I was unsure of what to expect when I sat down to watch Mark Morris’ Pepperland at the Wales Millenium Centre. It’s practically criminal not to know and love the Beatles in at least some tangential way, or not to have one go to song to draw out as your favourite. But I wasn’t watching with the nostalgia of many of the audience who had been there the first time, who could see themselves in the chorus of screaming fans in the opening scenes. I’m also generally unfamiliar with the dance genre and haven’t watched professional dance shows in years. But I thought that the show would be the perfect splash of colour to brighten up characteristically unpredictable Easter behaviour.
The opening scene sealed my unease, with Ethan Iverson’s inventive score somewhat undermined by unearned hints of darkness. The theremin was a particular point of contention for this show. Personally, I adore this unconventional instrument, especially in the rightfully iconic Ed Wood theme. However, It’s an instrument best used sparingly.
When placed artfully in pieces like the ‘Penny Lane’ dance, it was unexpected but refreshing. However, there were moments where it threatened to drown the score and the audience with it, through no fault of the talented performer. The show seemed to have that sort of tone problem throughout. While sombre notes in the orchestration sometimes clashed welcomely with the candy cane cheer of the costumes, more often than not they felt misplaced and unearnt in regards to the dancers, who were performing – wonderfully as always throughout the production – dances that didn’t meet the new tone to the music.
Again, when it worked it worked, but there were only brief flashes where it did. Some of the transitional dances were overly repetitive, but the technical prowess of the dancers can’t be faulted. Whatever the audience felt about the score or singing – and we’ll come to that later – the dancers had them all immediately onside, providing the audience with plenty of laughs alongside genuinely warm applause.
Despite their obvious prowess during the more cheerful numbers – especially my favorite of the set, ‘Penny Lane’, they were equally as impressive, if not more, when performing more tender and sombre scenes. The romantic dances especially were things of beauty. They represented a tender sixties fairytale where race, gender, sexuality and time meant nothing. Love and light were all, even when the lights dimmed and love faded. The show managed to give it’s very basic staging maximum impact. The ebbs and flows of lights and colour flexing to the music. Of particular note was the way that Iverson drew out the Beatles’ Indian influences to their most lavish conclusion.
The singer, however, was met with mixed reviews. Not doubting his vocal talents, he simply didn’t seem to fit the production. The dancers and their costumes indicated something more joyful which would take itself less seriously. The score was theatrical but often confused. Vocal talent and power alone can’t replicate charm, and the operatic style seemed like just another confusion added to the pile. The singer would have benefited from a show which approached its tone with more intent, or allowing himself some lapses in technical skill for raw emotion. In those brief moments where he did falter, his singing became much more powerful.
Perhaps the best way of summarising this show is ‘if you’re here for a beatles sing-along, that’s not going to happen.’ This mild, half unknowing derision of the audience suggests that this show has ambitions beyond its color palate, and has left fans outside of the review circuit – including my plus one – feeling rather cold, while it enjoys status as a critical darling. Still, the genuine love that emanates from the company’s every dance move – and the Beatles themselves as an evergreen subject matter – were enough to keep some lonely hearts more firmly on its side.
The production Frankenstein: How to Make a Monster is triumphantly spectacular! featuring an abundance of sensory flows from different types of beatboxers’ who all ecstatically project an aura of an overwhelming system, which conveys power and pain. Compellingly taking our ears through motions as their voices effortlessly, vigorously exploit numerous of in-depth frequencies from low to high simultaneously. Several of the beatboxers fluidity hypnotised us through their radio waves, leaving memorisation as they mind-blowingly touched on elements affiliated with political, mental and emotional conflict.
The beatboxers collectively integrated upbeats. In beat we witnessed a fusion of music genres from their voices alone, whether it be House, Funk, Blues, Motown or Pop this crew had it down to the ‘T’. Their music chords impressively merged heavy deep drums, string instruments and much more.
Incorporating Mary Shelley’s original, which was reimagined with soundscapes, sonic trickery and songs. To the counts within their musical flow, their vocal chords went to the rhythms of 1,2,3,4 but automatically speeded up to their heartbeats chanting 2,4,6,8. This soon boomed to a higher frequency as they began harmonising, synchronising, fluctuating and exploiting various other musical genres. The energy in the space became immense, especially when the space effectively transitioned into the vibes of an electrifying gig.
Frankenstein had six acts in this play, all playing to their individual strengths whether it be singers, rappers, poetic essences and of course beatboxers; Frankenstein had it all! This production visually moved brains, you could feel the creatives hearts race, pumping to the counts of 10, 20, 30, and 40. Their sounds enhanced colourful patterns of different worlds colliding; projecting cinematic sounds of life and power whilst they embraced an emotional energy, triggered by a world we all know so well, as we become witnesses to the power of monsters all around us, strengthened by voices empowering them.
The light moods had sparkles, gloss and smoke, the colours resembled energy, fire and enjoyment. This factor helped increase vibrations of radio-waves as they got even deeper into how to make a monster. The artistic designs were radiating meaning you couldn’t help but glance with amazement!
Overall, Frankenstein gives you high adrenaline. A breathtaking, unforgettable and exceptionally enjoyable production! A fantastic experience for all to see, featuring beat box battles, audience immersive orchestra and childrens participation! A must see meticulous show with a talented team, you will not be disappointed!
High Rise Estate of Mind is an energetic, reflective, daring, compelling and convicting production; igniting all to come and feel at home in a place you can’t technically call home cause you don’t own the property. Themes explored are the concepts revolving around working twice as hard to ensure you have a roof over your head whilst keeping up with rent costs to prevent eviction and trolling from your landlord.
The city heights is circulated around modern metropolitan living where residency is fluctuating and thoughts are unravelling on demands for expansions on suitable housing. Meanwhile families are left to struggle in their tightly compact apartments, stuck on the waiting list for comfortability, struck with mis-informed implementations in their local area. This production touches on fundamental concepts that depicts the real life living conditions in the UK.
A creative narrative that reflects the modern day reality of the inflicting pain of the housing issue, figuratively told through various elements of rap, spoken word, beatbox and looping. Credibility to the casts; Conrad Murray – Co artistic director, Paul Cree- Co Artistic director, David Bonnick Jr-Associate Artist and Lakeisha Lynch Stevans, they all played on their individual strengths.
This production is an autobiography of the casts personal lives as they enact the challenges and determination of the days they’ve dreamt about leaving the estate. The impersonations in this play truly foretold the relationship between programmed landlords and submissive tenants. Paul Cree had effectively embodied the characteristics of a robot by remaining monotone, dry humoured, insensitive, transparent and unresponsive.
The chemical imbalance of the landlords disfiguration prevented him from emphasising with his tenant when facing potential eviction. Due to the landlords insensitivity you noticed the tenants feelings climaxed to feeling extremely frantic, hurt and punished. This production is a well perceived reality of UK citizens feeling cursed in a dysfunctional system. High Rise Estate tackles angles of life for the majority of people living in estates dealing with unkept communal areas, negligence of maintenance issues and the overall mindset derived from the living conditions in fabricated England.
The Mis-en-scene and set was very simplistic. The casts were dressed identically in all black wearing a hoodie, cap, tracksuit bottoms and shirt, which was great in preventing distractions. Each cast member stood with a mic stand in front of them, this play featured live looping and acoustic playing which made this play even more impactful. Their voices blessing the mic majestically set the mood, tone and effectiveness for the entire show.
This production is so figuratively rich with different music genres and content. The casts evidently wanted to be neutral on stage remaining themselves, which they successfully achieved. This piece also addresses the concerns of many middle aged men and women still living with their parents based on the struggle of affording to move out. High Rise Estate of Mind consists of extremely moving performances, raising awareness by uniquely retelling dimensions of various truths.
High Rise eState of Mind will be showing at Battersea Arts Centre from the 20th – 30th March as part of the Occupy Festival.
Re- Live’s new theatre show ‘The Return/Y Dychweliad’ is a moving, courageous composition of sadness, truth, celebration and sacrifice.
It begins at St Fagan’s Museum entrance where we are taken on a welcoming walk to Oakdale Workmen’s Institute, listening to various accounts of the thoughts and memories of the people connected to Oakdale. They tell us of the beauty of ‘devouring books’ from the library which was a rarity then, the joy of choc-ice treats and how Oakdale invited a ‘thirst for knowledge’ in the Institute.
We then reach the Oakdale’s Workmen’s Institute where (after a lovely cuppa tea) we are thrown into a World War I Victory Ball in 1919. The bunting is up, the tea is flowing, the Bara Brith is out and we are entertained with song, story and striking truths of what it was to be a soldier, a friend, a woman and a mother during The First World War. We are shown the thrill of the beginning of war, and the heartache it created during a time when so much was unknown medically about the after affects of battle and sacrifice.
The piece moves through dialogue, solo performance, touching physical imagery and choral singing with a nod for the audience to join in on a few wartime tunes. And there’s the beauty of Re-Live right there. Yes, it’s a show, a performance, but it’s a cwtch too. A really important, poignant, ‘so glad to be home’ kind of cwtch. The cast open their arms to you, smile at you, pour their hearts out to you and allow you to feel something about how they feel and have felt. Re- Live’s mission is to work with communities and to tell stories and truths from their lives and ‘Y Dychweliad’ is a beautiful shower of these things. These stories, this history, the effect war has on people around us and still has to this day are subjects that we must talk about. If we don’t talk about these things, if we don’t remember the history of our times, and the affects it has on us still- will they be lost? Will we learn? Will future generations know these wonderful, war time songs, even?
Karin Diamond and the team have created a gorgeous concoction of story, song, music and poetry and a beautiful memory for all that see the show. The production ends as fuelled as it begins, with a personal poem ‘Mother Wales’ written by one of the cast- which makes your heart beam. The thankful, heartfelt, emotional response at the post show discussion is unforgettable. Talks from the cast about their own experiences, and how much support we must continue to provide for our Veterans is integral.
One of the cast said ‘ Once you leave for war, and go over there, coming back is.. alien. You’re petrified. You come home. But you’re never the same.’ Reading through the Oakdale information book, one Veteran writes (of working with Re-Live) ‘The project has saved me because it’s given me something to look forward to, it’s given me a purpose again. It helps me control my anxiety too. This is the one place I can come where I know I won’t be judged.’
And that’s Re-Live. Sharing words and feelings from people, to people and for people. With the utmost care, gratitude and heart. ‘Keep the Homes Fires Burning’, indeed.
‘The Return/Y Dychweliad’ runs from 14-16 March/Mawrth,
Oakdale Workmen’s Institute, St Fagan’s National Museum of History/ Sefydliad Y Gweithwyr Oakdale, Sain Ffagan Amgueddfa Werin Cymru
If you are a fan of my reviews, you will know that my favourite production is one with no interval. I believe to be fully involved, the interruption of ice cream and loo breaks seriously disrupts this immersion.
However, when you are told a production is 2 hours 15 minutes, no interval, suddenly that lovely wish feels sour, daunting and worrying.
Friends who had previously seen Follies, assured me that I wouldn’t notice this – that it is so good that the time will fly by.
And I am happy to report, that some of this is true.
Follies is a story about the end of an era. Show girls are taken back to the good old days of their youth, in a ruined building that was once a bustling theatre, admired by all. Now it is dilapidated, being knocked down. And this is the last hurrah! The now matured performers are haunted by their younger selves – dressed in their glam and changing of time outfits, looking upon their future selves in sometimes disapproval, sometimes admiration, and sometimes awe.
It’s right to say that you go through Follies and the need for an interval isn’t present. You feel involved and interested in the action, but for a theatre production, while it has it moments of quirkiness, of enjoyment, some lovely songs and some impeccable acting, it feels like a story where nothing much happens.
I really enjoyed being able to see their past selves – their youth. The glitz, the glamour, the femininity; all makes the showgirl/burlesque girl in me scream with delight. It is the quintessential 1930’s/1940’s era and it shows in the style and elegance of the performers. The current day being the 70’s, costumes and styles have changed and it’s easy to see how good the casting is and how true to the eras they keep to.
The dancing is enjoyable and typical musical based. The songs are belted with every breath. No one holds back. And the character of Phyllis, played by Janie Dee is by far my favourite and executed with great hilarity and almost becomes a bitter reminder of myself.
Follies is fun, it is enjoyable, but I wouldn’t come away saying it was anything spectacular or breath taking. If you are looking for a exciting and typical musical, something to sit back and enjoy a G&T with, then this is it.
Hi Adele, great to meet you, can you give our readers some background information on yourself please?
I am a theatre and opera director. I am from Port Talbot originally and live in Cardiff now. I’m about to make my Royal Opera House debut with Handel’s Berenice.
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I am obsessively listening to Berenice as I’m about to direct it! So my iPod is pretty much given over to that and to some of Handel’s other operas. It’s good to get a sense of where this piece fits into his wider body of work.
But the latest thing that I saw and was blown away by was a gig by Hen Ogledd. Their album, Mogic, has just come out and it’s just sensational. I’m a vinyl lover, so I’ll be listening to it on the record player!
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 1
Magical Mystery Tour – The Beatles
I’m going to immediately preface this by saying that this is by no means The Beatles’ best album (for me, that’s Revolver) but it is the one that changed my life. I was struggling to fit in in my teens in a world of grey concrete and everyone in head to toe adidas block colour tracksuit and gangster rap. After one very late night of underage drinking, a friend took me back to his house and said “check this out”. He put the film of Magical Mystery Tour on and immediately my entire world opened up. The colour, the surreality, the clothes and, of course, the music! I became obsessed with the backwards tapeloops, the kaleidoscope camera, the technicolour kaftans. I binned the tracksuit and immediately became a 60s throwback. That one encounter opened up everything to me: art, counter culture, the music scene, a whole world of new friends. And I can still quote that film word for word.
His ‘N’ Hers – Pulp
When my school mates did all start listening to Oasis and Blur I was firmly in the 3rd camp: I was a massive Pulp fan. Different Class is the album that cemented them as working class hero for the wierdo amongst us, and This is Hardcore saw them reach the pinnacle of their orchestral ambition, but His ‘N’ Hers is my favourite. It captures something very real about being an outsider in the 90s: when charity shops were packed full of incredible 60s clothing for pennies, the seedy glamour of the beachside dirty weekend B n Bs along Mumbles road, sticky indie clubs and lager and lime. It’s an album that celebrates the trashy, sexy, the working class. Jarvis Cocker is still my hero and nothing makes me dance and cry at the same time like “Do you Remember the First time”.
Work and Non-Work – Broadcast
I wrestled between this and Dots and Loops by Stereolab (which is a masterpiece) but Broadcast just pips them for me. Warp records seemed to be the coolest thing on the planet, and Broadcast’s music touched a nostalgic nerve for a period I didn’t even know. Their music seemed to be the subconscious by product of an alternative past: the mulch creepiness of Dario Argento’s fits, the sun saturated photography, the trippy wierdness of Public Information films. This album is incredibly beautiful and cinematic: every song on it lends itself to a film that has never been made. And perhaps the thing that pushes Broadcast’s work up the list for me is the tragic death of their singer and heart of the group Trish Keenan. She was a fashion icon and a poetic mind who went too soon.
The Hissing of Summer Lawns – Joni Mitchell
One night my boyfriend and I were driving very late down a pitch Black Country lane and we were listening to a radio show of Prince’s favourite songs. Suddenly this piece came on and it was so overwhelmingly beautiful, so totally perfect that we had to stop the car and just sit there in the dark listening. That song was Edith and the Kingpin from this strange and haunting album by the one and only Joni Mitchell. Poetically, every listen glistens with new meaning and her use of language is so incredible. “The helicopter lands on the Pan Am roof/ Like a dragonfly on a tomb”. Exquisite. Especially coming at you through that pure voice.
Wozzeck – Berg
I discovered that I wanted to direct for stage when I sat down and watched Richard Jones’s production of Berg’s complex and terrifyingly hard opera based on the Buchner play. That production tore away any concepts I had of what theatre could be. The world on stage was so strange, so complete, and the performers were incredible musicians and amazing actors (Christopher Purves’ performance in that was one of immense human detail. All while singing some of the hardest music you’ve every heard over a full orchestra). Now I’m finally directing opera, this production is still the benchmark for me of what can be achieved. It’s really worth listening to: yes the music’s complex, but the tragedy of the story is brilliantly served here. Please note the version Adele describes is not available online. Instead we present The Hamburg Philharmonic State Orchestra, The Chorus of the Hamburg State Opera, Conducted by Bruno Maderna, Directed for television by Joachim Hess. Set design: Herbert Kirchhoff Costumes: Helmut Jürgens Recorded 1970, Hamburg State Opera.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
I’m going to chose Babies from His N’ Hers because I think it shows how complex pop music can be. Melancholic, strangely profound: it captures the sense of teenage boredom on a rainy Tuesday evening between school and… But it also never fails to get everyone on the dance floor, and it builds into a euphoric, semi-spiritual exorcism of raw sexuality and kitchen sink drama. I can’t listen to this without dancing!
Hi Lleucu great to meet you, can you give our readers some background information on yourself please?
I was raised in Talgarreg, Ceredigion and went to Ysgol Dyffryn Teifi in Llandysul. While still at school my friends and I set up the Welsh-language rock festival, Roc y Cnapan, in Ffostrasol. We had amazing bands such as Y Cyrff (who later became Catatonia), Ffa Coffi Pawb (later, Super Furry Animals), Crumblowers, Cerrig Melys and Datblygu playing in front of thousands of young people who came to the festival from all over Wales. After school I travelled around South America for a while and studied English literature at New College, Oxford. After working at various media and arts companies I ended up where I am now in Literature Wales. Poetry, spoken word and hip-hop have always inspired me, and I love the way these genres have developed and intersected over the years.
This chat is
specifically about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening to?
These days I’m enjoying listening to Kendrick Lamar, Cardi B, Stormzy, Dave (the young political rapper from London. Check out his song Question Time) – exciting music with a message and an edge.
There’s also a lot of great music coming from Wales, such as Los Blancos, Adwaith, Y Pencadlys. And Olion by Mr has been playing endlessly in our house for the last couple of months.
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
1 Velvet Underground & Nico – a funny, louche and weird album with surprisingly catchy songs. I listened to it a lot as a teenager (and still do), and it made me fantasise about moving to New York, wear black and live in a loft.
2 Ride On by Christy Moore – my friends and family can vouch that this gets played a lot in our house and I know every single word to every song. His voice is hauntingly beautiful.
3 It Takes a Nation of Millions to Hold Us Back by Public Enemy – extremely influential album when I was younger and the band still sounds as fresh and urgent now. I saw them play at the Tramshed a couple of years ago and they were amazing.
4 Libertino by Datblygu – without a doubt the most influential and exciting band ever in the Welsh-language, if not in any language. The combination of the musical genius of Patricia Morgan and the poetic desolation of Dave R Edwards makes any of Datblygu’s albums worthy of intense listening.
5 Gold: Greatest Hits by ABBA – dancing round the kitchen to ABBA songs is a tradition I’ve proudly passed on to my children. Fun, classy, catchy, genius pop disco tunes which should be part of everybody’s lives.
Just to put you on the spot could you choose
one track from the five listed above and tell us why you have chosen this?
A toss-up between Cân i Gymru from Libertino by Datblygu and Dancing Queen by ABBA. Or perhaps Ride On by Christy Moore, or Don’t Believe the Hype by Public Enemy. I really can’t choose!L
Hear Me Howl is a extraordinary tale. We meet Jess in her late 20’s who after a brief fear that her latest smear test is going to be a positive, is instead told that she is pregnant. During her existential crisis and wonder at her life past, present and future, she decides after meeting an inspiring woman, to join a Punk Rock Band.
I realise the story itself may not be necessarily extraordinary in my brief attempt at a blurb, but let me tell you more.
As a reviewer, I try to learn as little about a production as possible in advance to avoid any preconceived ideas or bias. So learning that this story was from the incredible imagination of Lydia Rhnne, and that the performer, Alice Pitt-Carter, was an actress who was cast for the role, I was in shock and disbelief that this wasn’t a true, one woman story.
Firstly – the writing is incredible. There are so many ‘I’m with you sister’, and (in the words of RuPaul’s Drag Race) ‘Yasss’ moments that felt so intimate, yet called out the truths of being a woman, with no qualms or fear. While the general narrative is entirely plausible, but just not a common one, we still see ourselves in the character of Jess; sitting in this tunnel, we think what we would do in such a situation.
Pitt-Carter is the perfect candidate to evoke this role and to bring even more realism to it. She is truthful yet very funny; part of me wants to be her, part of me entirely affiliates with her. While the story isn’t entirely something I understand without the experience of it myself, there are moments of general womanhood and thoughts and feelings that I personally felt akin to.
Hear Me Howl, is so far, the best thing I have seen in 2019. It is real, emotional, hilarious and (as a drummer myself) the ending of a awesome drum solo brings a sense of fun and awe. This production is one to watch and is nothing short of perfection.
Laurie Black is sick of humankind and decides to take us on her journey to be the first woman on the moon. A contemporary cabaret show that showcases Black’s musical and comedy abilities through her quirky, green alter-ego (who might not be an alter-ego).
Black takes us on her journey
escaping Earth and encountering David Bowie’s alien spaceship (yes) before
landing on the moon. The journey, which takes three-days but feels like an hour,
is a fairly simple one as far as plot goes but exists to give context and thematic
links to the main event of comedy and music.
Black’s music is a varied mix of genre that, for the most part, has a somewhat futuristic feel. She exploits the sounds of synths, piano and a small drum machine well on stage. But, it is Black’s enthralling voice which captures the audience the most. Not relying solely on her voice however, Black is also a great songwriter using witty pop culture references, the occasional political statement and comedic wordplay.
Mostly original music,
there are some covers of popular songs in Space
Cadette. Starman by David Bowie stands out as a strong point where the
audience are encouraged to sing along with the “la, la, la”s. There are also covers
of Radiohead, Muse and Leonard Cohen as well as a funny reference to The
The comedy and storytelling that comes between the songs was usually good. Nothing to make you belly-laugh, but enough to keep you interested. It is fair to say also, that the comedy suffered due to the low turnout on the night. Some jokes are sleepers which will have you chuckling two-hours after the show as you walk home in the rain – which Black correctly predicts.
The stage set-up is simple.
For the most part it’s just a microphone stand and a piano. This worried me at
first, but as the show goes on, it isn’t an issue as Black keeps the attention
on her. Except for one moment when she gets out her mini-moon that she passes
around the audience.
There’s a lot of frustration in the show that gets channelled into humour and songs. On Black’s journey to the moon, we see further into her persona and whilst the outer-shell is hard, by the end we can tell she secretly loves us. There’s no particular agenda to the piece but an overriding theme of frustration at the current state of the world.
Space Cadette is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over the next eight weeks. Tickets can be found for Space Cadette and other Spring Fringe shows HERE, with an ever-growing discount for the more shows you book. If you can’t make the show, but like the sound of Laurie Black, you can find her music on most streaming services online.
Space Cadette is
an enchanting, funny cabaret show from Adelaide Fringe 2018 winner, Laurie
Black. An exploration to the moon that has so much to say about Earth.
In the article below a range of Welsh and Wales based creatives share with us a selection of cultural events they are looking forward to this year. Thanks to all of our contributors.
Connor Allen, Writer and Actor.
My cultural highlights for 2019 would have to include Betrayal at the Harold Pinter Theatre starring Tom Hiddleston and Charlie Cox. One of my favourite Pinter plays and one hell of a cast, so it should be great!
Another one I’m ecstatic for is Tree by Idris Elba and Kwame Kwei-Armah at the Manchester International Festival. The vision of both those artists is nothing short of superb so we are in for a treat whatever they create.
And speaking of the Manchester International Festival Skepta is doing an immersive experience called Dystopia987 and even if you’re not a lover of grime I can bet that it’ll be worth the watch.
Closer to home in Wales I’m looking forward to Mathew Bourne’s Romeo & Juliet coming to the Wales Millennium Centre as previous productions from Mr Bourne have been astounding in terms of choreography and storytelling so I am very much looking forward to his take on Romeo & Juliet.
Also I’m very eager to watch Tigerface by Justin Cliffe at The OtherRoom in Cardiff. I’ve no doubt that it will be an awesome piece and being that I missed previous sharing’s of it I am excited to see the piece in its entirety.
A personal hope of mine for 2019 is that more people and companies are taking risks, especially with minority groups. We’ve played it safe for many years now. Let’s shake it up. And also accepting other people’s views even if they are different from our own. We all come from different walks of life and with that we bring different views and opinions. Let’s show compassion and accept or at least acknowledge other people’s views. We can all learn and grow from each other.
Meredydd Barker, Playwright.
From the 14thof June to the 10thof November, Tate Liverpool is hosting the first, major UK exhibition of artist and activist Keith Haring. Because his work decorates T-shirts and tea towels it tends to be forgotten how subversive he was. This is a superb opportunity to be reminded of how urgent his response was to issues such political dictatorship, racism, homophobia, drug addiction, capitalism and the environment. He died 28 years ago but is as relevant as he’s ever been.
It didn’t happen last year but I will get to see The Idles live this year; I will, I will, I will…
If I make it, I will be 50 in September and hope to be in Chicago to celebrate. There’ll be a World Music Festival on at the time – think Llangollen International Musical Eisteddfod, but in Chicago – so I’ll dip in and out of that while going to as many shows, plays, bars as I can. Nothing planned for definite, but I think just going to Chicago – and New York beforehand – counts as a cultural event.
I’ve just bought tickets to see Ruby Wax – How to be Human: The Show, “answers every question you’ve ever had about evolution, thoughts, emotions, the body, addictions, relationships, sex, kids, the future and compassion.” I think she’s astonishing, one of the great documentary makers of our time and times.
I always promise myself that I’ll go the Machynlleth Comedy Festival and it never happens, but I am going to make a super-human effort to get there this year.
As for me I’m writing a play called The Huntsman for the brilliant Torch Theatre in Milford Haven. It’s pencilled in for perfomances this Autumn. I’m piecing together the first draft as I write. I have to remind myself to breathe as I do so. It’s about Pembrokeshire when serial killer John Cooper was at large. And along with a brilliant film-maker called Nick Swannell I’ve just begun the process of starting a film company called The Holding Cell. I’m very excited about that indeed.
Be Excited. Be Bold. Be Kind. That, I hope, will be the themes for this year, and these horribly uncertain times.
Mawgaine Tarrant-Cornish, Casting Associate, National Theatre Wales.
First up I’m excited about BLUE, a new play by Rhys Warrington which has a stellar cast. It’s at Chapter from next week.
At NTW, I’ve been working with Mike Brookes to cast STORM 3: TOGETHER AND ALONE and I can’t wait to see these performers together on stage in March. They’ll be taking over a venue in Newport with this experimental show about how we figure out our place in the world.
Also in March, NEW, from Royal Welsh College of Music and Drama, will hit the Sherman Theatre. It’s your chance to catch this year’s graduating actors collaborating on four brand new plays by up and coming British playwrights. For Wales’ offering, Hannah Noone will direct Jacob Hodgkinson’s BETWEEN ETERNITY AND TIME.
As part of Diffusion 2019, in April, Matt Wright and Janire Najera will create an immersive visual score for JUNIPER, Slowly Rolling Camera’s latest album, which they’ll play live.
At National Museum Wales, the Women in Focus exhibition
continues into June. Part One introduced me to Charlotte James and her Ffasiwn Project with Clémentine
Schneidermann so I’m looking forward to discovering many a new girl crush
in Part Two: Women in Front of the Lens.
I’d love to see DYSTOPIA987 by Skepta at MIF this summer and there’ll be loads more to get excited about in that programme, I’m sure.
Artes Mundi Tour with John Wilson. I have been campaigning for many years to try and get John Wilson to curate and lead a BSL tour at one of our brilliant museums/galleries. John is one of the most experienced Deaf curators in the UK and for him to come to Wales to led the Artes Mundi exhibition at the National Museum, Cardiff was fantastic!
The event took place two weeks ago and sold out pretty quickly. My background and passion is visual arts and to see this happening in Wales was a personal dream for me. I have been to hundreds of exhibition tours and I usually only understand about 20/30% of what is spoken, for this tour I understood 100%.
I think having a Deaf curator makes a bigger impact because of the language they use and it resonated with a Deaf audience. There was a real mixture of people in attendance; some have never been to a museum before, some attending liked Art but have limited opportunities to see an accessible tour, some just wanted to see John. The feedback was really positive and I hope to bring John back more for more BSL tours in other museums around Wales. You can read and exclusive interview with John and Jonny about this event here.
Mr and Mrs Clark ‘Louder Is Not Always Clearer’. I might be biased because I am involved in this but it is going on another tour from May to June then will be heading for a month at the Edinburgh Fringe at the Summerhall. Louder Is Not Always Clearer has also been selected for the national rural touring and will be visiting rural communities in the UK. Exciting times and we are looking forward seeing wider and more diverse audiences!
Cardiff Deaf Centre Arts Festival – After it’s success 5 years ago for young deaf people, it is back again in April at the WMC with a range of exciting Deaf artists running workshops.
Hijinx and Frantic Assembly ‘Into the Light” at Sherman Theatre. Always exciting to watch both organisations but to see the two combined… wow!- I am looking forward to see more disabled-led events in 2019. Kaite O’Rieily’s ‘Peeling’ directed by Taking Flight looks interesting as well as the brilliant Graeae’s new production of Sarah Kane’s ‘Blasted’. I am very excited to hear Deafinitely Theatre are creating their version of ‘Horrible Histories’ called ‘Dreadful Deaf’ which is going to be touring later in the year. I am really excited to see what Paula Garfield (Director of Deafinitaly Theatre) is going to do with this. I am sure it will be fun, visual, accessible and mad!
I am also hoping to see Extraordinary Bodies new fully inclusive outdoor touring show ‘What I am Worth’. British Paraorchestra’s ‘Nature Of Why’ is touring and will be coming to WMC. They are the world’s only large-scale ensemble for professional disabled musicians so I am very excited they are coming to Wales.- I have been looking at festivals where we can take our 2 year old daughter along so we are going to head back to the Blue Lagoon Festival in West Wales which we have been many times and its brilliant. We are also thinking (if i can get tickets) of going to the Just So Festival because it looks amazing. I have never been to the Machynlleth Festival so I have made sure it is on my list to visit this year.
Branwen Davies, Writer.
My cultural delights or highlights for 2019? I’m still recovering from the cultural smorgasbord of 2018! The end of the year in particular was a whirlwind of exciting and engaging work that inspired and moved me. I’m still discussing and thinking about some of my favourites – Clean Break’s ‘Thick as Thieves’ at Theatr Clwyd, John Rea’s ‘Atgyfodi’ at Sain Ffagan, the Sherman’s production of Meic Povey’s ‘Fel Anifail,’ good cop, bad cop’s ‘Phantom Rides Again’ at Chapter and Theatr Genedlaethol Cymru’s verbatim musical ‘Nyrsys.’
Other theatre productions I don’t want to miss this year are Fran Wen’s powerful one woman show ‘Anweledig.’ Be Aware’s Turkish/Welsh production ‘Y Brain/Kargalar.’Cwmni Pluen’s ‘Woof’ and Ed Thomas’s new play ‘On Bear Ridge’ (a co-production between NTW and the Royal Court). As one of the Dirty Protest gang I’m excited that we have a new production touring in the spring. Sian Owen’s one woman show ‘How To Be Brave’ is set in Newport and is a love story to the city. On the art front I’m intrigued to see the work on show and the work being developed at Shift and Rugart/Celfryg and the possibilities of these contemporary art spaces at the Capitol Shopping Centre on Queen Street. Another highlight I’m looking forward to is London Sinfonietta Synergy Vocals at St David’s Hall (Steve Reich being hailed as one of ‘the most original music thinkers of our time’)
I want to enjoy more live music this year. I just hope there will still be vibrant and individual venues left to be able to do so. I’m heartbroken that Buffalo and Gwdihw in Cardiff have been forced to close down.
I recently saw Cate Le Bon at The Gate, Lleuwen is performing a series of acoustic gigs in chapels across Wales following the release of her new album ‘Gwn Glân Beibl Budr,’ and Mr (Mark Roberts + Band) is also touring. I love his first solo album, Oesoedd.
My personal hope is to collaborate more with different artists who work differently to me and to have more creative discussions. I’m keen to work more with music and sound and challenge the way I write and create. I’m also keen to explore the possibilities of political plays in Wales. Where are our political plays especially in the current political turmoil we’re facing in Wales and beyond?
Peter Doran, Artistic Director, Torch Theatre.
2019 will start with a theatrical explosion for me, I’ve booked for Wise Children, the first production of Emma Rice’s new company at Bristol Old Vic. Emma Rice is one of the most exciting directors in the UK, her work with Kneehigh was phenomenal. I directed Brief Encounter at the Torch a couple of years ago, unashamedly based on her production with Kneehigh and was probably one of the highlights of my career as a director. Wise Children, I’m told has all the hallmarks of a knee-high production and with two fantastic Welsh actors in the cast, Katy Owen and Gareth Snook and no bridge tolls to pay, this will be a cracking start to the year.
Laura Penneycard and Liam Tobin in Torch Theatre production of Brief Encounter by Emma Rice.
From a Torch perspective, we have Grav back for it’s fifth tour, it’s now like welcoming an old friend back to the theatre; staff, audiences, they all love Grav, it creates such a great atmosphere in the theatre; it’ll be great having him back at the Torch and to take him to London for a short run at the Hope Theatre in Islington! Who would’ve thought that a play about a boy from Mynedd y Garreg would perform in New York, Washington DC and London all in the space of twelve months.
Gareth Ford Elliot, Get the Chance critic and playwright.
My personal highlights of what I’m looking forward to are the Cardiff Fringe Theatre Festival and The Other Room’s Spring Fringe. It will be excellent to see so much work in the first half of the year in Cardiff.
As for specific projects, Spilt Milk’s ‘Five Green Bottles’ by Joe Wiltshire-Smith looks to be an absolute hit. It was a brilliant show at last year’s Cardiff Fringe and to see it with a few extra months work and some changes is a very exciting prospect. Wiltshire-Smith is one of the upcoming Cardiff-based writers and working with Spilt Milk who have contributed so much to Cardiff’s arts scene in the last two years is a combination not to be missed.
David Evans, Head of Production, National Theatre Wales.
I am intrigued to see the The Mirror Crack’d – the WMC’s Co-Production with Wiltshire Creative that will be on at The New Theatre, Cardiff. Agatha Christie shows have been the staple of mid scale touring for years, populated by people “off the telly” in the twilight of their careers. But this is apparently a completely new take on the hoary old country house murders and I am fascinated to see what they have done.
After “Now the Hero” I am eager to see anything that Marc Rees is up to, I don’t know what his plans for 2019 are but whatever they are I will be there.
Matthew Gough, Faculty of Creative Industries, USW, Senior Lecturer Dance
I’ve been looking forward to 2019 for some time, it will bring the first graduates from BA Hons Dance, at the University of South Wales. Some 20 years after my own graduation I will be watching our students with pride as they present their dissertations (March), Perform at MAP festival, and Agor Drysau (March), a repertoire night with work from Wales based choreographers (April), and our end of semester performances at Dance House Cardiff (April, & May). National Dance Company of Wales, and Groundwork Pro are both in a period of new leadership and their plans for future delivery are exciting and progressive. A number of dance artists have (re)established themselves in Wales and, the sector will benefit from the diverse perspectives, and experience they bring. Cardiff Dance Festival always brings a richly curated, international focus to the sector, and I anticipate the next edition will bring more dance delights (November). Overall I look forwards to the Welsh dance sector, adapting, reimagining, and revitalising itself depicts the challenges, and uncertainty that we know 2019 will bring.
Rebecca Jane Hammond, Artistic Director Chippy Lane.
I think topping ‘2018’ will be difficult as there was so much work of great quality being developed and produced. New companies thriving, venues reaching wider audiences and winning awards and most importantly the community rallying together to ensure our work is met with joy and love and great support for one another.
My cultural highlight for 2019: NEW: 2019, Between Eternity and Time Written by our Jacob Hodgkinson, directed by Hannah Noone, commissioned by Royal Welsh College of Music & Drama and Sherman Theatre “I am beyond excited to see this team of collaborators working together and Jacob’s writing getting the recognition it so deeply deserves in Cardiff and London.”
19 – 21 Mar, Royal Welsh College of Music and Drama 2 – 5 Apr, The Gate Theatre, Notting Hill, London
As for our own cultural highlight it’s important I mention BLUE, Chippy Lane’s second production and first foray into new writing. Boasting an authentic Welsh and Wales-based creative team and published by Methuen Drama (Bloomsbury Publishing). This is an enormous achievement for a company not yet three years old. We will also continue our other projects and initiatives by producing more of Chippy Lane’s Podcast and running our Welsh Female Writers Group. We hope you can continue to support us as we continue to create great theatre and provide opportunity.
Paul Jenkins, Theatre Director/Dramaturg/Writer.
I’m looking forward to new plays from Elgan Rhys & Ed Thomas. Woof, directed by Gethin Evans, is first up at The Sherman and is sure to be a theatrical force from the creative force from the creative team behind Mags last year. Then the brilliant Ed Thomas, whose gritty surrealism defined Welsh theatre in the 90s makes a welcome return with NTW. On a personal note I’ve been inspired by the locals of Taibach while recording responses to the Banksy that appeared over Xmas. This street art asks difficult questions about the economic foundations of Port Talbot and yet has been embraced by the entire community. Freelance theatre-makers like myself rely on the big producing theatres to pick up exciting ideas & support emerging talent, so I’m very much hoping the Banksy story will find a good home and become an essential highlight of 2019.
Zosia Jo, Dance Artist.
Most of the things I am looking forward to in 2019 are still awaiting their funding! Cardiff Dance Festival for example, and my own production- Songs for the Body- which will be a promenade live action concept album with dance, music and spoken word taking over Chapter in October half term.
However one thing that is confirmed is Groundwork Pro’s funding and they will be offering workshops, events, classes and residencies for dance and movement artists throughout 2019. There will be so much opportunity for discussion, training, sharing and professional development. I am really excited to be part of it.
Angharad Lee, Director.
Firstly, I am looking forward to seeing Hadestow which tells a version of the ancient Greek myth of Orpheus and Eurydice, a musical adaptation of the folk Opera concept album by Anais Mitchell.
I am silly excited about attending an intimate evening with Stephen Schwarts in Manchester. It’s the first he has done in the UK. I am thrilled to see Wales Millennium Centre devote their Curious Season to mental health later in the year and can’t wait to see what’s in store there. Draw Me Close at the Young Vic looks fascinating also.
Having had a frantic year last year, most of my own creative enegrgies this year are being ploughed into the new BA (Hons) in Musical Theatre Course which will be up and running this September. It’s the first ever undergraduate course in Musical Theatre in Wales and am delighted to be a part of it. Details here,get in touch if you think you would like to apply and come and chat .
In the meantime I am directing Pippin by Stephen Schwartz and The World Goes ‘Round, both with the fabulous students at Canolfan Berfformio Cymru, UWTSD. Leeway Productons’ 10 Minute Musicals will be rolled out again a little later in the year with some fabulous partners including RCT Theatres who work so hard as a team. We are also thrilled to be working on a lovely Welsh Language production with some young people from Merthyr in the Summer. Hopefully, this year will feel a little more relaxed than last year!
David Mercatali, Director.
My highlight of the year ahead is to see the continued development of the 15-18 year olds in my Introduction to Playwriting group at the Sherman Theatre. Mentored by 3 brilliant writers, Matt Hartley, Branwen Davies and Brad Birch, their work is already showing so much talent and I can’t wait to see what they do this year. My personal hope is to see more new plays produced for longer runs in Wales. There’s many exciting voices with stories to tell.
Rachel Pedley Millar, Artistic Director, Avant Cymru.
Happy 2019 everyone. Avant have an important year lined up, where we have a focus on mental health and well-being. Our Hip Hop theatre piece has a focus on mental health and we hope to head to New York to attend the Hip Hop for metal health conference held by Doug E Fresh and partners. We aim to undertake research on ‘how art can aid those living with mental health conditions?’ Working with other artists (including Sadlers Wells) and our community in RCT.
The Valleys have a celebrity year with it being 80 years since Llewellyn wrote ‘How Green Is My Valley’, we want to find out ‘How Green is Our Valley Now? We are always interested in what everyone in our community has to say. Including other artist and we hear Motherlode have exciting plans this year and we can’t wait to hear more about them.
Have a happy, healthy New year everyone. “For all sad words of mouth or pen, the saddest are these: it might have been.” – John Whittier.
Fearghus Ó Conchúir, Artistic Director, National Dance Company Wales.
As a newcomer to Wales, there’s a lot for me to learn about, lots to see. Starting closest to home, some of the events I already know I’m looking forward are in our varied activity at NDCWales: our Awakeningprogramme that tours Wales and England in the Spring with magical new work by Brazilian choreographer, Fernando Melo and by our resident choreographer, Caroline Finn, as well as the Roots programme that will tour across Wales in the Autumn with pieces by new choreographic talent.
As a recently-arrived Artistic Director, I’m mostly at a stage where I get to be an excited cheerleader for other people’s work in our programmes, but I’m also happy that in 2019, I’ll get to make work myself, with the company’s professional dancers, with other artists and with different groups across Wales who will all inform the new piece. I knew about Cardiff Dance Festival before I came here, and I’m looking forward to seeing what’s in this year’s programme. And one more dance highlight for me will be the BBC’s #DancePassion on 5th April when the BBC’s social media channels will showcase dance in the UK, with livestreaming (including from NDCWales) and the chance for audiences to interact. I’m looking forward to seeing the diversity of dance that this event will bring to the BBC’s wide public.
Because I’m interested in what bodies get to be visible and to fulfil their potential, I’m inspired by work that shows me what’s possible and pushes me to expand my vision. For that reason, Mission Control, NTW’s collaboration with Hijinx that will be performed in November is something for me to look forward to with its cast of professional neurodivergent and learning-disabled actors as well as members of the Only Boys Aloud choirs. I won’t get to see Splish Splash, the NTW collaboration with Oily Cart that’s made exclusively for children in special schools across Wales and England, but I love that it’s going on and that it’s going to be a cultural highlight for people who mightn’t be included in other events.
Jasmine Okai, Assistant Producer, Fio.
Fio: Futures’ production of Bertolt Brecht’s ‘Fear and Misery of the Third Reich’ showcasing in RawFfest April 2019. This timeless story of the rise of fascism is unfortunately still as pertinent today as it was in the 1940s. Brecht’s play presents a series of vignettes on the everyday lives of German citizens, including Jewish people, living under this oppressive regime of Nazi fascism during World War II. After the success of ‘The Island’ UK tour in October 2018, Fio have since established Fio’s Young Company, Fio: Futures, who will be bringing these important stories to the stage.
William Shakespeare’s ‘The Taming of the Shrew’, as reimagined by Jo Clifford. Shakespeare productions are a classic and, some would argue, integral faction of theatre. What makes this production so exciting is that while keeping the main story of ‘The Taming of the Shrew’, Jo Clifford uses gender reversal within the main characters to switch up the dynamics of the play. How refreshing!
Catherine Paskell, Theatre Director.
Believe. If I Could Turn Back Time. Just Like Jesse James. Gypsies Tramps and Thieves. Bang Bang. I can’t wait to see Cher’s concert. Her tour in October 2019 will be her first live UK dates in 14 years. Her songs, her films, her outfits, her political activism, her Twitter feed. Her music video for If I Could Turn Back Time was too much even for MTV because we could see her tattooed bum cheeks either side of her thong as she straddled that cannon and strutted in front of the navy – so it was the first video to be banned by the channel. Cher’s career and musical evolution embodies the transitions of American cultural forms. She is outspoken, honest and authentic as an older woman in a male-dominated field. It’s going to be an ambitious, theatrical and entertaining show – Cher is my cultural highlight of 2019.
Films – Toy Story 4, and Star Wars IX. I mean, do I need to justify those? Reuben Ostlund’s Triangle of Sadness starts shooting 2019 but I’m not sure it’ll be released.
Theatre – Richard III by Headlong will be brilliant. And it’s great that Ed Thomas has taken a break from counting money to write another play so I’m excited about ‘On Bear Ridge’ by National Theatre Wales. Berberian Sound Studio created by designer Tom Scutt and playwright Joel Horwood at the Donmar warehouse. Home, I’m Darling at Theatre Clwyd, I missed it first time around. The Funeral Director by Imam Qureshi won the Papatango Competition this year and is being toured by ETC. Nos Sadwrn O Hyd by Roger Williams is a brilliant monologue revived in Welsh for the first time by Theatr Gen.
TV – What We Do In The Shadows has been turned into a TV show released in 2019. I’m also super excited about Jordan Peele’s Twilight Zone, and a new True Detective series. Channel 4 have produced a new 4 parter from Lucy Kirkwood about the porn industry called Adult Material, fellow Cynon Valley boy Gareth Evans has his first TV series out Gangs of London on HBO and Sky Atlantic.
Event – Blue Dot at Joddrell is a brilliant mix of science, astronomy big ideas and music – Gruff Rhys and Hot Chip play this year under the mighty Lovell Telescope. It looks amazing.
Catrin Rogers, Press and PR Manager, National Theatre Wales.
I’ve booked tickets to see WNO’s The Magic Flute, and I have high hopes for that. They’ve just announced their next season, including the return of Bryn Terfel, which is great.
I’ll try to catch at least one of Theatr Genedlaethol Cymru’s touring plays, by Catrin Dafydd and Roger Williams – two writers I admire very much – in the Spring.
I’ve also booked tickets to see National Dance Company Wales’ Spring tour, Awakening. It includes Tundra, which I’ve seen many times but never, ever tire of – honestly, it takes my breath away every time I see it.
In the coming weeks I’ll go with my family to catch the Artes Mundi Exhibition, which I’ve been reading a lot about.
2019 is set to be another fantastic year for the arts. Even though the production won’t be until 2020 I’m excited to see what project will be chosen from National Theatre Wales’ Radical Creatures callout, I think it’s a great initiative and a great choice for female identifying and non binary artists to take more of centre stage in the current arts scene.
From a more selfish point of view my theatre company, CB4 Theatre, will be presenting our inaugural production 10,316, a new devised piece marking the 30th anniversary of the fall of the Berlin Wall. We’re all so excited to get stuck in to the already thriving grassroots arts scene here in Cardiff, so watch this space for dates!
Aside from the arts, 2019 is definitely going to be a bumpy year. With Brexit looming and pressing social issues plaguing the country I really hope that art can do what it does best; listen, respond, discuss, create, inspire, protest. At a time where it’s easy to give into divisions I think it’s more important than ever for the arts world to take a strong stand against hatred and fascism.
Music-wise, I’ll keep my usual eye on Warp, Hyperdub, and Heavenly. Nubya Garcia is playing Clwb in May, so I’ll try to get down to see her. Mostly though I’ll still be dreaming of SFA making another album and hoping Doves get their arses in gear after the dates they’re playing.
In art, I’m looking forward to seeing how John Abell’s new place, RUG develops over the coming year. 2019 also looks like it’s going to be a brilliant year for new fiction, and the novel I’m most excited about is Niven Govinden’s ‘This Brutal House’, which has been described as a queer protest novel set in the drag ball community of New York City and, therefore, fierce as all fuck.
As far as theatre goes, How To Be Brave by Sîan Owen is coming via Dirty Protest and I am doubly excited to see this full scale show, especially as it is set in my adopted home of Newport and pitches up in the one and only Le Pub. As for my personal hopes: I just hope there is a miracle of some sort that puts a halt to the madness we can see coming our way, and Liverpool and Manchester City lose every game they play between now and the end of the season.
Abdul Shayek, Artistic Director Fio.
So for me, 2019 has started off with a bang- one of my cultural highlights has already happened, Sri Lanka and the Galle Literature Festival, where the amazing spoken word artist Nicole May performed! It also featured writers such as Sir David Hare, Mohammed Hanif and Vahni Capildeo amongst others who I had the pleasure of meeting. I was also lucky enough to find out about the amazing arts and cultural activities taking place across the South Asia region, supported or directly delivered by the British Council, as I joined their bi-annual Arts regional meeting, in my capacity as an Arts Advisor.
Personally, the next cultural highlight will be my trip to Australia as part of the British Council Australia Intersect Programme. It was brilliant when my counterparts came over to the UK, which included a visit to Cardiff in 2018. Now it’s the turn of the UK participants to visit Australia, learn and understand what the diversity and inclusion picture looks like. We will be visiting Sydney and Melbourne and meeting with a range of cultural leaders. We will also be part of the Fair Play Symposium
Other than that I have a number of other projects and ideas that are currently in motion, all very exciting and some have international elements to them, however, quite a few are funding dependent, so fingers and toes crossed. Other cultural highlights for me include: Manchester International Festival in general, but really looking forward to Trees by Idris Elba and Kwame Kwei-Armah and the collaboration between Flexn and Young Identity will be very exciting.
I am really looking forward to seeing King Hedley II at Theatre Royal Stratford East with Lenny Henry. In Wales, I am really looking forward to Rawffest and in Cardiff at the WMC, I am sure it will do what it was initially set up to do and really engage young people from a diverse range of backgrounds. I am also really looking forward to Mission Control the NTW and Hijinx – collaboration. In terms of non-theatre highlights, I can’t wait to see the final season of Game of Thrones, also looking forward to Star Wars IX and the remake of the Lion King. In terms of gigs, I am hoping to catch Tank and the Bangas on their European tour, Anderson Paak when he visits London and Skepta at Manchester International Festival. I’m sure there will be loads more cultural offers which will entertain, inspire and most importantly keep me nourished during 2019!!!!!
George Soave, Producer, He/Him/They/Them, The Other Room.
We are kicking off 2019 with an almighty bang. Spring Fringe is the latest addition to our programme here at The Other Room. February and March, traditionally the home to our self-produced work, will now be occupied by eight weeks of imaginative and bold Fringe Theatre. Spring Fringe will champion home-grown companies and provide a platform for non-native touring companies to perform their breakthrough work here in Cardiff. Presenting work from Edinburgh Fringe Festival, Cardiff Fringe and others from across the UK and internationally! Our diverse programme will present eight productions over eight weeks that capture the essence of the fringe – telling imaginative stories in ingenious ways.
What about our self about our self-produced work? The Other Room will remain champions of well-made, daring modern drama and are as committed as ever to producing our own work – if anything we’re pushing the artistic envelope even further in 2019 and this Autumn will see our self- produced work return so watch this space.
And that’s not all! In the spirit of the fringe, this Spring we are embracing our Cardiffian cultural cousins… the rugby. There’s no avoiding that each spring Cardiff is ignited by the Six Nations Championship, so we thought, if you can’t beat them join them! All five of the Welsh rugby matches will be screened in both Porter’s bar and in the theatre as a part of our Spring Fringe programme. So come on in and enjoy a play, a pint and a match.
Kully Thiarai, Artistic Director, National Theatre Wales.
I’m biased I know, but I’m looking forward to Ed Thomas’ new play ‘On Bear Ridge’ that will open at The Sherman in September. He has written a beautiful, poetic and poignant work.
Taking Flight Theatre Company’s production of Peeling by Kaite O’Reilly is touring Wales so I planning to catch that on the road somewhere. I missed it when it was first produced by Graeae Theatre Company many years ago.
More immediately Artes Mundi 8 has had another great year and finishes soon so catch it while you can! National Museum, Cardiff is also showing the rarely displayed drawings of Leonardo Da Vinci as part of a UK wide simultaneous exhibition.
I’m very excited by Yoko Ono’s Bells for Peace that will be opening event for Manchester International Festival in July. Thousands of diverse voices and an orchestra of bells sending a message of peace to the World seems like a very apt thing to be doing in 2019. In the same festival Idris Elba and Kwami Kwei-Armah will be making a new work called TREE – sounds like a great collaboration to me, combining music, dance and film.
Rachel Trezise, Novelist and Playwright.
Finally this year I get to road test a piece of my own work that’s been on my table for seven years, a play about the Pontypridd boxer Freddie Welsh, said to be one of the inspirations behind F. Scott Fitzgerald’s ‘The Great Gatsby’. I’m going to be working with RCT Theatres and Motherlode Theatre to determine if the work is suitable for public consumption.
Also I’m really looking forward to travelling to Northern Ireland where my monologue ‘Cotton Fingers’, commissioned by NTW for the NHS70 Festival last year, will open in May. The monologue is set in Belfast and concerns abortion laws in Northern Ireland but I haven’t been to Belfast for twenty years.
Most of all I’m looking forward to the publication of short story-master Amy Hempel’s new collection ‘Sing To It’ in late March, her first new work in over a decade. My personal hope for the year is that the UK, and Wales in particular, manages to get through the Brexit withdrawal process without much more trauma. We should know by the end of the year whether the tunnel that connects the Rhondda to the Afan Valley will be able to open as a cycling and walking track. I think that would be a great thing for both valleys.
Get the Chance critic, Sian Thomas
I’m awfully excited for the third How To Train Your Dragon movie. I really enjoyed the films through my teens and have actually managed to make that enjoyment infect others, too. It’ll be nice to see a cushy family film with the family this year.
Personal hopes are to read at least 20 books this year – and review the ones that take my fancy (not the ones I have to read for uni, haha). I’m looking forward to this because it means I’ll easily work on two new year’s resolutions: read more, and review more!
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