under
wraps at the moment so watch this space.
You frequently work with the same collaborators, Peter Doran, Artistic
Director at The Torch Theatre and most notably the actor Gareth John Bale. How does this relationship work?
On a personal level we are all good friends with a lot in common, but more importantly there is a huge amount of trust between us. That is essential. As a writer you have to be prepared to hand over your work to a creative team who may well suggest cuts and alterations you may or may not agree with. If you have an open and honest relationship, then this is far less painful. I have worked with people in the beginning of my career who would put a line through writing I had spent hours pondering and shaping. This never gets easier, but if you trust the people share the same vision and passion for the project then these decisions become much easier.
The journey we have been on as a creative team has been incredible, taking us from an initial conversation about ‘Grav’ at the Torch, to New York and our performance this year for the Welsh Rugby team. I can honestly say that throughout this process we have never had a cross word. We all believed in the project and each other. Peter and I went on to work on ‘The Wood’, a play commemorating the Battle of Mametz Wood in World War One. I was incredibly proud of this play and I hope that Peter and I will collaborate on another project in the near future.
Gareth and I have worked together for over a decade. We were first introduced
through the excellent Script Slam at the Sherman Theatre. I had a 10-minute
play called ‘The Window’ in the final and so was randomly paired with
Gareth as the director. We hit it off immediately, and our relationship has
seen us work on a wide range of projects. He is a very skilled director as well
as actor, and we complement each other perfectly in the rehearsal room. My
family often joke about how often I ring him. Usually once a day, often more. We
have lots of plans for the future as Bale and Thomas, and are shortly heading
out to the United States with a new play.
Get the Chance works to support a diverse range of members of the public
to access cultural provision. Are you aware of any barriers to equality and
diversity for either Welsh or Wales based artists?
Encouraging diverse voices to feel empowered to share their stories on
stage is key to this. People from all walks of life who live in 21st
Century Wales need to feel confident enough to share their individual stories
and experiences. We live in strange and somewhat divisive times at the moment.
Theatre has always had the ability to hold a mirror up to society and pose
questions. In my opinion the importance of cultivating awareness and
understanding of other people’s lives and journeys has rarely been so relevant.
New plays by diverse voices can play a key role in inspiring discussion,
generating understanding and engineering social change.
There are a range of organisations supporting Welsh and Wales based
writers, I wonder if you feel the current support network and career
opportunities feel ‘healthy’ to you?
Generally, yes, but there are a few areas where there could be some improvement. I developed as a writer through opportunities such as Script Slam at the Sherman Theatre, Cardiff.
I think there is room in Wales for more events like these for up and coming writers. Writing is a very insular activity, and the chance to see something you have written actually performed on stage is incredibly important in your development. Seeing actors perform your story and hearing your dialogue spoken aloud, as well as having an audience respond to your work, is key to helping you find your style and voice. These early opportunities were fundamental in teaching me how to craft dialogue, and introduced me to some of the most important people in my writing career.
If you were able to fund an area of the arts in Wales what would this be
Funding for youth provision is essential. Growing up I never had access
to Youth Theatre or drama lessons. Having taught the subject for so many years,
I fully understand the benefits that drama can have on a young person’s life. I
have set up my own Youth Theatre in Tongwynlais which is great because I also
get to teach my own daughters. There are about 25 members at present, and to
see the growth and development in them over the course of the first year has
been really exciting. It is essential for the lifeblood of our industry that we
nurture our future performers and equip them with the transformative skills
that performance can provide. It is essential that drama continues to empower
and embolden young people.
Can you tell us about your writing process? Where do your ideas come from?
Ideas come from a range of sources. I have always enjoyed people
watching, and indeed was inspired to write ‘The Night Porter’ after
glimpsing a haunted looking man sat behind a hotel front desk through a window
on a gloomy night in Edinburgh. Sometimes, as with ‘Grav’ or ‘The
Wood’ I am lucky enough to be approached. But it has to be something I am
going to enjoy researching or something I am able to give my own unique slant. I
will often research a play for ages before I start writing, building up a
thorough knowledge of the subject in my head.
For ‘The Night Porter’ I wanted to properly get under the skin of
how to make people scared and so I enrolled in some night classes on Ghost
Stories in Literature at Cardiff University taught by the fantastic Dr Juliette
Wood. Through that academic process I was able to improve my understanding of
the genre, and this will hopefully add to the scream count in the audience.
I always begin a new play by free writing, getting a load of ideas down
on the screen before saving it and leaving it for a week or two. I then re-read
and delete the vast majority, but in there I often find the elements I want to
develop and expand. I draft and redraft many times until I am satisfied. ‘West’
has undergone five drafts, with ‘Grav’ it was many more. I always try to
hear an early draft spoken aloud having long understood that something might
look great on the page but sound awful when spoken aloud. Failing that, I read
it to the dog in the shed.
Can you describe your writing day? Do you have a process or a minimum
I tend to be at my most productive first thing in the morning. I get up early and go for a walk or a run to clear my head. Then I make a pot of tea and head to the shed for 9. I tend to keep going until ‘The World at One’. The afternoon is often spent reading, researching and editing.
Music is very important, and Spotify is a godsend. The right mood can be created by who you have accompanying you in the background. Richard Hawley is one of my go to artists for this. His lyrics and music are very inspiring, and his latest album, ‘Further’ is just beautiful.
I used to set myself very strict word targets, but after a while I found
I was getting more concerned with the number of words I was writing than the
quality of them. As long as I leave the shed with a scene or some dialogue that
didn’t exist before I went in there then I am happy. A good day could be one
page or five pages – it is the quality of the writing that is important.
Is there a place you go to write?
I am lucky in that I have a shed at the bottom of the garden. It has a desk, a chair, bookshelves and pictures all over the wall. I like to be surrounded by postcards, paintings, and photographs, for inspiration. There is no WIFI in the shed which is very important. With a good WIFI connection it is very easy to disappear off into a digital rabbit hole instead of actually writing.
If I want company then the Park and Dare in Treorchy or Chapter are both
great places. But mostly, and fuelled by a steady stream of tea, I am content
to lose myself for hours in the shed.
What excites you about the arts in Wales?
I am currently working for ‘Pick of the Fringe’ at the Edinburgh
Festival. It is so exciting to see such a wealth of terrific Welsh companies
showcasing exciting, innovative work across the city. Companies like Dirty
Protest, Clocktower and Volcano, to name but a few, are just superb.
My wife is a graffiti artist and spoken work performer called Amelia Unity. She is part of a collective called ‘Ladies of Rage’who are working hard to address the lack of opportunities for female performers in Hip-Hop, grime, drum & base etc. To see how inspired and empowered they are as a group, including firing up the imagination of my own teenage daughters, is terrific.
Gareth Bale and I have recently set up ‘Rebel Rebel Comedy’, a monthly comedy night at Tiny Rebel in Cardiff. I’m really enjoying getting to know the stand-up comedy scene in Wales, and through our wonderful MC, Steffan Evans, we are being introduced to the huge depth of talent that is out there. Stand-up comedians are fearless performers and I love watching them work.
Music wise, I am always in awe of Gruff Rhys. His career is so inspiring and organic. I am always excited to see what he does next. From his very early days he has yet to record an album that I haven’t loved, and his imagination is something I am very envious of. To work with him in some capacity is a long-term ambition of mine. That would be a dream come true.
Finally, after the incredible impact of Rachel O’Riordan at the Sherman, I am very excited to see where the newly appointed Artistic Director, Joe Murphy, takes the theatre to next.
What was the last really great thing that you experienced that you would
like to share with our readers?
I grew up in the Britpop era and have always loved going to gigs. I am a big fan of 6 Music and recently happened to hear ‘Kebab Spider’ by the Sleaford Mods. I fell in love with it and them on the spot, and went with my wife to see them at Cardiff University earlier this year. On stage were two men in their mid-40’s, one with a lap top and one with a microphone. It was the most unbelievably visceral, and exciting live experience I have had in years. To lose yourself in a crowd and feel the joy of being in a mosh pit was something I thought I had left behind long ago. I am going to see them again in London in November and I cannot wait. Jason Williamson is far and away the best front man I have seen in years, and I would urge you to check out their documentary ‘Bunch of Kunst’ if you want to know more about them.
And finally, I believe you are about to have your new play ‘West’
premier in America. How do you think American audiences will react to your
Last year we were invited to the North American Festival of Wales in
Washington DC with ‘Grav’. The play was well received and so I was asked
to write something original for this year.
‘West’ explores the lives of the first Welsh settlers who went over to America. It is written largely in verse and stars Gareth Bale and Gwenllian Higginson. On a superficial level it is a love story between two people who make the decision to uproot their lives. On a deeper level I wanted to explore the theme of immigration, and to hopefully show the audience that we all originated from different places. I am very proud of it, and delighted it will premiere in America.
Hi Neil. It’s great to meet you. Can you give our readers some
background information on yourself please?
I’m a writer. It’s taken me a while to be comfortable saying that. Because I’m not from an academic background. My dad was a carpenter and I spent my formative years being led to believe that “the arts” were created by posh people, for posh people. I knew I had something to say, though. And so, after having been overlooked yet again, in favour of the tremendously talented, doe-eyed Derek Allen for the lead role in the school drama, I decided that, unless I wanted to be “chorus” for the remainder of my life, it was time to take things into my own hands. As a parting “gift” to my school, I produced, wrote and directed the inaugural end of year School Revue, a chaotic sketch show, interspersed with bands and Spike Milligan poetry renditions.
I left that all-boys grammar school, a hellish hotbed of bullying, conformity and privilege, with 6 average O Levels, to join a Youth Training Scheme in Print and Design (having turned down a potentially lucrative, but ultimately soul destroying, banking career). But that Print and Design Training Scheme was good to me, exposing me to a previously unknown world of words and images and allowing me to quickly learn a balance between creativity and commercial viability. But, as ungrateful as it seems now, it was never overtly creative. Expressive. Risky. At school, I remember my English teacher complaining that my stories were too long and that he didn’t have time to read them. Having pointed out, with typical teenage cockiness that it was his job, he reminded me, as others often did, that I’d never amount to anything. But I’ve always found the need to prove doubters wrong a powerful motivation.
I joined poetry groups. And naively welded words together, as a form of primitive catharsis. Short poems, laden with unconscious subtext, created to accommodate my own limited attention span. But these poetry groups so often consisted of the spurned and disenfranchised of the world. Society’s sensitive rejects, confined to the sad, back rooms of usually celebratory places. So I wrote a screenplay. About a man in his late 20s, who leaves a mundane and unfulfilling life, to go travelling. It was rubbish. But I finished it. And then I wrote another. A time travel love story. About a widower who travels back in time to change his wife’s fate, so that she lives. But while he’s there, he falls for someone else. It wasn’t as rubbish as the first one, but, having received polite letters (and they were letters back then), I decided to put my aspirations on hold.
Years later, after wearing a hole in where I was from, it was time to move on. To the medium-sized smoke of Cardiff. Five months, in a city where I knew next to no one, living in the attic room of a shared house, in a sweltering room, with nothing but the sobs of the duped pensioner in the room below to remind me I wasn’t alone. Motivation enough to get out and start throwing myself into the posh life. Seeing posh art, created by posh people, for posh people. And posh theatre, written by posh people, for posh people. And nobody stared. Or looked at me like I didn’t belong. And before I knew it, I was talking to people. About art. And theatre. And they weren’t posh at all. Most of them, anyway.
One night, at the Sherman Theatre, I saw Script Slam. Five plays, by previously un-produced writers. Directed by and featuring proper professionals.
And I thought, I could do this. Seven People, seven monologues delivered by seven people with undisclosed secrets, and my first ever play, not only won the Script Slam heats, it also won the Grand Final. And soon, there I was, on stage, receiving a prize in front of my parents for writing and I thought, this is it…
Ten years later, with
a London-based agent, two Guardian reviews, and countless performances of my
work in Wales, London and throughout the UK, this still isn’t it. Writing the
play is just the start. Then comes the re-writing, the rejections and the
resolve to start all over again. But, like an addiction, you just can’t stop
doing it. Because you know, that the highs of simply completing a new work are
nothing compared to the incapacitating elation created by that elusive moment
Since making my first short film, BETWEEN, last year, I’ve discovered new ways of telling stories for the screen (big and small), too. Having had a meeting with a TV production company about my play RABBIT, I’m currently working on a treatment with a view to developing it into a six-part comedy drama. I’m also in the process of applying for development funding for my first feature. Like I said, it’s an addiction. You just can’t stop doing it. And every compelling addiction story has a killer soundtrack…
This chat is specifically about music and the role it has played
in your personal and professional life. Firstly to start off what are you
currently listening to?
Music’s always been there. My mum and dad were jivers, rockers and rollers, lucky enough to hear Elvis Presley and Jerry Lee Lewis the first time round. They saw The Beatles in Gloucester in the 60s, in a building which is now a slowly fermenting, beer-sticky Wetherspoons. At every opportunity, they’d jive, perfectly sychronised, at smoke-fogged dinner dances, then play the tunes from the night before, whilst peeling carrots to add to the other overcooked ingredients for Sunday lunch. And, slowly, every one of those anti-establishment lyrics and rhythms started to sink in. So, at the age of ten, I fell for punk. A lamb, in parent-approved, respectable gingham check, demanding 3 minutes of anarchy from the DJ at the family disco at Croyde Bay Caravan Park, so I could pogo, solo, starting with The Undertones’ Teenage Kicks, in 1978. And, though there have been giant deviations in my musical mores, there’s always been something about the energy and attitude of punk-influenced music that energises me and makes me smile.
So, at the moment, I’m listening to Idles, Slaves and Rolo Tomassi. Quick-fix anger hits, to subconsciously energise scenes. Then there’s a bit of Nick Cave’s Skeleton Tree, to help me reflect and introspect. And, though it’s not technically music, there’s the looped sound of the sea, coming in, and going out again, my substitute for the uninspiring sound of silence.
We are interviewing a range of people about their
own musical inspiration, can you list 5 records/albums which have a
personal resonance to you and why?
Narrowing it down to five is practically impossible. Like asking me to pick my top five artists. Or insects. But rules are rules, right? And, in spite of my urge to rebel against this seemingly arbitrary figure, here goes.
To help me prepare to write this article, I’ve been listening a lot to Desert Island Discs. They get to choose 8 songs. Single songs. I get 5 whole albums. As someone struggled to say once, would that it were so simple. Should I pick based on my short attention span, which would mean that I’d just choose a record by each of my “new favourite bands” for the last 5 years? Or do I consider those who might be reading this, and allow myself to be influenced by my barely latent artistic insecurities? Choosing obscure Krautrock, soundtracks from the Golden Age of Mexican Film Musicals, niche Austrian yodellers and ironic 90s pop, to offer some contrast and help portray a self-conscious sense of fun? Because I’m, like, an artist, but I literally don’t take myself too seriously.
This all seemed so
much easier when I agreed to it…
OK. In no particular order, there’s Number 1 Thirteen Tales from Urban Bohemia by The Dandy Warhols.
I’m in Melbourne in a record shop, stopped in my travelling tracks, hearing it for the first time.I’m lying in a bath, in my tragic “bachelor” pad, on a midsummer’s night, windows open, staring at a bruised sky, dreading Friday’s “big night out”.
I’m at the Paradiso in Amsterdam, having cycled to the gig, the neon-bright colours from the stained glass window behind the stage fragmented by tears of joy, hearing it live and feeling so elated that, in that moment, nothing else mattered. This album has everything. It’s massive. It’s the soundscape of a parallel earth. A dream-like, soft-focus earth, with its ponds of pristine pop, scattered amongst its rolling hills of hypnotic rock, all floating on a sea of fuzzy psychedelia. And there’s chickens. And trumpets. It’s the friend I go to when I need reassurance about aeroplane turbulence or that the thing I’m writing is worth finishing.
2. Then there’s U2’s The Joshua Tree.
I know every word. I can hum every guitar solo. There’s a song for breaking up, fucking up and getting back up. I had that mullet. And I bought into Bono’s pain, until I was old enough to know better. But their extended performance of Bad (from The Unforgettable Fire), and Bono’s one to one with a bewildered audience member (and Wham fan) at Live Aid, will always stay with me. It’s all at once indulgent, exploitative, calculated, poetic, dramatic and beautiful.
U2 were my first serious band. The soundtrack to my later teenage years and the variety of experiences that came with them. I remember one of my first jobs, as an apprentice in a screen printing company, hunched over a lightbox, white vest, mullet and earphones playing the opening jangles of Where the Streets Have No Name (on my original Sony Walkman), goose-bumped and feeling that everything was going to be alright.
And then, much later, in the aftermath of the break up of a long relationship, wallowing in With or Without You. And, deep down, still believing the same.
3. There was a time, when the anticipation surrounding the launch of a new release was so great that you could queue outside HMV at midnight to buy the album in the first minute of its release. I’ve done this once in my life. Having pre-warned my neighbour, I returned home with my still warm, shiny, cellophane-wrapped Fat of the Land by Prodigy.
I’m in my early 30s, purple velvet suit, black silk shirt and Musketeer hair, losing it to Firestarter on the dancefloor. In my head, I’m alone. I am a wide-eyed Keith Flint, emerging from his tunnel, unpredictable and scary as hell.
Minutes later, I’m manhandled into a disabled toilet by two bouncers, insistent on performing a full body search for illicit substances. I mean, dancing with such manic intensity, in such heavy and impractical material, on a sweltering dancefloor, could only possibly be the behaviour of a drug-addled lunatic, couldn’t it?
I’ve never taken drugs (“Alcohol’s not a drug, it’s a drink”), but whatever happens to me when I hear certain tracks on this album, must produce similar chemicals. At the time, Firestarter and Breathe almost seemed to possess me. Something empathy-inducing, car-crash compelling, in that combination of primal beats and Keith Flint’s pained pantomime-punk yelps. I remember being out with friends at Clwb. Bored. So I left in search of a new adventure. Just across Womanby Street, at The Moon Club, the pied-piper bass of Diesel Power pulled me closer. Having convinced the bouncers that I was just here for that song, I soon merged into the heaving mass, all sweat and elbows, eyes closed, smiling and lost. Thanks Keith Flint. Rest in Peace.
4. Over the last ten years, there has been less and less music that has compelled me to learn every line. Maybe that’s more to do with how we consume music now. Attention spans increasingly suited to ready-meal playlists of popular hits, without the time or patience to lose ourselves in something more challenging.
And then, along came John Grant’s Pale Green Ghosts. It’s an album of absolute, awkward honesty, overtly biographical and overflowing with painful poetry. Playwrights have to create characters to hide their flaws in, but this is a balls-out confessional. A “forgive me father” you can dance to. And where does this fit into my ongoing, never a dull moment (but sometimes I wish there was) life?
Well, this particular weekend should have been a triumphant one for me. A new play, premiered at a major London venue, with a transfer to a prestigious arts-themed festival. But everything was about to fall apart and descend into one of the worst weekends of my life. Traversing the country, emotional and feeling utterly alone, I arrived at the festival, hoping to shake off the sense of overwhelming helplessness, only to find myself feeling further excluded at a time when I craved connection. Solitary and mentally and physically shattered, music was again on hand to prop me up, wrap its arms around me and send me on my way, with a sense of hope. And this time, it was John Grant who persuaded me that all was not yet lost.
From Queen of Denmark’s “I had it up to my hairline, which keeps receding like my self confidence”, to You Don’t Have To’s “you don’t deserve to have somebody think about you”, I was comforted by empathy before having everything put into perspective by the monumental Glacier, “don’t you become paralysed with fear, when things seem particularly rough…”
5. Seriously, this isn’t fair. Five albums isn’t enough. I feel that, not that they’ll ever read this, I need to use this opportunity to say thanks for the company and inspiration to all of the following, before I mention my final choice (which, as I write this, I’m still not sure of):
Carrie – Fear of Sound
The Teardrop Explodes – Wilder
Bauhaus – Burning From the Inside
Babybird – Ugly Beautiful/There’s Something Going On
The Walkmen – Lisbon/Pussy Cats
Lou Reed and John Cale – Songs For Drella
The Vaccines – What Did You Expect from The Vaccines
Jane’s Addiction – Nothing’s Shocking/Ritual De Lo Habitual
Oasis – Definitely Maybe
Radiohead – The Bends
Dogs – Turn Against This Land
Rolo Tomassi – Time Will Die and Love will Bury It
Die Antwoord – Donker Mag/Ten$ion
Rammstein – Mutter
Yeah Yeah Yeahs – Fever to Tell
Pantera – A Vulgar Display of Power
Frank – Music and Song From the Film
The Mission Soundtrack – Ennio Morricone
O.K. my 5th and final album (I realise that my approach might suggest a sense of over-inflated self importance, but this is music and it means a lot to me, so be kind!) is…
Rufus Wainwright – Want One/Want Two
This could just have easily been Tom Waits or Nick Cave or
Babybird or Jane’s Addiction and I know, I know, this is technically two
albums, creating a Top 6, but they were repackaged as a double album in 2005,
so no rules broken. And what are rules, anyway, really?
Years before the drive-through ease of Spotify, Later with Jools Holland was my trusted introducer to “new” music. In May 2004, Rufus Wainwright performed Vibrate and, like the beneficiary of a free first crack rock, I was hooked. An incredibly beautiful song, saturated with longing and a barely dignified desperation to be loved, delivered in a voice that wavered between absolute self-assurance and disarming vulnerability. In my mid teens, I was obsessed with Marilyn Monroe. I convinced myself that she might have survived, if she’d had a friend who hadn’t harboured some sinister ulterior motive. Though I was barely equipped at the time to deal with my own issues, I imagined going back in time and unconditionally offering her my smooth, skinny shoulder to cry on.
And now, here I was, in the waistcoat and cravat wardrobe of my mid 30s, listening to Vibrate and reminded of my noble teenage fantasies.I sought out his entire back catalogue, in typically obsessive fashion. I lapped up his earlier stuff, but the theatrical emotional rollercoaster of Want One and Two was breathtaking. From the triumphant optimism of Oh What a World, to the infectiously rousing Beautiful Child, from the unrequited love of The Art Teacher to the grand, sing-a-long heartbreak of 14th Street, these albums reminded me that songs didn’t have to be inspired by rage to make me feel something.
And live, he’s even better. Whether backed by an orchestra or
alone at a piano, these are songs to sing along to, about the collective human
experiences of life, love and loss. All this, and he’s proper laugh-out-loud
There’s also something inspiring about how he seems to have forgone what could potentially have been straightforward commercial success, to pursue his operatic aspirations. Maybe I see a parallel, however truly incomparable, with my shirking of a lucrative graphic design career, in favour of the dogged pursuit of my own creative writing dreams.If I ever meet him, I’ll be torn between the fake bravado of asking him to collaborate on a show and the awe-inspired verbal paralysis of unworthiness.
So, that’s my Top 5. Ask me tomorrow and it might be an
entirely different one.
Just to put you on the spot could you choose one track from
the five listed above and tell us why you have chosen this?
Why couldn’t this have been an article about my favourite,
most inspiring cheeses? Which would have proved considerably less traumatic.
Ideally, I’d like to say none of the above. So I could choose
Angela Surf City by The Walkmen or Perfume Genius’s Queen or Nick Cave’s People
Ain’t No Good or Yeah Yeah Yeah’s Maps or Bob Dylan’s Don’t Think Twice it’s
All Right or Idles’ Danny Nedelko. But, far be it from me to, yet again, turn
momentary article-based hellraiser…
The song being chosen…
As my favourite…
From the albums above…
Solid by the Dandy Warhols. There are so many incredible songs on Thirteen Tales, but the nonchalant, stoner-swagger of this song, conjures images of walking through sunset-lit, excitingly dangerous streets, without a care in the world.
“I feel cool as shit, cause I’ve got no thoughts keeping me down.” While I wait for writing success (and hope that I recognise it when it arrives) and/or untold riches, that’ll be the straightforward, spiritual mantra that I awkwardly (but resolutely) aspire to. Music will always be my empathetic friend, ready to tell me what I need to hear at exactly the right moment. It’s there to laugh with, to cry with and to dance with. It’s being inconsolable at gigs, snubbed by your idols (that’s you, Karen O, but not you, Henry Rollins), comforted after break-ups, reflective at funerals, losing it on dance floors and pushed to do one more press-up, cycle one more lap, write one more scene….
A review by Ann Davies from RCT Creative Writers Group on the topic of topic of Taste
What’s on the Menu?
What music do you like? Tastes can vary; they can be mood
shakers; a melody can bring a seemingly lost memory to mind. Emotions can be
laid bare. This was the night of Yeah Yeah.
Were we ready for this high octane enhancing performance?
I guess it all depended on your taste and the performing artists certainly lived
up to a life of their own. What was on the Menu? as the theatre group “Yeah,
Yeah” showcased their act in the lounge of the Park and Dare Theatre in
“Are you ready, Treorchy?”The Haka cry came amidst the burst
of strobe lighting and the throb of music every sound resounding off the
glistening disco ball overhead. Two people strode out, one male one female;
they each had a story to tell. They looked like trapeze artists one with an
enlarged Rod Stewart wig that looked as though it was plugged into an electric
socket. With a fitted costume, accentuating her nubile body, his female partner
embraced the music. Acrobatically and gymnastically the music and story was
revealed as the opposing tastes for musical theatre and rock music battled it
Adult humour laced with music and dance. Changes of
costumes – some more titillating than others were the ingredients for the
night. Their interpretation of known
songs from the musicals and rock classics were exemplary. It awakened deep
seated memories that you would never see or hear a song that you loved in the
same way ever again. It was an experience of tasting selections of melodies
like a club sandwich combining the savoury with the sweet.
During the interval, the duo presented their own adverts
over the lounge speakers.
There was Swan Lake on points overwhelmed with feathers
(now you know where the feathers have gone from your bed linen). The lady’s limbs
were used as an air guitar; the drum set lost its setting the motorbike that
raced to the music of Meatloaf. OMG was the revelation a Smorgasbord special. A
spicy concoction of a recipe, boiled but scrambled, culminating in a Crockpot
of creative juices that would have put Nigella to shame.
Morgan Thomas and Tori Johns were engaging in their tale.
It was colourful; it was crazy, different and an entire work out for your
laughter muscles. Many of the audience would still be laughing at their first
encounter with the company called “Yeah, Yeah”
A tasty dish to savour long after the evening was over.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.