Category Archives: Literature

Review for The Laud of the Rings by Tanica Psalmist – Camden People’s Theatre

(4 / 5)

Josh Gardner’s unique story-telling production entails mix documentation and an anarchic approach to performance. Josh elaborates on privilege and migration through the use of absurd. A space where he isn’t afraid of breaking the fourth wall or going against theatre rules or maintaining his dry humour which not everyone gets but it seemed he purposely wanted to convey that aspect to his character. The Laud of the rings tells the tale of Josh wanting to save Europe by re-enacting Frodo’s journey to Mordor, travelling from Oxford to Istanbul dressed as a hobbit.

The Laud of the Rings is a captivating and provocative performance that follows desperate attempts to live out a fantasy world in a black wig, plastic feet and have an encounter with a Serbian border police officer, as reality and fiction collide in an epic re-make of The Lord of the Rings.

The production is very immersive, it became intriguing when he would climb into the audiences space to sit among them, get the audiences participation by choosing individually who to read out his scripts and jumping on to the stage to blow up a giant, plastic sphere with a noisy air compressor.

There’s episodes where Josh risks the use of being ‘disorganised throughout his performance’ and scatty with minor control on stage, especially as he leaves the theatre nowhere to been seen again, leaving the audience members no opportunity to properly applaud, some audience members went off to find him in the giant, plastic sphere rolling around outside.

Laud Of The Rings is slightly weird, funny and slightly unsettling. It can take a lot for you to laugh, grasp the concept of his character and relate to the emotions of his character sincerely. Josh for me is a man with a gift for deadpan humor, not knowing if he was being generally serious or not made his act original, as he wasn’t scared to be daring or challenging.

 

Review Podcast: 99% Invisible by Judi Hughes

I am a podcast fan. I listen to podcasts on long journeys, while I’m cooking dinner, while I’m gardening and to help me off to sleep. There is a world of fascinating knowledge and stories out there that I can’t get enough of. The first of these, recommended to me by my son, is the encyclopaedic purveyor of unusual facts, 99% Invisible. Produced in Oakland, California it is part of the Radiotopia network and whilst rooted in the USA, has a truly international outlook. I find it delightful.

If you visit their website, the ‘about’ section tells us that “99% Invisible is about all the thought that goes into the things we don’t think about — the unnoticed architecture and design that shape our world.” Fascinating enough, but it’s much more than that. To date there are 325 episodes that you can download, beginning in 2010 and carrying on to the present, they have covered what I consider to be everyday wonders of the world. If you haven’t listened to any of them yet, you’re in for a treat. I wish I could start from Episode 1 again – in fact I may well do that because there are many that I would like to hear again.

Each episode begins with an introduction from the velvety voiced Roman Mars, with the inevitable but very important messages from their sponsors (independent means they need the advertising). “I’m Roman Mars……” and proceeds to tell us about some fascinating thing that we’d really never thought about but might just observe now, like the way that large buildings are designed to make people behave in certain ways – in airports for instance in Episode 126: Walk This Way, and Episode 93, which tells us why we should always use the revolving doors.

Then there are my all-time favourites: Episode 160 Perfect Security reveals that “in the entire history of the world, there was only one brief moment, lasting about 70 years, where you could put something under lock and key — a chest, a safe, your home — and have complete, unwavering certainty that no intruder could get to it.” The story of Bramah, Chubb and the lock controversy of 1851 unfolds. Episode 164 tells us how the discovery of Bakelite helped to make the awful practice of creating billiard balls from elephant tusks come to an end – did you know that by the mid-19th century, elephants were being slaughtered for their ivory at an alarming rate, just to keep up with the demand for high-end billiard balls – no more than eight balls could be made from a single elephant’s tusks. Closer to home is Episode 316 The Shipping Forecast featuring interviews with that reassuring voice of Peter Jefferson that anyone who listened to his dulcet tones late at night in will appreciate.

Wherever you get your podcasts try listening to 99% Invisible. It’s a whole new world. Check out their website: https://99percentinvisible.org.

By the way, they don’t like Trump, so all is safe in their hands.

 

Judi Hughes, 22 October 2018

Review: Lord of the Flies (Sherman Theatre) by Vicky Lord

I will be the first to admit that I have had a love/hate relationship with William Golding’s Lord of the Flies. I was one of the many to study the 1954 novel during secondary school and, while I liked particular elements, I was certainly not a fan. However, mainly through a love for the audiobook, the novel has continually grown on me and now I would say it is a firm favourite which I will re-read multiple times.

As this novel is one so constantly studied in school, due to the layers of imagery, intriguing characters and intriguing presentations of societal and bodily issues, I was immediacy intrigued to see that Lord of the Flies has now been adapted into a play by Nigel Williams which is currently showing at the Sherman Theatre. However, in order to fully review this play in the context of one which is studied so frequently, there will be spoilers for both the plot of the novel and the show and I will also be discussing some ways in which the play deviated away from the novel’s plot in order to make these clear to anyone studying this production in light of the novel. Therefore, this review will be a long one.

Lola Adaja gives an intricate professional stage debut as Ralph. I feel that she balanced the complex sides of Ralph in both opposing Jack but also partaking in the early chaos. The transition between his more childish side in interacting with Jack when they first meet on the island to his role and chief and the heartbreaking final transition back into childish weeping were suitably intriguing and heartbreaking to watch at once. Gina Fillingham’s performance as Piggy felt as if risen directly from Golding’s novel. A delicate balance between comedy and depression for order Fillingham, from her first moments, ensures that piggy’s presence is known despite Jack’s protests.

You may have noticed Williams’ biggest change in adapting Lord of the Flies from novel to stage. All male boy characters, while keeping their original names, are now played by women and all mentions of ‘boy’ are changed to ‘girl’ in-keeping with this. Honestly, when watching the play, in terms of watching the story unfold and the narrative, I barely noticed the change. Rather than wrapping the story around this change, instead this casting and adaption choice folded itself into the preexisting narrative. Therefore, I feel that this production is a good example of showing that this change can be done without compromising any major themes of the narrative.

I feel that this was certainly aided by the construction of the island around the actresses. James Perkins’ design ensures for suitably intricate routes through wooded forests and heightened cliffs which give settings for the action. This design expertly balances the audience’s image of a literal island but also hints towards the island as the construction of small boys, or girls, in this case, playing at civilisation. Also, a true highlight of this production is Tim Mascall’s lighting design. Right from the opening moments, the lighting is epic and this continues throughout the production. These two elements combined to make my jaw drop in the entrance of the parachutist which highlights one of the first darkest moments of the narrative and I truly enjoyed watching the lighting and the set design combine to enhance the narrative. Similarly, I feel that the atmosphere of this production evokes that of Golding’s original novel in Philip Stewart’s sound design. Stewart interestingly combines both the sounds of drumming and atmospheric noises in very interesting places, such as Jack’s first intention to divide the group, with the sounds of howling, shouting and crying by the cast to really bring all of these elements together.

William’s adaption of a more contemporary Simon worked very well and, in combination with Olivia Marcus’ skilfully quiet but active role, this really brought the character to a far more relatable point with the audience. I was also very pleasantly surprised that the production took the plunge and decided to portray Simon as having an anxiety-induced epileptic fit, rather than only a feint as it has been previously portrayed in films. While I cannot speak for the exact accuracy of the movements I do appreciate this decision due to the original vagueness of its presence in the novel and I feel that this aids the relatability of Simon in this production.

I will also say that the end of Act One, Simon’s death, is really the height of the production as the cast, sound, set and lighting design all come together. The moment itself is the best example within this production of the drama and epic features of Golding’s narrative and imagery as the sounds of the cast and practical effects ensure you cannot move your eyes away for a second. After the height of the moment, I love the intricate character moments of Piggy and Roger being the only ones to look at Simon’s body constantly after the act has been done. Following this, however, is one of the highlights of Adaja’s professional debut. The intricate detail of the spotlight on Simon once everyone, except Ralph, leaves as Ralph slowly turns to look at him and begin to sob. I feel that this was a really intricate way to do this scene and I really appreciated it as someone who has and will study the novel.

However, this production does feature significant changes which I, personally, was not a fan of due to the aspects of character and narrative which they changed. The main changes concern Simon, Piggy and Roger. The first is Simon’s scene with the titular Lord of the Flies, a pig’s head from Jack’s earlier hunt. In the novel and the subsequent famous film adaptations, the Lord of the Flies is always a major point of focus and truly a highlight, even if it is, as it is supposed to be, nightmare fuel. In fact, this scene is one of the many which have caused some readers to count this novel as a horror novel. This moment is vital to Simon’s character construction as he has a ‘conversation’ with the head, commonly agreed to be in his head even though commonly presented as two-sided, which foreshadows events and always stands out. However, in this production, this conversation simply blended into the background of the end of Act One. The pig is simply on the ground, rather than on a stick as it usually is, and while there is a small hint at the Lord of the Flies voice the conversation is purely voiced by Simon. While this is interesting there is no mention of the name Lord of Flies or the foreshadowing lines which are vital. The play could have been staging this as only Simon can hear these lines but this just leads to the conversation not being the true highlight of creepiness and narrative that it should have been.

The second is the parachutist. While I loved the entrance and the presentation of the parachutist, it began to distract me in the second act because of a major narrative change. While Simon does find the parachutist as she usually does and her vital lines regarding its humanity are still present they miss the vital point of Simon’s goodness and wish for the preservation of humanity’s goodness in Simon’s untangling and freeing of the parachutist who is then moved away from the island by natural causes. This was a change where I can see why the result of the action does not seem vital but I do not understand the reason for keeping the parachutist on the island when its time in the narrative has ended and the original actions do aid characterisation.

However, the purely biggest change is Piggy’s death. This play does weirdly change the circumstances surrounding Piggy’s death. While her glasses are stolen by Jack they are never broken which is again strange as the breaking of Piggy’s glasses before they are stollen is representative in the novel of the gradual breakdown of law and order. This could have been due to the time constraints as Act Two did feel shorter in terms of narrative but it is something to bear in mind if you are studying The Lord of the Flies. After this, Piggy’s death is not the same as it is in the book. Rather than Roger consciously choosing to release a bolder which kills Piggy by striking him on the head, and breaking the conch in the process, this play instead stages Piggy as being scared by Roger, Maurice and Perceval shouting which leads her to fall from the cliff and the conch in consciously broken by Roger with a rock. Again, while I can see that this form of Piggy’s death is easier to stage it is a curious change which must be made clear to those studying it. Another thing to bear in mind is that Hannah Boyce’s wonderfully creepy Roger is far more vocal than he is in any previous version. While it is nice to get a further insight into one of my favourite mysterious characters some of this vocalisation is badly placed in the tone of the play.

Therefore, overall I’m giving Nigel Williams’ Lord of the Flies ⭐️⭐️⭐️⭐️. While major narrative changes must be kept in mind for those studying the novel alongside this play, this play is an excellent theatrical version of the setting and general points made by Golding’s novel. The set, lighting and sound design of this production is a highlight of practical theatrical effects which allow the wonderful cast to really mould themselves into their characters and the setting. This leads to a really enjoyable experience in watching this cast find their characters and explore the setting while also making the events of the narrative suitably uncomfortable to watch.

Lord of the Flies is running at the Sherman Theatre until the 3rd of November and you can get your tickets here: https://www.shermantheatre.co.uk/performance/theatre/lord-of-the-flies/

Vicky Lord
@Vickylrd4 [Twitter]

Review ‘The Importance of Being Described… Earnestly?’ by Tafsila Khan

 

(4 / 5)

 

This is a brand-new play produced by Chloe Clarke in collaboration with Elbow Room Theatre Company and Galeri Caernarfon.

The play is a layered piece with audio description not just integrated into the play but the main creative narrative. With the actors playing actors of a fictious theatre company which is producing an adaptation of Oscar Wildes famous play ‘The Importance of Being Earnest’.

The play is set in the rehearsal room of the fictious theatre company. As you enter you are welcomed in by the cast and shown to your seats. The structure of the seating area is in a circle around the performance, you have a sense of being quite exposed. As the show progresses the reasoning for this seating arrangement becomes more apparent, as members of the audience are asked to participate in various scenes of the show.

The play begins with the cast introducing themselves to ensure that members of the audience know where they are, Tobias the director begins the show with a monologue about audio description and how it is integrated into the show. Tobias describes how the show will take us on a journey together for the next 60 minutes.

The cause of audio description has been taken up by Tobias as he has started having to wear glasses. Despite the director being well intentioned, what ensues is comedy of errors with the actors disagreeing about the best way to audio describe the scenes.

You get the sense very early on that Tobias who is played amazingly by Dean Rehman, is clueless in how to integrate audio description into the play. Tobias gets very defensive when the two blind actors played by Chloe Clarke and Jake Sawyers who play Jen and Greg in the show give any feedback on his descriptions. Eventually getting annoyed by the constant criticism Tobias launches into a rant about how without him the blind actors wouldn’t even have a chance to be part of the play, the rant takes a dark turn with Tobias swearing and using offensive language to describe the disabled actors. Leaving the actors feeling humiliated and the audience feeling uncomfortable.

As the cast quibble about how and what to describe, time ticks away with the play never being started. When the stage manager announces that there are just five minutes remaining of the show, Tobias decides to abandon the audio description and go straight to the last scene of the play.

The last scene is an intimate scene between Earnest and Gwendolen…or is it?

I really enjoyed the show, I feel it highlighted two main issues with access in the arts. One being that as portrayed in this show most of the time the people who know more about what the audience needs are often ignored and dismissed by hierarchy.  Secondly the fact that the audio description has been left until open rehearsals to integrate into the performance shows as often in theatre access is an afterthought rather than an integral tool in the creativity of the piece. I also enjoyed the different ways popular stereotypes of blind and visually impaired were played on which brought a lot of the comedy to the piece.

The production plays at Galeri Carnarfon from 01/11-4/11/2018

The performance on 03.11.2018, 19:00 is BSL Interpreted

Tickets can be purchase here

Tafsila Khan

Directed by Chloë Clarke
Associate Director Robbie Bowman
Created by Elbow Room Theatre

Cast: Chloë Clarke, Dean Rehman, Lizzie Rogan, Jake Sawyers

Age Guide: 16+

News:The Insole Court Book Club

The Insole Court Book Club is a monthly book club that specifically explores a diverse range of authors, for those who want to discover something new. The book club is a friendly and social club, where we can get together to discuss the book (even if you haven’t finished it, life is too short to read a book that you don’t enjoy!) have a glass of wine or coffee in beautiful surroundings, and meet other readers.

Insole Court will be offering alcoholic beverages for sale, and I will provide a range of hot drinks.

Where?

The Reading Room, Insole Court, Cardiff, CF5 2LN. There is plenty of free parking on site, access for cars and pedestrians is on Fairwater Road. Further details can be found here.

When?

The last Tuesday of every month, 7 – 9pm.
The first book club meeting will be Tuesday 30th October.

Who?

The book club is open to anyone who is interested in getting involved. The book club will be hosted by myself Kelly Barr (Offbeat Book Club).

Anyone can read-along and join in the conversation on my blog, where I will post a summary after event club meeting, so even if you can’t come to the club meetings, you can still get involved.

How?

If you’d like to come along to the first session, please just let me know via reply email.offbeatbookclub@gmail.com

 

Americanah by Chimamanada Ngozi Adichie is available at the Insole Court Visitor Centre shop, widely available in book stores and local libraries and on Amazon here.

If you have any trouble finding the book, please let me know and I will source one for you.

Thanks again for your interest and I look forward to welcoming you to the club!

Kelly Barr

Review Everything I Am, Camden Peoples Theatre by Tanica Psalmist.

Everything I Am is played and written by Natasha Simone, the play features a series of events based on her life as a young black women who’s queer, West Indian, feminist, Kayne-West fanatic and a university student finding her identity, contemplating acceptance of her sexuality from her homophobic family and dealing with black stereotypes from ignorantly racist peers.

The play is a solo act theming controversy, members of both the LGBT society and African Caribbean society; the disputes from how being a member of both societies aspired, confessions, ultra ego of celebrity Kanye guiding her through as the king of speaking his mind, whilst applying for the role of student welfare officer at the same time.

Solo act Natasha Simone, does a tremendous job roleplaying via characterisation techniques and giving the audience an insight into what her peers, family members, friends and associates were like. There are cues of her dealing with peer pressure and insensitivity by her privileged peers. The ambience sets the perfect mood when switching in-between characters and transitioning back to herself.

Intensive discussions from opposing peers on feminism arose, during an African Caribbean society meet-up, who described the movement as a white curse to prevent the sisters from sticking by their brothers; stirring rational comebacks from Natasha Simone, escalating to a heated conversation which could either make or break her.

Everything I am is a raw performance that is relatable, debatable and sincere. Natasha Simone is hysterically funny. Her play is deeply original and moving, based primarily on the exploration of identity, celebrity worship and power.

Tanica Psalmist.

Review Poet In Da Corner, Debris Stevenson, Royal Court Theatre by Tanica Psalmist

POET IN THE CORNER is a production that foretells Debris Stevenson’s internal story from when she was a girl developing in to a woman finding herself and then articulating her voice exclaiming why her and many people within the community, who feel disenfranchised, have connected and affiliated to Grime. We see how Grime was a gateway for her to escape her pain and permitted permission for her to willingly explore herself as a female, artist and individual. It cultivates awareness of a captivating society that’s held within a social culture, easily lost and withdrawn from the torment inflicted in to the young, who may also be struggling to adjust to life so confide in the culture of Grime music.

The surrealism featured in Debris’ play openly expressed learning difficulties, family complexities, Sexuality, mental struggles, exploration of the body, attempting to adjust to religion, family standards, identity crisis, unrealistic devotions, bullying, friendship disputes circulated around pulling each other up and the misunderstood appreciation all manifesting under the same roof. This gave an empowerment testimonial in to what Debris’ life was like growing up feeling detached from home, school and her social life.

The set majestically opened up formulating a moving circular shape; one of the cast members opened up as an open format live DJ, lively and vibrantly creating a gig feel setting in the theatre. Debris brought a taste of her rhythmic, fiery and raw lyrics incorporated in numerous sequences within the play. Immersive techniques were used when artist and lyricst Jammz who was discreetly seated in the audience interacting with Debris on set, smartly causing a scene by increasing tension away from the stage and in to the audience. We then see Jammz eventually being escorted on to the stage, bringing double the heat, radiating from his microphone exhilarating even more speed, energy, passion and insight in to his perspective and elements of his incomparable struggles to hers growing up as a black man in a council estate with limited opportunities with a single mother. Debris Stevenson sparks a rational comeback, which exhibits how her being a Caucasian female doesn’t deflate the fact she also has struggles. Emphasising how both herself and him coming from different worlds, but yet have so many controversial, similar struggles is the emphasis to the value of them respecting each other’s struggle.

Poet in the Corner is fused with breaking fourth wall elements, projections, hot dance moves consisting of basement, krumping and street, exportation of the limitation through commercialised media, power of poetry, physical theatre techniques and a grime concert feel , rave feel and gig all wrapped up in one with a depiction of the sentimental artistic, fabrication of England. This production is enticed with expressions and intimate real life moments, discussions and powerful emotions. It is definitely a production worth seeing, an experience for all!

Tanica Psalmist

Review Lord of The Flies, A Theatr Clwyd and Sherman Theatre production by Karis Clarke

 

(5 / 5)

 

Director:  Emma Jordon

Adapted by Nigel Williams

From the second I jumped out of my seat when the lights went down in the theatre I was hooked! Unfortunately I had entered the theatre with a  pre conceived idea – that I wasn’t going to enjoy this production. … because of the very thing that was creating all the hype, the all female cast. I though the gender / feminist card would be thrust down the audiences throat as hard as that of the casting of a female Dr Who! I was wrong. For the first few minutes I fought hard with myself, looking for flaws – but honestly the play just won me over.

James Perkins design was simple but effective, multi layered and stylized – it didn’t need anything dramatic the play was so well crafted it could have been performed on a empty stage.   Tim Mascoll’s clever use of light, shade and silhouettes, added to the sinister savagery consuming the Island and gave depth to the set.

The all female cast were young, playing young children / teenagers –  not an easy task – it can be very easy to over act and it looks ridiculous,  underact and the importance of the childhood is lost. This cast was spot on  – Each one showing the transition from girl to woman to savage as well as portraying Golding’s symbolism .  Piggy  rationality, Rhalp civilisation, Simon innocence, Jack, savagery, Roger evil. Each one gave a well rounded performance each one being allowed to deliver moments of humour amid the unfolding horror.

Piggy was sublime and was a treat from beginning to tragic end – the likability of Gina Fillingham’s performance only heightened the pathos felt for the unheard, unlikely heroine.  This was a stark contrast to the  hatefully personality beautifully portrayed by Kate Lamb as Jack. The timing and interaction of all the girls was strong, credit to movement director Liz Ranken who utilised the bond of the cast none more so than with –  Lowri and Mari Izzard as sisters Eric and Sam who were faultless. It was the timing and rhythm of the play that enabled the girls to work themselves into the halftime frenzy  – creating highs and lows in pace and emotion allowing the audience to catch up with the events unfolding on the stage.

It was disturbing, as a female to watch the sisterhood destroy itself –  the  book depicts the symbol the boys waiting to be destroyed by the Beast aka man- this takes on a whole different meaning when you think of teenage girls on the brink of womanhood being petrified by the beast of man!

Most of us are familiar with the story of The Lord of The Flies and the demise of  the boys left to their own devices in a world with no order – but to see females descend into the chaos of evil starting at innocent name calling and teasing, ending in death was bitter. I watched the play with my teenage son – who thought “the play was brilliant – but would have been more believable with boys as girls wouldn’t behave that way”

I disagree, as I have been a teenage girl and could fully  buy into the ugliness that transpired. With this I learned two things – casting isn’t important the quality of the acting is and boy, girl, man or woman we are all victims of humanity, with a frailty of sanity on a  knife edge between good and evil.

Once again a 5 Star production in this coproduction from Cardiff’s Sherman Theatre and Mold’s Theatr Clwyd who are back where they belong  – leading the way in North Wales Theatre.

Lord of the Flies can bee seen at Theatr Clwyd until the 13 October. The production then play at Cardiff’s  Sherman Theatre from Wed 17 Oct 2018 – Sat 03 Nov 2018

 

 

Review Joon Dance, Tongues, Chapter Arts Centre by Jeremy Linnell

 

A note on Joon Dance’s Tongues: This performance was shown as work in progress, the result of a period of research and development. It is a collaboration between Joon Dance, spoken word artist Rufus Mufas and young people in the community.

Tongues is coming in on a swell of excellent work for and with young people in Wales. Theatre Iolo’s excellent Platfform initiative is nurturing artists to make engaging, demanding work for and with young people, such as Tin Shed Theatre’s Boxes and 2016 by Paul Jenkins and Tracey Harris. Even National Theatre Wales is getting in on the act with We’re Still Here making great use of a community cast, including several young people, given strong moments within professional production to connect with an audience and have their voices hear. The UK as a whole is really seeing a shift in how we make and present work for young audiences, with growing recognition that they deserve as dynamic and diverse program of work as older audiences, and that by nurturing the next generation of young creatives we can ensure this program of work continues to be made in the future.

Billed as “A public performance on the Friday at 6.30pm to showcase the piece of work developed through the week.” Tongues was the culmination of a week’s work with young people from the community around Chapter, for them to,

“Find your voice this summer with TONGUES. Ever wanted to speak out about what’s important to you? Like dancing or interested in performing? Together we will create a dance and spoken-word performance unique to you and your community.”

Its ambition is to fit neatly in to this growing landscape of diverse, young people led work. I feel this is important. Tongues is big ideas and big promises.

Tongues also opens with a promise to the audience. Well. A promise and a provocation. Upon being seated we are asked what “Canton is”. Our answers are written down and posted on the wall at the back. All the while bodies slowly writhe on stage like pupae waiting for the performance to begin. Before the show starts we are told our voices matter, that we are as much a part of this as the performers.

Tongues is ultimately a promise to give voice to its young people and its audience.

It’s a promise it breaks.

The performance, to be absurdly reductive, consisted of three halves (try working that one out, ha!). Live dance, spoken word and live sound mixing using audio captured from around Canton.

The opening number involved the young people dancing across the stage, with the most infectious, magnetic smiles I’d seen in a long time. Loving performance, loving being there, I was utterly delighted to be spending the next hour in their company. Even more so when they picked up the mic and started expressing their truths about the world.

What a tragedy to see them spend the majority of the performance sat at the back of the stage as the adults performed for them, spoke for them and made music for them.

What a missed opportunity to have three exciting live mediums, built on passion and emotion, to be performed in such a monotone and belaboured manner, and to not have the mediums play together and enhance the expression of each. I so desperately wanted them to react to each other, to find a voice together. I also had a particular note for whoever performed the majority of spoken word – they held the mic too close to their mouth making it difficult to understand, and the lack of variation in delivery made it hard to focus on what was being said. If the words came from young people let them speak!

And how great would it have been if our answers to “Canton is” had been included in the piece instead of involving us at the start only to be ignored for the rest of the performance.

The adults performing the work have worked hard and take great joy in what they do, and are clearly incredibly proud of the potential of the work.

It just needs to decide whether it is work for and by young people, in which case they need to be front and centre, or whether to use young people’s experiences as provocations for professional artists to create work around. A great deal of what I said can be addressed simply by changing how the work is framed to the audience.

I see great potential in this work and would love to see a more developed version, one that embraces its liveness and the unrefined, magnetic joy and passion of the young people on which it has built its foundation. Please do not take their voices away.

Unfortunately, The work is just not there yet. It is however an excellent, and exciting concept, one that is using mediums that resonate with young people in ways that traditional theatre doesn’t, so I am incredibly hopeful that the work will become something important and vital.

Gweithdy Beirniaid Exodus, am ddim/Free Exodus Critics workshop

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!

All participants will be able to:

-Access the workshop for free and see an open rehearsal of Exodus, Motherlode’s new production.

-Receive a press ticket to see and review Exodus on October 6th 2pm at The Coliseum, Aberdare

-Be supported by Get the Chance to continue to review a range of events and performances.

Motherlode presents

In Co-Production with RCT Theatres

Exodus

By Rachael Boulton

“South Wales. The night the last factory closed. Four neighbours build a plane in an allotment and take off down the high street, past the butchers, past the curry house, and above the chapel in search of a life free from politics and the grind.”

Blisteringly funny, this heart-warming drama accompanied by live original score and tantalising visuals is a new adventure from the valleys that makes anything seem possible.

“Comic and celebratory, melodic and mournful, it’s an elegy for a place that’s not dead yet!” – New York Times Review for Motherlode.

In association with Creu Cymru. Supported by Arts Council of Wales, Bristol Old Vic & Chapter.

What’s involved?

You will take part in a 60 minute workshop with Guy O’Donnell Director of social enterprise and 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.

The workshop is limited to 10 places. All participants will be expected to write a review of the performance. The workshop will take place in the English Language.

Suitable for ages 14+

The workshop is on Saturday, October 6th 12-2pm at The Coliseum Theatre , Aberdare.

https://rct-theatres.co.uk/event/exodus

Schedule

12-2- Workshop

2pm- 3.30pm-Performance

To book a place please email getthechance1@gmail.com

Diddordeb mewn theatr, dawns, celf weledol, cyngherddau, barddoniaeth, ffilm a rhagor?

Eisiau cymryd rhan mewn gweithdy yn rhad ac am ddim er mwyn dysgu beth yw rôl beirniad?

Dyma’r cyfle perffaith felly!

Bydd modd i bawb:

-Gymryd rhan yn y gweithdy yn rhad ac am ddim a gweld ymarfer ‘Exodus’, cynhyrchiad newydd Motherlode

-Cael tocyn i’r wasg i wylio ac adolygu Exodus ar 6 Hydref am 2pm yn Theatr y Colisëwm, Aberdâr

-Derbyn cefnogaeth Get The Chance er mwyn parhau i adolygu ystod o achlysuron a pherfformiadau.

Motherlode yn cyflwyno

Cyd-gynhyrchiad gyda Theatrau RhCT

Exodus

Gan Rachael Boulton

De Cymru. Noson y ffatri olaf yn cau.

Mae pedwar cymydog yn adeiladu awyren mewn rhandir ac yn mynd i lawr y stryd fawr, heibio’r cigydd, heibio’r tŷ cyri, ac uwchben y capel i chwilio am fywyd heb wleidyddiaeth a heb bwysau’r byd.

Yn ogystal â bod yn ddoniol tu hwnt, mae calon fawr i’r ddrama yma. Gyda cherddoriaeth wreiddiol fyw, dyma antur newydd o’r cymoedd sy’n wledd i’r llygaid. Byddwch chi’n credu bod unrhyw beth yn bosibl.

“Comic and celebratory, melodic and mournful, it’s an elegy for a place that’s not dead yet!” – Adolygiad y New York Times Review o Motherlode.

Mewn cydweithrediad gyda Creu Cymru. Gyda chefnogaeth Cyngor Celfyddydau Cymru, Bristol Old Vic a Chapter.

Beth yw’r gweithdy?

Byddwch chi’n cymryd rhan mewn gweithdy awr o hyd gyda Guy O’Donnell, Cyfarwyddwr y fenter gymdeithasol a’r cylchgrawn ar-lein Get the Chance http://getthechance.wales

Yn ystod y gweithdy, byddwch chi’n dysgu beth yw rôl beirniad y celfyddydau. Byddwch chi’n dysgu sut i ysgrifennu adolygiad a’i roi ar-lein. Bydd y rheiny sy’n cymryd rhan yn edrych ar flogio, fideos, y cyfryngau cymdeithasol a llawer mwy! Bydd pawb yn cael y cyfle i weld eu hadolygiadau ar wefan Get The Chance.

Dewch â’ch gliniadur, llechen neu ffôn glyfar os oes un gyda chi. Dim ond lle i 10 person sydd ar y gweithdy. Bydd disgwyl i bawb sy’n cymryd rhan ysgrifennu adolygiad o’r perfformiad.Bydd y gweithdy yn digwydd yr iaith Saesneg.

Yn addas i bobl dros 14 oed

Mae’r gweithdy yn cael ei gynnal ddydd Sadwrn, 6 Hydref rhwng 12pm a 2pm yn Theatr y Colisëwm, Aberdâr.

https://rct-theatres.co.uk/event/exodus

Amserlen

12pm-2pm – Gweithdy

2pm- 3.30pm – Perfformiad

Er mwyn cadw lle, ebostiwch: getthechance1@gmail.com