History is definitely intriguing to me. I already love stories, and there’s no loss when they’re true stories. However, I am far less interested in history discovered through school. Since, in all honesty, exams suck the life and the fun out of almost anything. This podcast was a way for me to experience history in a newer, and definitely more exciting way. This podcast would be great for people who are casually interested in history, or a good spooky/spiritual story.
Initially, I discovered it through a separate podcast I listen to, Welcome to Nightvale. In this podcast, one of the creators discusses some information about merchandise and tours before the episode begins. He mentioned a new movement called “Trypod” – a play on “tripod” to try, well, podcasts. And I decided to take this offer up! Here’s how I’m here now. I Googled podcasts. I found Lore. I listened to it, and I loved it.
Lore was undoubtedly a refreshing listen. I was overwhelmed by the amount of stories, folklore, tales, and mystery that were open to me. I was able to learn and enjoy countless dots of history scattered through the globe with a multitude of spooky, almost scary stories, that were true.
I’ve wanted to experience scary stories for a while now. I’ve really wanted a book to unsettle my stomach and plague my imagination with fear-enduring figures. I wanted, in all honesty, to experience and good and honest horror. I never found it in books. Which, I admit, I’m quite astounded that I have yet to find this in books, because I do consider myself a person extremely susceptible to an over-active imagination after a scary story. I’m astounded that horror, any kind from any book I’ve read, didn’t would do what I thought it is all set out to: scare me.
I thought books would work, but in their place, this podcast did. There were episodes that affected me particularly. The one about the Jersey Devil stuck with me. As did one that described in unsettling and inescapable detail the ins-and-outs of lobotomy. The detail was striking, and because there was nothing else my imagination could cling on to in a way of distracting me and minimising my fears, I was stuck in the scare that I’d wanted to feel all along. Which was amazing, which was exactly what I wanted – but it was as well, of course, scary as anything.
Lore was incredibly quick and easy! As an A-Level student most of my time is focused on school work, and I have less and less time for leisure as my exams creep up on me. So, a podcast with reasonable-length episodes was like some kind of blessing. They weren’t too long, or too short. And they were great to listen to after I got home, in that short and sweet period of time with no stress; between changing into my pyjamas , having a snack, and before actually sitting down to study. Lore is great for busy people.
I’ve learned through this podcast that all the great tales have the most infuriating and unsatisfactory endings – like all good unsolved things, I suppose, but in a way that is still loads of fun.
The narration is great. It isn’t rushed, and neither is it too slow. Similarly, the music flows perfectly in time with the words and the story.
I give it 5 stars – definitely don’t miss out on this gem of entertainment.
Get the Chance have been announced as runners up in the Celebrating Diversity Award at the 2017 Epic Awards organised by Voluntary Arts. The ceremony took place on Sunday the 19th March at the Sage Gateshead as part of BBC Radio 3’s Free Thinking Festival.
The Epic Awards were set up in 2010 by Voluntary Arts, an organisation that works across the UK and Republic of Ireland to promote participation in creative cultural activities. They celebrate the amazing contribution voluntary-led creative groups make to their communities.
The Celebrating Diversity Award is selected from across the full shortlist of 32 groups by a panel of judges representing teams in each nation. This award celebrates groups that have taken an innovative approach to highlighting the positive effects that come from living in a diverse society and is something that is central to the work that Voluntary Arts does all year round. Get the Chance were unanimously praised by the Epic Awards judges for
“The project’s unique approach to encouraging a diversity of voices”
Guy O’Donnell, Director of Get the Chance said;
“Get the Chance is honoured to be selected as runners up in the Celebrating Diversity Award. We strive to reflect the diverse nature of society in our voluntary membership. We learn from our team about barriers to sport and cultural provision and seek to work together to provide responses which are representative of all citizens in the UK.”
Anyone who is anyone at least knows the main premises of the classic, Frankenstein. Depicted over the years from the original novel in films, television, even costume at Halloween by the kids that knock on your door asking for mounds of sugar.
This is what makes this production such a challenge – how do you take something so well known and turn it into something that feels fresh, new and still a surprise?
Black Eyed Theatre have gone back to basics – they have taken the story and been true, reverted back to original theatre with keeping to the era, to the proscenium arch, no audience interaction and while this sounds unoriginal, it’s actually refreshing that they haven’t decided to take some modern take or make it some metaphorical twist on the story. Sometimes, keeping to the original is extraordinary in itself.
But while they do this, they still make it original to their company – with only four members of the cast, everyone pitches in – music and sounds are made on stage with instruments, objects and their own body and voices; times when the characters are changing, this leads to a change in instrumentalists and this is done with no pause of hesitance making the doubling up of characters and the atmosphere made by sound seamless.
Each performer (except for Frankenstein) at least has a minimum of two characters to play – there’s a sense of melodrama to this as at times the gestures and characterisation are a little hammed up – this does provide a little comic relief which is helpful in keeping us upbeat and ready for shocks and surprises when we are also being drawn into the deteriorating mental state of Frankenstein but they also play each character very well, letting us forget that they are only a cast of 4.
The highlight for me, as a huge collector of and interest in, is the puppetry. How do you make a huge muscly monster of 6-7ft tall? The National Theatre Saw Benedict Cumberpatch and Johnny Lee Miller in costume and mask created especially for them each, changing the character they played each night and this was a triumph itself. Here, Frankenstein is a full sized puppet, movement and speech only being possible with a minimum of 3 of the performers. Made of rope, it has been made in such a way as to represent his strong muscular form, and with the head with moveable mouth and eyes, he is eerie, frightening and also pulls at your heart strings. One performer providing the simplistic voice, and the others providing soundscapes to represent echo and give a horror atmosphere, we are sucked in and see only a 5th member of the cast, not a puppet.
Frankenstein is clever, truthful to the novel and an inspiring approach to theatre and classic text.
As I have previously stated, Caryl Churchill is easily one of my favourite playwrights. After seeing ‘Pigs and Dogs’ a few months earlier, to hear that this production of ‘Escaped Alone’ is only 50 minutes long is not surprising. While not all her plays are so short in time in comparison to a lot of productions on the theatre circuit at the moment, there is something really clever and interesting that she is able to condense so much emotion, thought provocation and comedy in a small amount of time, with the ability to make a serious point about current times.
Escaped Alone sees 4 older women sat in a garden, talking about whatever comes to mind. In 50 minutes we hear their darkest fears and confessions, with each character being established easy, quickly and well, not only with the writing but by the performer’s abilities. We have times of conversation which borderlines Harold Pinter’s coined writing of short sentences, interruption and pause, soliloquies of the characters and what they are really thinking and feeling away from the conversation, and our newest member of the gang who had happened to stumble on this group, breaking away from the scene entirely to give us a description or perhaps prediction of how man and his obsessions and excess have impacted our World; apocalyptic in ideals, it is strangely darkly comical but also slightly frightening.
Some will recognise and feel star struck by the cast – Linda Bassett, our newbie to the group, is well known for her role in the current show Call The Midwife; Deborah Findley, the lady with an irrational fear of cats, from many roles, notably the recent The Lady in the Van and a return to The Royal Court stage from The Children back in December 2016; Kika Markham, our lady with a fear of going outside, also well versed in UK television such as Mr Selfridge and Call the Midwife; And finally our funny lady of manslaughter, June Watson, another regular to The Royal Court and of whom joined Findley in The Lady in the Van. These regulars to our TV, Film and Theatre scenes of course know their theatre, know their skills and simply comparing them from this production to former roles can see that with age, certainly comes experience. They are able to complement one another, bring a sense of naturalism and realism to the piece, so that when we have cut aways and taken from the scene to monologues, it breaks the ease and breaks this natural barrier – we are then not just listening to 4 women chatting over a cup of tea.
Again, The Royal Court never ceases to amaze. With each production, they are able to take such natural and seemly relatable texts and turn it on its head. A simple garden scene, is then punctured by bright lighting and dark and deep dialogue. It really becomes an experience, and in the context of Escaped Alone, creates uncertainty (that we welcome) as to whether parts are comical, serious, or a farce.
Churchill and The Royal Court gel together better than tea and biscuits.
I recently read The Kite Runner by Khaled Hosseini, and I don’t know if I have the words to describe my reaction to it.
Five stars, first of all, let’s start there. I don’t think I want anyone I’m close to missing out on such an outstanding and completely mesmerising book like this one. I’ve read so many books lately, and all of them have been good, but I think they have been good in their own right. However, none of them (at least, none of the recent ones I’ve read) have been quite as enthralling as this.
I don’t want to go too far into the plot (I don’t think, for one, I could do it justice as it was incredibly intertwined and intricate), however I do want to say that it’s probably the saddest and most bittersweet plots I’ve ever had the utmost pleasure to experience. Two boys in Afghanistan, their lives and endeavours and trials and tribulations to come – everything life throws at them. It was truly tragic, with sprinkling happiness and and overall wonderful redemption.
Sad stories are the best ones, I think. But I never expected this tale to be so true of that statement and also, somehow, change it. Sad stories are the best stories. I’ve learnt about the concept of catharsis at school and I think I really, truly, felt it. So maybe sad stories are the best ones, but maybe the sadness should be in moderation for me (it was really, honest and truly, the most heart wrenching and devastating yet amazing books I’ve ever read).
One of the things I’ve noticed after reading this was how sure I usually am that, as a reader, I am going to receive my happy ending. This book changed that. Situation after situation that tugged my heartstrings and made me tearful made me less and less sure of myself. I’ve felt the normal, almost-rush of fear when you notice a book has a lot to complete yet so little pages to do it in. And I had that with this book. Yet, with every other book I’ve read I haven’t truly felt afraid that things wouldn’t work out. I always knew they would, because they always do. I didn’t have this with this book.
I was unsure. A good kind of unsure. An exciting and all-encompassing unsure that left me not knowing if there could possibly be a happy ending coming my way after the turmoil the main character (Amir) had gone through, as well as the turmoil all the other characters had gone through, as well. There was one, single chapter left, and I did not know whether, within about the forty minutes it would take me to read it, I would be grinning or crying. Eventually, it was both, and I’m quite happy with that.
As I said, it was an extremely bittersweet book, with the excellent kind of plot execution that always draws you in for the entire time (and then some – I’ve only just finished it and it’s still the only thing on my mind). It had the kind of writing that was honestly beautiful, full of lovely description and meaningful dialogue and fantastic general, actual, real storytelling which struck a cord somewhere within me and really made my heart feel for it(/the characters).
I bought it to expand my horizons, to diversify my bookshelf. And I’m so glad I did. I went in borderline completely blind, and I came out the other side a little different to how I went in. I’ve been given a history lesson, a gratitude lesson, and probably also a lesson on writing (which I hope to carry into the future).
I feel as if, through reading this book, the kind of problems I have faced or am expecting to face have been minimised and put a little into place. Which doesn’t erase them, but does make me feel a lot more at ease with my life tonight than it did when I woke up in the morning. And I like that. I’m happy I got that. It was unexpected and nice, almost like an extra gift from the author as well as a phenomenal experience.
Get the Chance recently had the opportunity to run some free critical workshops as part of takepART 8 at Venue Cymru, Llandudno. takepART is aimed at the 0 to 18-years-old age group, but its open to parents, grandparents and even great-grandparents who all get involved in workshops and craft sessions that take place throughout Venue Cymru.
Get the Chance was just one of the organisations running a series of free workshops during the weekend.
The Get the Chance staff had the opportunity to chat to some of the members of Young Critics North Wales who are supported by the venue. Young Critics North Wales is based at Venue Cymru, Llandudno. It is supported by the Arts Council of Wales and is the first scheme of its kind in North Wales.
The pop-up newspaper returned to Venue Cymru’s take pART arts festival where young people were given the chance to learn some of the skills of a journalist and news photographer. Under the guidance of Editor Joann Rae, Chief Photographer Paul Sampson and Chief Reporter Tim Moxley, young people were assigned a story to cover and photographs to capture from all of the exciting events at take pART! All the work below has been created by the young journalists and photographers of the Daily PlanART
It was a very welcome opportunity for Get the Chance to develop its critical network in North Wales. We thank the Arts Council of Wales for funding this opportunity.
Interested in theatre, dance, visual art, gigs, poetry, film and more?
Want to access a free workshop which will give you an insight into the role of a critic?
Then, this is for you!
You will take part in a 1 hour workshop with Guy O’Donnell Director of online magazine website Get the Chance http://getthechance.wales
During the workshop you will be given an insight into the role of the arts critic. You will be given instruction on how to create a review and upload your response online. Participants will look at blogging, video, social media and much more! All workshop participants will get the opportunity for their reviews to feature on the Get the Chance website.
If you have one please bring a laptop, tablet and/or smartphone.
Workshops are on Saturday the 14th at 11.30 and 1.45 pm at Venue Cymru as part of Take Part 2017
Killology The Sherman Theatre Cardiff and Royal Court Theatre
“The show that I am most excited for this year is “Killology” at the Sherman Theatre, written by my absolute favourite Gary Owen and directed by my also favourite Rachel O’Riordan. Two of the most moving and real life productions of the last two years are Iphigenia in Splott which I saw in Cardiff and Violence and Son which I travelled to London to watch so you can imagine my excitement. I love Gary Owens raw approach on controversial, gritty and jaw dropping subject matter. “Lie out darkest fantasies, but you don’t escape their consequences” a line used in the write up to the play… it gives me goose bumps as I know this play will take the viewers on a phycological trip they wouldn’t have imagined possible.I hope this play is in the studio theatre as the intense momentum that can be built up in there will be electric, with director Rachel O’Riordan no doubt pulling out all the stops.”
The Moot Virginity of Catherine of Aragon The Sherman Theatre, Cardiff
“I am particularly interested in seeing this play as the writers and creative team alike are unknown to me so I am eager to enjoy and observe their styles and approaches in tackling such a controversial and historical topic. I have recently watched the BBC drama “Six Wives with Lucy Worsley” which give quite a different perspective of Catherine to that I had imagined and observed to date. I wonder whether this show will evoke more feelings and insights into the life of Catherine of Aragon for me and can it change my strong views I already have on the story? We will see!”
Zero for the Young Dudes as part of NT Connections at The Sherman Theatre
“I am also drawn towards Zero for the Young Dudes performed by Sherman Youth Theatre which will be used as their competition entry to NTC festival. In attending the NTC festival in 2016 I am aware of the quality produced by these young individuals and in some circumstances when experiencing barriers which is always extremely insightful and inspiring to me. It’s also a good opportunity to catch glimpse of the up and coming stars that are going to rock the world of theatre in Wales and beyond for years to come!”
“Firstly, Legend and a tribute to Bob Marley 28 January at the Globe being a 7 piece band which is noted to be a flawless musicianship. I am attending with a fellow reggae lover so set to be a fun evening.
I am gassed for Cardiff’s very own asteroid boys who will be championing their recent success of their sold out tour and signing by Sony records and will be supporting Wiley at Y Plas event in one of my most memorial venues in Clwb ifor Bach”
Im looking forward to any events for 2017 from Pryme cut and Rhyme cut entertainment incorporating Wild boys wasted and likes of Brave Mugraw, Crash, Lord Bendtner, Two Putt and more on battlers… Performers.. Saykridd, Jake the Ripper, Ferny Mac, Chew, Conrad Lott and Beatbox Hann plus much more as the events over the last two years have been something to shout about. These nights are open to any performers any styles making them completely diverse perfect for our very cultural city of Cardiff.
I am also looking for anything to attend that includes again Cardiff’s own Baby Queens with their album being released the latter end of 2016 and being noted in BBC online top 100 single. This band are the ones to watch.”
Get the Chance Creative Associate Jonny Cotton
The House of Bernarda Alba
By Federico García Lorca, Directed by Jenny Sealey A Royal Exchange Theatre and Graeae Theatre Company co-production
Graeae has a new play, ‘The House of Benarda Alba’ which will be coming out in Feb and will be performing at The Royal Exchange in Manchester so I will be looking forward to see that.”
“My dream or wish is to see a disability-led organisation to come to Wales in 2017. Although I don’t mind travelling to see the likes of Fingersmiths, Graeae, Birds Of Paradise I would like to see them perform in Wales. That would be my wish! I think the difficulties is because of the Arts strands and lack of support from venues which preventing these organisations coming to Wales. We need to see a change in that!”
Young Critic James Briggs
“I am looking forward to this year there are two which I have already got press for in St Davids Hall and they are ‘Anton and Erin’ and ‘Riverdance’.”
“I am particularly keen to see Sunny Afternoon. It started its journey at the Hampstead Theatre, one of my favourite venues in London. Then, as most good productions it is home to, it made it successfully to the West end and now there is a touring company. It’s also the start of an era for me as the Kinks played the Capitol in May 1965, I was there and witnessed the altercation between Dave Davies and Mick Avory”
“Matthew Bourne’s The Red Shoes which is coming to Cardiff. I was fortunate to be given house seats at Sadlers Wells on Christmas Eve. It is arguably the best thing Bourne has ever done. On the home front WNO start the new season with La Boheme. A great atmospheric production and an excellent on to enjoy if you have never seen opera before. “
A rather controversial topic perhaps but one which raises its curious head regularly in conversation if not in print.
Having touched on this in my review of Bafta Cymru, I feel a personal need to explore the impact of Welsh identity projected in the Arts on audiences.
2 Opera & Dance
Having absolutely adored having access to so much of both through 2016, I plan on deepening my knowledge through further attendance at performances, continuing to draw at open rehearsals and through interviewing performers and artists.
Leaving events in Cardiff at night has opened my eyes to the problem of homelessness. The stark contrast between the opulent glories of the stage and the plight of living on the streets has been brutal to witness, far more brutal to those who live it. Everyone has a story and I would like to help those stories be heard.”
In the past, I’ve always been quite wary of wartime fiction, or general historical fiction. It was never something I particularly enjoyed, as I wasn’t big on history, or war, or reading about either.
Since then, however, I have slowly brought myself away from this view. This is where The Girl From Venice comes in. Though not my first experience of historical or war fiction, it was still one I wholeheartedly enjoyed. Set towards the end of World War Two, the main character, Innocenzo (Cenzo) Vianello works as a fisherman in Pellestrina where he finds (what he thinks is) the drowned corpse of a lady. Wanting to do the right thing, he tries to take her where she can be identified. On the way he is intercepted, and by the time he is allowed back on his own boat, she’s hiding on the boat eating his food.
The story follows their interactions, eventual separation and search to find one another again. Also exploring other factors in between, such as familial complications, political endeavours, the conclusion of the war, its impact, and love.
I’ve only read one other book set in Italy, and that’s The Thief Lord by Cornelia Funke. That book stood as my all-time favourite for a very long time, and remains as such. The writing and scenery helped it gain this title. So, setting in Italy has always appealed to me. I love that the writing style in The Girl In Venice goes perfectly with it. Especially with this story. What with being a fisherman, Cenzo spends a lot of time in the water. The description of it (among the other places the story was set, as the characters did travel) saw that I got my fair share of gorgeous writing that made me feel so involved in a scene and so hooked into the story. If anything, it was probably my favourite aspect. It was an inspirational style, and one that drew me in until the very end.
The book was very good. My interest in historical fiction and war time fiction seems to be developing nicely, and I’m glad I read this book and it helped me to see as such.
Iain Thomas has, for a long time, been one of my absolute favourite authors. This title of favourite has not wavered since I read I Wrote This For You: Just The Words some few years ago, and continues to stand strong as his other works, such as this, find a place in my hands and a home on my shelf. I come short of saying I adore him, his writing, his books, his style. All of it has meant a lot to me, and this has not fluctuated – ever.
300 Things I Hope is, at the title suggests, 300 things that he hopes. For you, me – for us – the readers. They are simple sentences, little lines, all of them hopes I do not doubt are wholeheartedly sincere and stretch all the way from the author straight to me, here. A part of it I can’t deny is a little odd. To be talked to through pages like this, indirect and directly, not in a way that’s exactly poetry or a story or an article. I know there are more people than only me that these words are going to be reaching, but it always feels like they were written just for me to read and love (which I do).
I like words. There’s the brunt of it. I love words, and I love writing, and I love reading. I love finding work that somehow manages to shake up my thoughts and make me remember this so clearly. I put post-it notes on my favourite pages, because they did just that. For example, number 84, “I hope love moves through your heart like light moves through glass” because is that not a gorgeous sight to see? The glass on my front door reflects rainbow coloured sunlight on to my floor, and the idea that it could equate to love was such beautiful imagery that in went the post-it note because I felt changed, because I felt reminded of words and what they can do. They did this, after all.
Or, number 101, “I hope that any noise you hear in the night is only someone you love coming home” because I have a lot of fears about things like this, and I was soothed.
Or, number 144, “I hope that if something bad happens to you, that the world suddenly starts turning backwards and it unhappens to you” because a word that isn’t a word is used but it makes sense, and I liked that.
Or 161, “I hope you find something unexplainable on the side of the road, like it was left there just for you” because I liked the idea of writing something that could stem from this idea myself, in all honesty.
Or 211, 212, and 213: “I hope you write a message, put it in a bottle and throw it into the sea”, “I hope it’s a secret, and that someone, somewhere, knows it.”, “I hope you are someone’s secret and that somewhere in the ocean, there’s a bottle with your name in it”, because this also sounded like something lovely to write, and they way I imagined that glimpse into a story from a simple three phrases was so captivating that I didn’t want to let it go. Also, I think everyone quietly romanticised the idea of putting a message in a bottle and hoping someone, somewhere, picked it up. I did, even though I’ve never done it (though I have found one, once – it was, I assumed, a child’s drawing of a house. There was a lot of blue.) – but after the little helpful push from these three hopes, could I not do it through words? I could, I think, and I would like to.
I’m trying to say that I love words. I love this book. I love this author. Not many other words or books or authors have pinched my mind and stolen my interest and held it, inspiring me to do something of my very own, and never letting me forget the spark in me at words strung together in a way that makes me so immeasurably happy.
Five stars, because I have a lot of love to give, because this deserves every piece of it I am able to give.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.