The Director of Get the Chance, Guy O’Donnell recently met with Rachel Boulton, Artistic Director of Motherlode, they discussed her background, thoughts on the arts in Wales and Motherlodes new production ‘Exodus’ which premiers at the Coliseum Theatre,  Aberdare on the 5th of October before touring.

Hi Rachael great to meet you, can you give our readers some background information on yourself please?

Hello! I’m Rachael, I’m from Cwmbran and spent most of my time growing up in Newport, going to places like TJ’s and OTT’s when they were still about, not to mention Zanzibar’s! I was really lucky to get full funding when I was seventeen to attend Joan Littlewood’s E15 Acting School, where I spent four years training as an actor and theatre maker. It was great because the ethos of the school supported people like me from working class backgrounds, unlike some drama schools at that time. The training was rooted in European theatre styles, which taught me the importance of ensemble. It’s been ten years since I left, and I’m still using the tools they gave me. I had a lot of other dodgy jobs in between mind! Worst was being Jordan’s personal waitress at an ultimate fighting championship event, and I didn’t even get a tip!

You have written and are currently directing Motherolodes latest production ‘Exodus’ which is “Set in South Wales on the eve that the last factory in the town closes, four neighbours hatch a plan that is literally pie in the sky.” The issues faced by local towns in South Wales face are of real relevance to Welsh communities. How have Motherlode approached this important topic?

I first talked to RCT Theatres about Exodus in 2015. They felt it was relevant to their audiences, and generously supported me, alongside Creu Cymru, to develop the play. Exodus is a comedy in which the plot follows a young woman called Mary. Mary is our main character who works for a modern high street chain. She’s a challenging character, and hard to identify at first, as you can’t really pin her down. She’s an every day woman, not on the left, not on the right, and working a good job to maybe have a holiday and be able to afford nice things. She can’t be polarised (despite our best efforts) and is confused about the world. Over the last few years during our residency at RCT, I talked to people from an older generation, including a truly amazing woman who used to work at the old Burberry factory in Treorchy before it closed. This was used as inspiration for a background setting, to help tell a younger narrative – Mary’s story. Our R&D’s took place at RCT Theatres, and after taking on feedback from numerous sharings and open rehearsals, the rest of the writing was done mainly in Cwmbran, where my family live.

Arts Council of Wales has recently launched its new Corporate Plan “For the benefit of all… ” In it, the body’s mission for 2018-23 was unveiled – “Making the arts central to the life and wellbeing of the nation” One of the two priorities it has committed itself two are, “Promoting Equalities as the foundation of a clear commitment to reach more widely and deeply into all communities across Wales. “

Motherlode describe themselves as a company who “Work in communities and locations across Wales and the South West, to create entertaining, relevant new theatre that is inspired by real life stories.” It would appear then that you are already as a company fulfilling this ACW priority? Would you like to see more investment into this method of creating new art forms?

Well, we’re still very much in our infancy as a company, being only four years old, but we’re trying to grow in the right direction. In four years we’ve developed four shows in partnership with RCT Theatres, including bringing local young people together to create new work, staged both locally and nationally. We also produced our first international tour in partnership with RCT Theatres. It would be a great thing if venues across Wales like RCT Theatres were given more money and resources to find, support, and develop local artists. At the moment, many venues can barely keep the doors open and the lights on. As a company, we’d like to have the infrastructure to develop a regular program of work and activity that has a genuine lasting impact. At the moment, like many other small companies, it can be hard to do this justice with project only funding. However, I think we’re off to a good start, and we’re very lucky to be supported by venues and organisations who like working with us, including RCT Theatres, Blackwood Miners Institute, Night Out Wales, Creu Cymru, Chapter, Wales Millennium Centre and Bristol Old Vic.

Exodus rehearsals credit Tom Flannery 

Get the Chance works to support a diverse range of members of the public to access cultural provision. In your personal experience, are you aware of any barriers to cultural provision?

I found working in theatre impossible to navigate until I turned 30. Despite being given the support to train in my twenties, and work with companies like the RSC and Royal Opera House, I still felt out of place in rehearsal rooms and audiences. I couldn’t articulate myself in the way that I wanted to. It felt like the culture of theatre was set in a very particular way, a culture I wasn’t a part of, from the play text down to the ticket sales. An employer once said to me in an interview for a assistant director job, “ I can’t believe you’re applying for this job when you’ve not seen any of my work!” I replied, “that’s because most people can’t afford your bloody tickets” Moving home five years ago to work as an emerging director for NTW was a turning point. I was encouraged to develop my own work in my own voice and out of that Motherlode was born. Getting Motherlode off the ground in the last few years has taken pretty much all of my focus, and so far we’ve been really lucky to be supported by ACW across various projects. This hasn’t left much time for other work, but, some includes; working with NTW as assistant director on their shows ‘Tonypandemonium’ and ‘Crouch, Touch Pause, Engage’ and as community director after ‘Mother Courage and Her Children.’ I’ve also worked as an associate director at Out Of Joint, created, produced and directed Motherlode’s first off broadway run, directed ‘Blackout’ by Davey Anderson with a young company for National Theatre’s Dorfman Stage, and will be collaborating with Theatr Clwyd after generous support from Creu Cymru. I’m also looking forward to taking Exodus to the Finborough Theatre in November, and giving Motherlode a platform in London for the first time.

Exodus rehearsals credit Tom Flannery

Congratulations on recently becoming a parent. Creatives such as   Tamara Harvey,  Artistic Director of Theatr Clwyd have increased awareness of the challenges parents can face working in the theatre, with her #workingmum tweets. As a new parent are there ways that we approach creative practices that might offer more opportunities for working parents to juggle the demands of work and home life?

While pregnant, I spent a few days at Theatr Clwyd. Tamara was pregnant at the same time, and already a mother. She took time to tell me that it is absolutely possible to work in theatre and be a mother, which I really appreciated. Writer Bethan Marlow was there too, and she said the same. Clwyd’s Gwennan Mair has also been incredible, moving an R&D around to support me through my pregnancy.

It’s been three months since I had my baby, and I’ve just come back to work. Being freelance without the support of an employer or large organisation behind me is a challenge, but, I feel incredibly lucky to be doing a job that I love with great people, particularly Angela Gould at RCT Theatres, Nia Skyrme and Emma Vickery…The whole team’s a treat. I was asked to tweet about being a working mum in theatre, but, for me, there’s so little that’s sacred these days, I wanted to keep my personal life personal, and in short, I’m simply crap on twitter! But, I’m open to talk about it, if asked…

If you were able to fund an area of the arts in what would this be and why?

That’s a good question. I would invest in forming young companies in underrepresented areas and make it affordable, if not free. I think everyone, regardless of background should have access to the arts,especially now they’re heavily cut through education. For me, its not necessarily just about nurturing young talent, but creating a safe space for people to express themselves.

What excites you about the arts?

It’s capacity to create change through story. Collective experience.

What was the last really great thing that you experienced that you would like to share with our readers?

Apart from childbirth? The last thing I experienced before having my baby was a remount of Belonging by Re-Live/Karin Diamond at Chapter. I couldn’t take my eyes off the audience throughout the play who were deeply moved, laughing, sobbing, chatting for ages afterwards. The team tapped into a struggle with a lot of dignity in that piece.

Many thanks for your time Rachel

Tickets are on sale for Exodus now for performances at The Coliseum Theatre Aberdare (5 & 6 October), Theatr Clwyd (9 & 10 October), Llandinam Village Hall (11 October), Redhouse Cymru Merthyr Tydfil (12 October),  Chapter Cardiff (17 – 20 October), Riverfront Newport (23 October), Gwynfe Village Hall (24 October), Torch Theatre Milford Haven (25 October), Blackwood Miners’ Institute (26 October), Theatr Brycheiniog Brecon (27 October), Cwmavon Village Hall (30 October) and Finborough Theatre London (5-20 November).

It was amazing to witness WOLAB in partnership with N16 work alongside ten incredibly talented, young actor-writers. The artists involved in the inaugural showcase fused comedy, culture, pleasure, romance, passion and open, homosexual relationship scenes. It wasn’t a space of shyness, politeness, but real lived matters daily presented in our everyday lives.

The diversity of the artists set strong, ethnic and authentic scenes. Some artists had shown they were bilingual and had incorporated traditional elements when exploiting their culture, whether it was an Asian lady eating with chop sticks or a Ghanaian guy imitating his native accent when impersonating his mum, all of these aspects stimulated the power of culture and acceptance of each artist’s differences inputted in to their plays.

The proactivity of their self-created work reflected in their monologues and co-written duologues exhibiting the nature of power when creative voices work together to combine their time, energy and respect for each other. The artists were enthusiastic, contagious and hysterically funny, having the audiences crying with laughter. No-matter how big or small the topics were the artists ability to create an effect or mood to their individual or double acts stimulated feelings that successfully moved the audience one way or another, which was impeccable!

The running order consisted of fifteen mini plays, which transitioned majestically when going in to the next play constructively.   The professionalism, tightness and energy were phenomenal! There was minor props usage so the fact they created engaging, captivating scenes with mostly just their energy was entertaining and fun to watch. ‘WOLAB’ is a brilliant platform for all young, talented artists to create in a space that clearly accept all ideas and offers fantastic opportunities for all emerging artists to perform to the best of their ability. I thoroughly enjoyed watching!

 Tanica Psalmist.

The show began with phenomenal performer Arinze Kene who is also the playwright, centre stage with a microphone in his hand; accompanied by a pianist stage right (Adrian McLeod) and a drummer (Shiloh Coke) stage left. We see the stage radiate a bright light on to Arinze who rhythmically and poetically starts flowing to the fiery melody. The musicians on beat play along to his sonnets.

His vigorous word play subconsciously re-enacts visual imagery of vivid scenes re-occurring within our society that’s familiarised to some, and sensitising to those who’s advantages prevent them from being able to emphasise. This allow them to sympathise to his audible narratives that emotionally express an enchanting variety of themes from,  repossession, gentrification, brutality, inner savagery to then financial difficulties, dysfunctional family, pain, rivalry, conviction and his daily penalty.

His spoken word obtained visual contrasts of the stigma attached to street violence and the road life. The performer metaphorically uses biology when expressing his philosophy. During the first set he makes reference to himself being a virus, while he refers to everyday people as blood cells, red and white. This conveyed that he didn’t identify himself amongst the general public. The first track performed was entitled ‘City Creature’ which contained strong emphasis of a born and bred city liver. The mention of ‘Night bus’ repetitively with increased speed, had given off a deeper sense of a tragedy happening fatally, resonated through his raged energy.

He impressively built momentum as he creatively daunted an epic picture of folks feeling anxious when in the presence of troublesome viruses, entering their way on to the Night bus. Climax is built when focusing on blood temperatures rising due to individuals hesitating in silence. He then increases the intensity where you see his irritancy, not wanting to be benevolent or see the significance until this blood cell physically receives heartless punishment.

That’s when voicemail messages played aloud on set from his friend’s Raymond and Donna are role-played by the musicians. They were stood speaking into microphones behind a booth on stage, but your attention was fixed on Arinze who had his back turned to them listening to their messages, the sound effects smartly made it seem like the sound played from his mobile. Controversial discussions arose from his friends mentioning Arinze’s story fitted in to a ‘Generic angry young blackman’ ‘Modern minstrel show’ stereotype, being a typical ‘Nigga play’, which upset him.

As he makes his way downstage we see him blow in to an orange balloon; placing it in front of him, gazing at the air gushing out, until it deflates. This represented elements in his life he ignored but was conscious of. Balloons were a consistent element appearing in the play, as well as regular meetings with a producer. In the first meeting Arinze’s back is facing the audience, however his face is reflected on to a cubical screen from a hidden camera zooming in to his face. The producer’s presence despite never being shown was strong due to inputs of voiceovers and sound bites smartly used from various movies.

Another consistency throughout the production was the presence of a little girl. Who was first seen speaking upright as Arinze’s elder sister, whilst the band played crescendo. She addresses him reading from a pulpit in a letter style; appreciating his urban gig theatre piece and congratulating him on his writing job but then criticising him for his insensitivity to the black community. Humour is brought to the stage when an assistant stage manager appears to comfort the little girl crying, due to her brother’s comical retaliation to her lecturing him about his playwright.

The entire production takes you on an emotional rollercoaster with Arinze’s desire to take his little sister to the zoo explore the pretty animals like he didn’t get to, finding out a neighbour unexpectedly had left the cultural infrastructure, feeling forced to immune to the systems renovation, feeling homesick after being kicked out from his mother’s house and not welcomed in by his uncle, injustice and terminated relationships from dislikes on the political concept of his playwright.

During the start of the second half, Arinze is heard talking from inside of an orange balloon. When he gets out of the balloon, excitedly he speaks out on his revelation. Breaking down that if viruses invade and raid the body, people like himself can’t be a virus but a blood cell to. After getting this revelation we see him pulling himself out of the balloon which indicates him no longer feeling oppressed and threatened by the system.

As Arinze performs his track ‘Geh-Geh’ he analytically talks on perceptions of gentrification simultaneously, whilst leading in to his experience of police brutality brilliantly. This was achieved by visually intensifying the flashing, lighting effects to create imagery.

During the end of the play after hearing another criticism from another friend about his culturally ridiculous playwright, we see Arinze’s mood change. Expressions on Arinze’s face become hysterical as he repeats the word to himself, stomping his feet and dancing as he performs his final track entitled ‘Jungle Shit’. The content within the song makes his character come alive, free and charismatic proclaiming his identity and breaking-down his interpretation of ‘Jungle Shit’ visualising the exact depiction using rhetorical questions to define what jungle shit really means and why the description ‘Jungle shit’ empowers him.

Misty is truly one of the most out spoken, inspirational, metaphorically excellent, comical and unique productions. Brilliantly innovative and imaginative reflecting real life precautions, live music, mediums plus many more all fused in to make it an exceptionally powerful production as himself.

Misty can be seen at Trafalgar Studios

Tanica Psalmist

Underground Railroad Game created and performed by Jennifer Kidwell and Scott R Sheppard, contains cathartic elements of sexual chemistry, physical attraction and subjective teachings on the history of the American civil war, which was played by two casts throughout the entire play. These two casts interchangeably would switch their roles; black women playing a slave owner and a white male playing a Southern farmer in the 19^th century. Who desperately wanted to help this woman he knew, situated in the racist Deep South, escape across the river where she’d be safer, this was shown during the beginning of the play. We witnessed how their intimate relationship grew during various sequences based on this element.

We then saw these casts transition in to the roles of high school teachers after a dress change. They were very immersive, smartly engaging the audience as their pupils at Hanover Middle school, in Pennsylvania. The class sessions they held as teachers were about the project we are about to conduct on the American Civil war that raged through Hanover in the summer of 1863.

Soldiers were smartly addressed throughout the play to help the audience follow the conclusion of the two sided story of the 19^th century characters. Different coloured toy soldiers of grey and blue were found underneath the chairs of the audience members, which represented the follow through in the sequences to the overview of the slaves escape from the safe-house ending either fatally, tragically or mysteriously happily.

Interestingly, the teacher’s love affair became guilt and pleasure when they made hysterically funny, direct stereotypical race jokes, whilst touching on sexual innuendo jokes at the same time to one other. This made watching their love affair funny and intriguing.

When they transitioned back into the sequence within the 19^th century, the scene was focused on explicit scenes between the slave and the white farmer’s historic intimacy, displaying the sexual image of nursemaids with their white masters. In reverse to this, arose sexual tension with the teachers through domination and humiliation.

Toxic energy kicked off further when a naughty student cheekily in the class wrote ‘niggerlover’ bold and clear, crossing out the word safe-house on a white board.

When the teachers saw this, you couldn’t hear a pin drop in the air. The open space became a playground of hate as the women began fighting with him, whilst he’s restraining her it further angered her; resulting in them aggressively trashing the set, discovering their fate. The effects of the mental state due a controversial political culture became transparent during this stage.

The male teacher in this situation instinctively felt he had to prove his feelings, which left the women re-opening her scars. The pain of her history psychologically made her sexual tension towards the guy sadomasochistic; it left us to question the impact of modern America and the world in its entirety from slavery and its left residue.

The sexual outburst in how the male teacher responded to sadism, triggered thoughts on whether the male teacher erotically expressing his love for her was genuine and sincere; or if his love was out of curiosity to satisfy his fantasy from how the black woman appears. This incident brought their love affair to an end, leaving their feelings hanging in the air. You really got a deeper sense of the systems role on the abolishment of slavery and the psychological scars left behind in this current generation, especially having the election from Obama to Trump in modern day America.

A powerful production!

Underground Railroad Game at Soho Theatre until Sat 13th October.

Tanica Psalmist.