Category Archives: Literature

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

Review: Ravensong by TJ Klune by Sian Thomas

I don’t know where to begin with this book. I didn’t know where to begin after I read the first in the series, Wolfsong, so here I am all over again, hoping that I’ll be able to think of something that works and say anything that shows a fraction of what I felt while I was reading Ravensong.
I was so excited for it. This was not a secret (I don’t think it could have been, really, even if I tried with all my might)

This book had a stark difference in the way it utilised its point of view. A different story needing a different outlook is much more than understandable, and though I was excited to see how the change would play out ultimately I would realise: I love Ox and I love Wolfsong and though it would be easy for me to pick a favourite, that would never mean that Ravensong was bad – because it wasn’t. I loved it anyway, and I loved it in a different way. The thing about reading Wolfsong was that I also came to realise that I adored all the characters that were there for me to enjoy – so the book being told by a new voice was welcome, and fun, at its core.

The writing style before I remember as crisp and sharp and full of emotion, and it still was, now. It had a way of making me reflect on my own writing style; how mine is elongated and often runs in triplets and have a very obvious tendency to be verbose. It was refreshing to relive, I didn’t notice how much I had missed the style in the two years that had elapsed between books. It’s great too because, amidst the ache and the burn and the awe, there is always jokes; fun comedy in light of whatever serious situation is happening. I latched on to that, it was something I both really appreciated and could never wait to see when or where it would next pop up. TJ Klune has a talent for knowing the time and the place, and he also has a skill for creating a time and a place if he wants to, anyway.

The story was damning; I cried at least four times? At Wolfsong I’m sure it was at least six (the first time I read it, that is). The touch of tragedy but still triumphing it is always wonderful to see. That and, I don’t know, it’s a huge story and one of the biggest things about it is a loss none of the characters can control. I like a book that makes me feel a lot, so I’m not at all surprised at how much I enjoyed this one. There’s something about being able to cry at a story that’s inherently good; it talks a lot of the skill of the author and the openness of the reader. And I liked it – it makes me feel like even more of a part of the story. It was leagues more than the word intriguing can convey; I’m excited for whatever’s going to come next
adored it

I did a review of Wolfsong when I read it, about two years ago (give or take a little). I remembered feeling like I had to be the luckiest person alive when TJ Klune himself said he enjoyed it. That alone meant a lot to me. What also meant a lot to me was seeing the opening lines of it printed out in front of Ravensong.

It felt nice, first of all, to be remembered and also it felt wonderful to be included and I liked that this little Welsh group got to be seen the way it has. It felt important, and I felt very lucky all over again. It definitely made my day much more enjoyable when I saw it; the hours were a breeze and a constant grin was on my face.

In my last review, I talked about LGBT representation. I still think it’s important and I always will; Ox being openly bi was one of the many reasons I adored him. So, in the blog posts leading up to Ravensong, when I saw “unless I am explicit about a character’s heterosexuality, readers of Ravensong (or any book of mine) should assume said character is queer. Easy, right? Unless you see a dude like balls deep inside a vagina , or a woman talking about how she wants to get all up in some dude and ride him like a wooden rollercoaster, they gay. (Or, even better, they could still be doing BOTH those things because bisexuality is a thing that exists.)”, I was blown away. I was so happy. It was also great to watch this unfold as the truth, with characters embracing who they are and ones being mentioned to be aromantic – it’s refreshing to see. I hope it never, ever stops, and I hope that if I get as far into writing as TJ Klune has, I can do something even a fraction as meaningful and important with my words and my characters.

I hope the book does well, because honestly, it deserves to.

Sian Thomas

Review of Eisteddfod Genedlaethol Cymru at the WMC by Roger Barrington

(4.5 / 5)

 

It may seem a little incongruous to have a review about the Welsh National Eisteddfod  in English, but, I’m afraid that my best endeavours, (strike that – my lack of endeavour) fifty years ago, meant that I just managed to avoid being unclassified for my O’Level Welsh language examination.

In fact, I think the last time that I attended an Eisteddfod, I was actually taking part in it! I came third, (out of three) in the piano competition. I recall the adjudicator, a Mrs Ogwen Thomas  if my nightmarish memory serves me correctly,, summed up my playing by saying that it took her a while to recognise the piece I was playing.  So, there ended my budding concert recital career!

Being Welsh, you are always aware, when being out of your native country, of being The Other. Having lived two-thirds of my life to date outside of Wales, I have exploited that, both to my advantage and disadvantage.  So, I looked forward to attending the Welsh National Eisteddfod, which, this year is being held at and around the WMC in Cardiff, with great anticipation.

I was also a little apprehensive due to my concern about missing out on most of the activities, due to my lack of understanding Welsh.

My fears were allayed due to the presence of a desk in the foyer, that has free instant translators into English. However, this only works in The Pavilion, (Donald Gordon Theatre), but as all the major action occurs here, this is not a huge problem. And the instant translation works well.

In the three hours I sat here, I watched a huge diversity of competitions – vocal, recitation, instrument duo, instrument solo and dance. Of course, music transcends the difficulties of language, so I found this to be the most enjoyable events.

The talent on display was, at times, breathtaking. In the instrumental duo, I watched two cute little ten year old girl harpists in competition against two Royal College of Music student duos – twice their age! Naturally, they came third, but to be pitted against two highly accomplished duos from the RCM, and not be embarrassed, is an outstanding achievement – especially as one of the girls lives in Lampeter and the other in Cardiff, making practicing together a little awkward.

In the Blue Ribband event for under 16’s events, I saw four wonderful young musicians. Naturally I was drawn to the pianist, a twelve year old girl from Pontyclun, who played Scarlatti and then Bartok. Two vastly different pieces, and her maturity not only in technique, but also expression was awe-inspiring. A brilliant alto saxophonist, and a cellist who again played contrasting pieces, together with a talented trombonist completed the finalists. At the time of writing, I do not know who won this competition, but it was certainly going to be a tough decision by the team of adjudicators.

Monologues are translated into Welsh as well, so you can understand fully what is being said.

Added to all this, there are a number of other venues to visit, both inside and outside the venue.

There are a vast number of stalls present again, providing a real festive environment.

I took a look at the Welsh Books Council stall, and despite my intention not to add to my already burgeoning book collection, I came away with “The Hill of Dreams” by Welsh author Arthur Machen. The opening line goes, “There was a glow in the sky as if great furnace doors were opened”. Well, I can equate the glow to the Eisteddfod and the doors blown wide open, are those to my Welsh soul.

I invite you to rekindle your sense of Welsh identity, because, one thing that is clearly apparent is that the future of our culture is in assured hands.

Tickets, (remarkably good value for money), can be obtained at

https://www.wmc.org.uk/Productions/2018-2019/DonaldGordonTheatre/TocynDydddayticket/?view=Standard

NB. There is an abundance of events you can attend free.

Preview Decolonising Environmentalism by Yasmin Begum 

In a fitting location near the banks of the river Taff, the groundbreaking “Decolonising Environmentalism” will be taking place in one of Wales’ most diverse and multicultural communities, Grangetown. It’s a film screening of Thank You For the Rain, Q+A discussion and a community meal with invited speakers organised and programmed by gentle/radical headed by local artist Rabab Ghazoul.

Thank You For the Rain is a multi-award winning film directed by Julie Dar. Kisilu, a Kenyan farmer, records and documents the experiences his life, community and his family- and the effect that climate change is happening on their lives. A chance meeting between the director and Kisilu changes a few things: but you’ll have to watch and find out what happens.

 

Decolonisation isn’t something typically discussed in every day Wales and neither is environmentalism. In fact, we focus on equality, and diversity: but decolonisation remains a little-uttered word in Wales until gentle/radical’s recent innovative work such as the frequent (and well frequented) Imagination Forums. It’s definitely a radical event its vision in that it’s radically different to anything anyone’s ever done before, and it’s this radical vision that has been met with success in the nation’s capital.

 

Environmentalism and decolonisation have huge impacts and implications in Wales- just look at the recent conversation on the tidal lagoon in Swansea, the legacies of post-industrialisation or the environmental racism of gentrification in Cardiff city (and beyond). gentle/radical’s work has grown to accommodate a need in the city for diverse and innovative programming for Cardiff city as it so rapidly grows. It’s the second people’s symposium following the phenomenally successful “Death of Distance” that saw Amrit Wilson and others discuss the legacies of the Balfour Declaration and the Partition India.

 

Gentle/radical will be bringing Joshua Virasami from Black Lives Matter, Sakina Sheikh from Platform London, Suzanne Dhaliwal from UK Tar Sands Network, Asad Rehman from War on Want to explore the connections between topics such as environmentalism, race, power and colonialism.

 

The event will be taking place at the Shree Kutchi Leva Patel Samaj Cardiff in Grangetown this Saturday 1st July 2018. Tickets are £15 for fully waged people, £10 for partially waged people, £5 for unemployed people and they’re likely to sell out before the weekend. Tickets are free for asylum seekers. Book your tickets here

 

Review Alternative Routes 2018, National Dance Company Wales by Helen Joy

 

Panopticon

I’m never quite sure what we are trying to say when it comes to our use of the internet.

And I’m none the wiser after this performance.

We dance around the issues of data-sharing and personal exposure. We dally with each other’s lives and throw our own out there into web-space without thought for the consequences.

We trip the light fantastic with our innermost secrets reluctantly and willingly bared.

This is elegant, cautious, a ripple of ideas from dancer to dancer. We give and we take, we argue and hide. We watch the interplay of give and take played out as always with beauty, story and perfect timing.

We watch two reluctant lovers forced together by circumstance and unavoidable magnetism progress into companionable partnership.

This philosophic performance makes me think: do we have a choice?

Clever, thoughtful, poetic.

All photography by Sian Trenberth, Panopitcon by Tim Volleman, Set & Costume: Sophie Wheelan, Lighting: Jose Tevar , Sound Design: Benjamin Smith, Composer: Trailand Elzorth. Dancers: Elena Sgarbi & Oliver Chapman

Un

Some people just make you wish you could be someone else, have someone else’s gifts – maybe just for a day.

This is clean, smart, strong. She stands confidently alone and accepts the challenges life brings.

I am agog at the power in this dance, this dancer. She is utterly beautiful and complete.

‘Un’ by Kat Collings , Set & Costume: Megumi Okazaki, Lighting: Jose Tevar , Sound Design: Benjamin Smith , Composer: Sylvia Villa , Dancer: Julia Reider

Ecrit

To my left is a choreographer and dancer and she says of this: they fly!

And fly they do.

This piece is the reason to follow this dance company, to follow dance, to sit here in the dark and let the lights and the simplicityof the stage capture you, to let the music touch you and the movements of the dancers feed your soul.

The love in this dance makes me cry. This feels as if it has been born perfect, perfection born of two imperfect creatures in a story of passion and pain.

“Truth is, so great, that I wouldn’t like to speak, or sleep, or listen, or love. To feel myself trapped, with no fear of blood, outside time and magic, within your own fear, and your great anguish, and within the very beating of your heart. All this madness, if I asked it of you, I know, in your silence, there would be only confusion. I ask you for violence, in the nonsense, and you, you give me grace, your light and your warmth. I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love. ”  Diego Riviera

I see this piece again and again behind closed eyes and relive it best I can.

To my right, the costumier says, however many times I see this it will not be enough. I agree.

‘Ecrit’ by Nikita Goile, Set & Costume: Erty Huang, Lighting: Jose Tevar , Sound Design: Benjamin Smith , Composer: Florencia Alen
Dancers: Nikita Goile & Cyril Durand-Gasselin

Why Are People Clapping

Because they are having fun!

Slapping, clapping, rollicking dance as a lively contrast to the soul-searching we have enjoyed before.

I find this hard on my ears and squint back at the stage, recoiling slightly at the noise. It is such a shock! The rhythm of life beats and the audience laughs and we pull faces back at the dancers’comic turns.

This feels like an exercise, an exploration – a start to something this extraordinary company of dancers will see through in its own way and I very much look forward to seeing it too.

‘Why Are People Clapping?’ by Ed Myhill,Set & Costume: Elin Steele, Lighting: Jose Tevar, Sound Design: Benjamin Smith , Dancers: Julia Reider, Kat Collings, Tim Volleman, Elena Sgarbi & Oliver Chapman

A wonderful series of pieces – I left exhausted and elated.

#altroutes18

alt-ROUTES

7 – 9 June 2018

Seen: 8 June

National Dance Company Wales

Dance & Design from Cardiff’s emerging artists

Dance House, Wales Millennium Centre

Panopticon

Choreographer – Tim Volleman

Dancers – oliver Chapman & Elena Sgarbi

Un

Choreographer – Kat collings

Dancer – Julia Reider

Ecrit

Choreographer – Nikita Goile

Dancers – Nikita goile & Cyril surand-gasselin

Why Are People Clapping

Choreographer – Ed Myhill

Dancers – Julia Reider, Kat Collings, Tim Volleman elenaSgarbi, Oliver Chapman

Helen Joy

Review: Open Mic Night by Sian Thomas

The Fringe’s Open Mic Night was my favourite event last year, and it was the very same this year. Last year and this one, this event was a charming little free one; open to all those who want to share and to those who don’t and just feel like watching on. I’m glad all over again that I’ve gotten the chance to attend it, and share my work with a tightly packed room full of people who want to know what it sounds like because they know just what it feels like to write and want to share, too. It’s an event that has me perfectly in my element, enveloped by people who understand so fully what I’m feeling, and that in itself is irreplaceable.
I was lucky, I think, to have found the event during my first Fringe Festival experience last year, and to see it return and to be able to return myself was such a great feeling that there isn’t really a place in me that I can place it. I enjoy the feeling of a homey cafe and a safe atmosphere where there’s no shame in flubbing one’s words or losing one’s place or anything even remotely like that. It really drove down my nerves and calmed me while I was up there, reading out things I’d written that I’d always assumed would only ever be read in one’s (maybe even just my own) head. I had my reservations at first, also, but they were quelled much faster than I expected, and I don’t doubt in the slightest that that’s down to how supportive the mood in the cafe felt, how everyone was rooting for each other.

It was good, definitely, to watch other people get up and prepare themselves and read their own work. It was nice to be a part of that safe and supportive atmosphere and hope that someone else felt I was doing for them what they had done for me. It was nice to see the differences, too; people with one notebook, three notebooks, their phones, or no scripts at all – just them and their heads and all the words inside them. It was nice to watch the mood shift with each person’s piece or pieces. Some were funny, serious, topical, and so on. Everyone was different, and I really liked that.

The hostess, Alice Downing, was just as great this year as she was the last. This event wouldn’t be the same without her, I really believe that. So I’m glad, all over again, that she was there and the perfect person to eject support and a sense of calm into this room full of slightly apprehensive writers.

Most importantly, I had fun. I hope that everyone else did, too.

So much of the Fringe is still happening in these last five days. I myself only have two more events that I can make it to. I’m having fun, it’s been good, and I know it’ll continue to be great. http://www.cardifffringetheatrefestival.co.uk/shows-tickets/

Sian Thomas

Review Teimlo Llais (Feeling Voice), Arcade Cardiff Exhibition, Artists: Penny D Jones, Gemma Green-hope and Sally Richmond by Tafsila Khan

Teimlo Llais (Feeling Voice) exhibition

Artists: Penny D Jones, Gemma Green-hope and Sally Richmond

An installation of touch and sound.

The exhibition is in the gallery ArcadeCardiff Queens Arcade, Queens Street, Cardiff CF10 2BY arcadecardiff.co.uk

Opening Night:18th April 2018 from 6pm-8pm

The exhibition continues from Thursday 19th April until Saturday 5th May

It is open Wednesdays to Saturdays 12:30-5:30

The Gallery ArcadeCardiff is situated within the Queens Arcade shopping centre, the Gallery space opened in 2011 and aims to provide a place for upcoming and established artists to experiment, test out ideas or show new work.

The latest exhibition by Penny D Jones brought together her two interests, women’s voices and the Welsh language. The exhibition was a feast for the senses, with a textured quilt and tactile ceramic work which played a recording of Welsh women speaking in Welsh.

Penny wanted this exhibition to be inclusive and accessible for visually impaired and blind people, this was done well as the exhibition was enjoyed through touch and sound. The pieces of art were all black so worked a little as a leveller for sighted people and people with visual impairments.

One of the pieces had no sound so you were able interpret from it what it made you feel. I have to say this was my favourite piece as I am not a Welsh speaker, however, Penny was on hand to interpret for the other pieces.

This is the first accessible exhibition I have visited, it has my wetted my appetite to find more exhibitions like this.

For more information on this exhibition please go to https://llaismenywod.wordpress.com/

Tafsila Khan

Review Mary and the Witch’s Flower by Jonathan Evans

(3 / 5)

With the fate of Studio Ghibli still uncertain, what are all the talented artist and storytellers to do that worked there to do? Get up, form their own studio and make a movie. Good for them!

Mary and The Witch’s Flower is the movie debut of Studio Ponoc and they take it upon themselves pick up the baton to create accessible movies for children that are just as filled with whit and inspiring images that would wow an adult.

From its first scene, it is here to intrigue and impresses. A hooded figure runs away from other hooded figures, they carry something. They grab a broom and fly away on it, grey, blobby being chased them and the tree city they came from explodes. While being pursued what the hooded figure has is dropped into a forest and so is their broom. We instantly have many questions and there is a lot of color, sound, music and beautifully realised animation to kick off the movie already.

We then see a little house in the countryside and a young girl by the name of Mary (Hana Sugisaki) is moving in. She wants to help but she is a terrible clutz, not even being able to tie a flower or pick of a box of her stuff without causing a mess. While exploring her new home she comes across two cats, one grey one black. They lead her into the forest and there she finds a broom held by a tree with vines and a flower that is so blue it seems to be glowing. One night the broom starts moving by itself and takes Mary through the clouds and to a place like no other, Endor College for witches.

It is the sequence where Mary is introduced to the headmistress Madame Mumblechook (Yuki Amami) and is shown all the facilities of the college that is easily the best part of the movie.

The animation is just like that of Studio Ghibli, with thick lines, blobby movement, and simple but expressive character designs. Being that the new studio is composed of almost entirely former Ghibli staff this isn’t really a surprise.

There is a wealth of generosity paid to the animation. Sure it’s pretty and smooth but the generosity comes in little things that most people wouldn’t even notice but they did and put in the extra effort. Take a moment where Mary is being guided through the school, we see the big establishing shot and when the camera is closer to her face we can still see something going on with someone else. Animation, particularly hand-drawn animation requires one drawing at a time to be produced to create the illusion of movement and when it’s done must be colored in, which is also time-consuming. These little things which take up much time and go by so unnoticed shows that the people working there are passionate about bringing the whole world to life.

Eventually, sinister intentions are revealed, our hero must use her wits and bravery to overcome them and we are left with a satisfying ending.

The movie is the tale of a normal person being swept up into a world of magic and having to maneuver this new world where there are stakes and plenty of creative visuals along the way. It will entertain your children with it’s easy to understand plot, likable character and vivid color pallet. Adults will also be sucked in.

 

Review Peter Rabbit by Jonathan Evans

 

(1 / 5)

Ow, my. What a waste of talented animators time and effort. Such a shame that pretty cinematography would be used to portray such pandering material. A cast that could lend itself to much better material yet is stuck in this feature that is trying so hard to impress yet comes off as desperate in the end.

Is this really the hardest thing to get right? A family of rabbits need to survive and there is a source of food in a nearby garden, so they go and take what they need from it, but the owner of the garden is the mean old Mr. McGregor. This is essentially a tale of Tom & Jerry but with a rabbit and a human.

We have the titled character Peter Rabbit (James Corden) getting up and getting ready for another day of stealing from old Mr. McGregor (Sam Neil). He takes his triplet sisters Cottontail (Daisey Ridley), Flopsy (Margo Robbie) and Mopsy (Elizabeth Debicki) and their cousin Benjamin (Colin Moody). Instantly the problems start, Peter, is a motor-mouthed, obnoxious twit that believes themselves to be so great and even speaks right into the camera and addresses the audience telling them about how smart, fast, well dressed etc. he is.

The special effect people really have created good work in bringing the animal characters to life. They do look like the actual animals they’re based on and have found a way to have them stand on their hind legs and emote their faces without looking off or ending up in uncanny valley territory. The rendering of the fur and the denim jackets they wear are also rather convincing. It’s such a shame that all this effort was wasted on pandering, obnoxious characters.

One day, in the midst of a conflict old Mr. McGregor, dies of a heart attack and with his dead body laying there Peter repeatedly pokes him in the eye. Survearly distasteful. So with him gone his great-nephew Thomas McGregor (Donmhall Gleeson) has inherited him home. So now the rabbits have a whole new McGregor to deal with.

The dynamic between a hero and a villain is simple really. We root for the hero because they inhabit goals and morals we connect with while the villains oppose them. So through experiencing the story playout we root for our hero and hope they overcome the villain. There are variations on this but this is a basic staple. I more morally complex material we can understand the villain and why they do what they do but a sign of failure is when we agree with the villain. Thomas McGregor is uptight and quite odd but it is shown that he is indeed a hard worker and is capable of being considerate as well as having a reasonable goal. Now, these obnoxious rabbits break into his property and give him such a hard time. Sure the argument is made by Bea (Rose Byrne), the neighbor, that they’re animals following they’re basic instincts, but they’re not, we see that they talk and discuss and wear clothes, they are aware of their actions. So I’m rooting for the “mean” human that has a dream and is willing to put in the work while the hero is selfish and would support cooking him into that pie.

How is it that the moments with the human characters are so much more concise than the moments with the animated animals? It costs a lot of money and takes a lot of time to render these talking animals on-screen and yet the filmmakers seem to fall in love with the material the actors were either improvising behind the microphone or reading from the script and decided none of it need editing down or being cut out. It does, so much of this, a waste of time or isn’t funny and sometimes both.

When I was sitting in the theatre one child was laughing and the adult next to them was on their phone, I can’t say I blame them. This will probably make the children laugh but it won’t make them any smarter by the end of it and when they’re older they’ll probably realise it’s tripe.

If we took out all the animated rabbits and had an off-beat story about a city slicker coming to the country and being charmed by someone then we might have had something here. Yes, I know that that formula has been done to death but at least it would have been something stomachable. I have no patience for these rabbits.

For a well made, charming, intelligent children’s movie based on a British series of books, I point you towards Paddington.