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Review Ghostbusters by Jonathan Evans

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3 out of 5 stars (3 / 5)

Ghostbusters is one of those names that has become crystallized through the love and nostalgia the original garnered in the eighties. Now it’s the time where a movie must be made of the same title again because studios will bet (and probably be right) in thinking that remakes are a more financially worthy pursuit than originality.

This is a pill every regular movie goer must swallow. Hollywood operates as a business so they will make the easy cash grab choices. However this does not, instantly mean that the movie itself will be bad. There’s still an opportunity for the filmmakers and actors to bring something new to the property and make it feel like the original.

So first lets establish what Ghostbusters is. Well its a diverse team of four funny people that take down the ghouls and goblins in a modern world and the peoples fate lies in their hands even though they have no business being heroes. Lets begin.

Our motley gang this time is composed of Erin Gilbert (Kristen Wiig) a scientist of the paranormal but seeks a normal, respectable life. Abby Yates (Melisa McCarthy) also a scientist but one that more actively seeks the paranormal and doesn’t care what the public thinks of her. Then there is the tech genius and my favorite, Jillian Holtzman (Kate McKinnon) and fizzy mad scientist with a shock head of hair and large round yellow goggles to emphasize her crazy eyes and speaking whatever loopy thing comes into her head because she is simply enjoying the madness of her own world. This is the most original character in the movie, not something we’ve seen before. Then there’s Patty Tolan the most sane or at least, street level one of them that adds the audience perspective to the group. She doesn’t know about the tech or the science but knows about the history of the city. Then there’s Chris Hemsworth again putting a twist on the previous movie but being a good looking hunk but also being as dumb as rubber, who’s probably got by with his looks this whole time. But he means well so there’s that.

So now with all that established the question still lies, is this funny? Yes, yes it is. There are indeed a good handful of funny moments within the movie that made me laugh. The jokes range from dialog to visual (most of the best ones coming from Holtzman). However there are others that are simply not funny or loose their way as they go on. This is a case of a little rewriting and/or some editing needed to make them flow more easier.

However the weakest part of the movie are when cast members from he original movie make cameos. They are really distracting, few of them add anything and can probably be cut out entirely. Cameos have to be weaved in so that you can see them and if your in-the-know you can appreciate them, but if the movie stops and you don’t know who’s on-screen then it just takes you out. The weakest one is Bill Murray and what they do with him is really tasteless.

In terms of continuity it would seem like this is a whole new separate entity. There seems to have never been any other group that called themselves Ghostbusters before this. Ow well, that just makes this a reboot/remake (whichever category it falls under), it doesn’t really hurt it.

With years since the original eighties movie comes upgrades, as there always must. We see the PKE meter but it looks different but we get the traditional Proton-Packs only we get other models with variations. There’s a suction pack, grenades and even one where you hold in your hand and is activated by motion so you can punch ghosts in the face. These are creative variations on the classic designs, we still have the originals in the movie but we also get the new.

Is this a good movie? Yes there’s plenty of good that outweighs the bad and I’d gladly see it again. Is this Ghostbusters, yes, because what are the Ghostbusters if not colorful blue collar comedians with guns.

Review The Neon Demon by Jonathan Evans

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4 out of 5 stars (4 / 5)

The Neon Demon is a movie that is entirely contrasted by its light and dark segments. Sometimes there are scenes that are perfectly illuminated, others that are pure black, save for those little shapes that emerge from said darkness before they are enveloped by them. Then there are the crossroad scenes where there is equal light and darkness on both sides and eventually, one must be taken.

Elle Fanning is an up-and-coming model that seems to have what it takes. She is slim, blonde and beautiful. Everyone seems to gravitate towards her, she gets signed with an agency easily, the top photographers desperately want to photograph her and the other models have their plastic surgeons cut and stretch their faces to make them more desirable while she simply is. So she becomes desired by some, while for others the source of hate and both to others still. That really is the grand total of the plot. The rest of the experience consists of mood and images that we are given to experience.

We’ve seen this story before, plenty of times the story has been told of the bright lights of Hollywood that cast dark shadows and the pressure and ugly side of fame. Movies like Black Swan, Hollywoodland, The Informers, Perfect Blue, Birdman are examples off the top of my head. Having a similar theme or message is fine in a movie, but what it needs is to distinguish itself from the others so that it’s original. This movie operates on the level of a music video. Having more emphasis on the mood and the image with minimal dialog sequences with such distance that look like they’re out of a Kubrick movie. Director Nichols Winding Refn works best when creating inspired new images and environments.

The mastery that Refn has on placing of the lighting and sets makes him a category of his own. No one else has such images and scenarios running through their mind. He always paints such striking, and quietly disturbing setups to put the characters in or physiologically experience.

The other prominent presence in the movie is the musical score by Cliff Martinez. At times it is a twinkling fairy-tale tune and others a fever dream, and it always fits with the pacing and colors on-screen.
People have said that a re-make of Susperia will happen one day. Well while a true re-make would be foolish this film is like a spiritual successor. Both are horrors in terms of their frightening moments, mostly Fe-male cast and have their sets and musical scores speak more than their dialog ever could.

Something you will walk away from this movie remembering are some of the darkest, most disturbing scenes in movie history. Moments that are born from the most depraved part of the human Psyche and desires warped by evil intent. But darkness can be forgiven if there is genuine intent and reason for it. Having something unsettling on-screen is one thing but whether its because the filmmakers want you to think about the why rather than hoping to get a reaction from you and then leave you with nothing.

The Neon Demon will leave you with something. It is a dark look into the pursuit of fame and beauty. But also the knowledge that if that is someones soul goal then it will lead them out of the bright lights, then they’ll be the darkness and nothing will be left.

Review Threepenny Opera, National Theatre, By Hannah Goslin

5 out of 5 stars (5 / 5)

It is very rare to come away from a performance and struggle for words. Whether they be good, bad, indifferent. In the case of Threepenny Opera, the sheer perfection of this production left me gobsmacked and lost for words at this phenomenal production.

From the fantastic theatre practitioner Brecht, the performance hits every note of his theories on the performance not letting us as an audience relate but self-reflect and critically review the political scenario of the performance. In the current climate when the UK has left the EU and there are turbulent times, a performance where the hero is an anti-hero, and the good guys are just as corrupt as the bad guys, it’s hard to not find a similarity to what is happening in the World currently.

Threepenny is humorous, it is dark and it is clever and brilliant. Each performer has delved into their character, changing their appearance, stance, movement to relate to them. While we have our ‘main’ character, each performer stands out in their own right, some even doubling up roles but this is hard to notice with how well they change themselves. Not to mention the satire of Opera as a theme itself – an industry well known for being stereotypically middle class, this Opera is from the poor and the down and out; it’s for us normal people. Not to mention each performer’s wonderful voice showcasing that it isn’t just the middle class with talent.

ThreePenny is darkly comical, with a staging that is reminiscent of unusual world’s created by Tim Burton; the odd but strangely  enticing world created in Golem by 1927 which showcased in Trafalgar Studios last year, yet is still entirely new and beautifully constructed.

Threepenny is nothing short of perfection. And a production that you must tick off your bucket list.

https://www.nationaltheatre.org.uk/shows/threepenny-opera

Review Cut, The Vaults by Hannah Goslin

2 out of 5 stars (2 / 5)

Deep under Waterloo station is this mysterious and unknown theatrical hub. It is unclear where we go and this brings such brilliant surprise when we enter an entirely white and plastic tunnel. We are greeted as if we are boarding an aircraft – a journey of emotional turmoil.

Throughout the 1 hour running time, we are plunged into darkness, brought back into the light to either be greeted by a frightened and worried female or our humble flight attendant. The storyline sees the woman and her fear as she is stalked by a stranger.

The switching from dark to light, the use of a small handheld torch gives us a sense of vulnerability and fear, as if we relate to the woman and her peril. At times this does become a bit much and the fear factor soon loses its’ affect. While we are still engaged in the performer and her ability to appear in different parts of the room and switch her appearance and her personality in a matter of minutes.

While the performer Hannah Norris is wonderful and clearly very skilled, the novelty of the changing and the dark to light soon wears off with nothing to continue keeping us surprised. It felt that more should be given to us, and shock factors initiated to keep us relating to the character’s emotions.

Never the less,  I would still encourage others to come and watch this production. The overall intention, clever staging and performance ,  just feels that there could be so much more.

 

Review The Freddie Mercury Project, Sinfonia Cymru, RWCMD by Sarah & Lucy Debnam

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All photographic credits Sarah Debnam

Dancing-dasies.co.uk

This was very exciting for me!

I thought the show was going to be fun and exciting, I am a massive Freddie Mercury fan.
The place we went to was quite big and it had comfortable seats.
I recognised a few songs- ‘Bohemian Rhapsody,’ ‘We Are The Champions,’  ‘We Will Rock You’ and ‘Who wants to Live Forever.’
I thought they all played great, I enjoyed it a lot!
There was nothing I didn’t like 🙂

Lucy  Debnam aged 8 

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Hillsanddaffodils.co.uk

It has to be said the Freddie Mercury is a true legend, I grew up singing Queen songs rather than nursery rhymes and I know I am not alone, and now, without any real encouragement, my eldest daughter has become a huge fan also. So when we saw the Freddie Mercury Project advertised both of us were really excited to go and see what it was all about.

We were kindly asked to review The Freddie Mercury Project from Sinfonia Cymru (a young, talented and innovative orchestra in Wales) at the Royal Welsh College of Music and Drama, and didn’t know what to expect from either the orchestra or the venue, but as soon as the musicians entered the room I realised this was to be something special, and I wasn’t disappointed.

From the very first notes the room filled with atmosphere and emotion, I was instantly impressed by the skill and the attention to detail that the orchestra had, the togetherness and how attentive they all were. There was an element of fun as well and some of the girls were rather enthusiastic on that section of ‘Bohemian Rhapsody’ that has everyone head banging along, did I mention that Sinfonia Cymru is described as ‘progressive’? I guess they have to be to take on Mr Mercury’s incredible songs, from ‘Bicycle Race,’ including bicycle bells, to ‘Love of my Life’ which gave me chills, down to ‘Who Wants to Live Forever’ which was by far my favourite piece played, there wasn’t a thing that didn’t work in my opinion.

I was a little concerned about the fact that nobody would be singing at this show, it was purely music and I wondered how Freddie Mercury’s showmanship could ever be replicated. Well that was left to Vlad Maistorovici, who as composer, conductor and violin soloist had his work cut out for him, however I think he did an outstanding job, of not only pulling the whole orchestra together, in time, with enthusiasm, but he also played many of the solo parts of the songs that Freddie would have belted out, with his violin alone. I honestly don’t know how else to explain it other than he did it justice and I think Freddie would have been impressed!

This team of musicians also included the very talented pianist Robin Green and Harry Cameron-Penny on the clarinet who was mesmerising to watch, both incredible musicians and both adding something unique to the whole ensemble. The piano sections of ‘Bohemian Rhapsody’ were spot on and my girl chatted excitedly about this at the end, she couldn’t believe how it sounded exactly as it does on the recordings, he even played the piano in an unusual way at one point. Harry gave an air of confidence that made me feel as though he didn’t have to put any effort into his solo performances, making it comfortable and entertaining to watch, it was almost as if he just made it up as he went and still sounded flawless, a real talent.

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I won’t pretend to know if the notes were all spot on as I am not musical myself, but I do know that as someone who wasn’t sure what to expect from an orchestra playing Freddie Mercury’s songs, I was absolutely blown away by every single part of the show, Vlad was incredible and brought Freddie’s spirit to life momentarily for me, Robin and Harry were a pleasure to watch/listen to, and we enjoyed it so much that I bought tickets for the next night at The Riverfront theatre. This time taking my Dad (who is a big Queen fan) and my youngest daughter, and they both loved the show as well! I think this is a true testament to the Sinfonia Cymru as all ages were clearly entertained.

I think we witnessed something special in the Freddie Mercury Project, and think that the effort and skill poured into this production did not fail to impress. The standing ovation at both shows we went to echoed this as well I think.

Thank you Sinfonia Cymru!

Young Critics on the Edge, ASSITEJ 2016

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Last week some of our members took part in Young Critics on the Edge. Please find further information on the project below as well as a link to their reviews.

What is Young Critics On The Edge?

Young Critics On The Edge is a 5 day-long programme to develop critical analysis skills in young people aged 18–25 as part of On The Edge The World Festival of Theatre For Young Audiences.

Young Critics On The Edge is a collaboration between Barnstorm Theatre Company, NAYD (National Association for Youth Drama) Ireland and Mess Up The Mess, Young Critic’s Wales in conjunction with the Symposium strand of the ASSITEJ Artistic Gathering for 2016.

ON THE EDGE is presented by TYA-UK and TYA-Ireland. It is the ASSITEJ Artistic Gathering 2016. ON THE EDGE is hosted by Birmingham REP.

Young Critics On The Edge is open to young people aged 18-25 who are interested in watching theatre, discovering how and why theatre is made, and learning how to critically discuss, analyse, and review Theatre For Young Audiences

Over a five-day period they will see some incredible shows, make new friends and learn about the art of theatre criticism. All this happens during On The Edge The World Festival of Theatre For Young Audiences in Birmingham from July 3rd – July 8th 2016.

In a very exciting and innovative programme young people are given an opportunity to see quality productions, develop their critical skills and make their own critical responses under the mentorship of leading International drama facilitators.

Who can take part?

Two participants from Ireland, Wales, Scotland, Northern Ireland and England and a further two participants from the host city of Birmingham will be selected to take part.

Participants will drawn through the partner organisations of Barnstorm Theatre Company (Ireland), Mess Up the Mess (Wales), NAYD (Ireland), Young Critic’s Wales, Youth Theatre Arts Scotland, A Younger Theatre (England), Theatre NI (Northern Ireland) and Birmingham Repertory Theatre.

In order to offer individual advice and guidance on developing each young person’s critical skills, places on the programme are limited to 12 places in total. Those who are interested should apply using the accompanying application form.

What happens during the Young Critics?

The Young Critics will meet in Birmingham from Sunday July 3rd to Friday July 8th. Over five days the Young Critics will attend a number of theatre productions, interact with the city, participate in workshops, live blog and share their views with delegates of ASSITEJ Artistic Gathering for 2016.

https://youngcriticsontheedge.wordpress.com

Review Guys and Dolls, New Theatre Cardiff by Barbara Michaels

 

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4 out of 5 stars (4 / 5)

Still popular well over half a century since it opened on Broadway, everything rests on the roll of the dice in Guys and Dolls, the iconic musical set in Manhattan and based on the short stories of Damon Runyon. Gangsters and their molls are at the centre of the action as con man Nathan Detroit struggles to find a venue for his upcoming illegal crap game. High-rolling gambler Sky Masterson offers a solution, but only if Nathan can come up with an attractive enough bet. And he does – in the shape of uptight Evangelist missionary Sarah Brown. The subsequent shenanigans take us from Times Square via the dance clubs of Manhattan to the sewers of New York City.

This latest revival, fresh from the West End stage, proves once again what a great musical this is. This time round it has the plus of being staged with choreography masterminded by the brilliant Carlos Acosta. It is difficult – I might go further and say well-nigh impossible – to find a dancer and choreographer who can equal Acosta for Latin American rhythms that sizzle with white-hot heat. As the action switches to Havana there is just about everything here – rumba, samba, cha-cha – you name it. Ballet – of course. Full marks to the multi-faceted ensemble for coping with it all.

So bristling with talent is this Chichester Festival Theatre production that it is difficult to know where to start with the accolades, but one must begin somewhere so let us be logical and begin with the two male leads whose crap games and on-off romances form the pivot on which the plot revolves. As Sky Masterson, Richard Fleeshman cuts a debonair figure in the role of the gambler willing to take on any bet if the stakes are high enough.  Fleeshman has a great tenor voice, heard to advantage in the number I’ve Never Been in Love Before at the closure of Act I. The target of his bet, with whom he ends up falling in love, is the Bible-bashing Evangelist Sarah Brown, played by Anna O’Byrne who belts out the lyrics with gusto.

That accomplished actor Maxwell Caulfield plays Detroit with a great sense of timing and a wry humour. His evident relish for the role is infectious. Caulfield’s Detroit is a likeable rogue, despite his dragging his feet where marriage is concerned: a fourteen year engagement seems a trifle overlong by any standard! The lucky lady is Miss Adelaide, lead singer and dancer at the Hot Box, the night spot where much of the action takes place. Louise Dearman, as Detroit’s fiancée whose dreams of domestic bliss are taking forever to come true , is superb, notably so in that wonderful number Take Back Your Mink. Dearman has the role down to a T – to the extent of almost stealing the show at times.

Detroit’s and Masterson’s fellow gamblers are all perfectly cast, with Jack Edwards as Nicely-Nicely Johnson and the lugubrious Craig Pinder as Harry the Horse, while Mark Sangster is a nimble-footed Benny. Boys – you were splendid. The live orchestra, under the direction of Andy Massey, provides the accompaniment to the memorable musical numbers which include that well-known Luck Be a Lady and the foot-tapping Sit Down, You’re Rockin’ the Boat.

http://www.newtheatrecardiff.co.uk/what’s-on/guys-dolls/

Runs until Saturday 9th July

Guys and Dolls New Theatre Cardiff

Music and Lyrics: Frank Loesser

Book: Jo Swerling and Abe Burrows

Director: Gordon Greenberg

Choreography: Carlos Acosta and Andrew Wright

Reviewer: Barbara Michaels

 

Review Service Episode Four: Fire Walk, Cardiff Fringe by Kaitlin Wray

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4 out of 5 stars (4 / 5)

After the success of Episode Three: Taking Stock, I saw at the start of my Cardiff fringe theatre festival, I was excited to watch Episode Four: Fire Walk. I was not disappointed in the slightest. The story line was even crazier and funnier than the first one. The writing  by George Infini is incredible, he knows exactly what will make the audience laugh.

One of the great things about this show and Episode 3 was the little sketches at the beginning. It sets the scene and gets you right into the show straight away. The ‘forbidden’ romance between Steven and Gene, played by Grant Cawley and Isabelle Paige escalated even more. It got to the point where Gene had to ask for Gavin’s help, played by Sam Harding. This whole interaction was hilarious and got the audience fully immersed with their romance. All actors stayed true to their characters from episode three and it felt like I was watching a series. For episode four there was an additional character called Marshall acted by Jonathan Dunn. His character fitted perfectly with the old manager, Jackie, played by Susan Monkton. They worked as a double team which felt the need to torment the restaurant staff in every way possible. They were a perfect combo that had some marvellous quirks added to their characters.

Even though it was a short comedy it told a great story and the ending left us wanting to see more. This is a well collaborated group where everyone has put in their time and effort into creating a great performance. It was wonderfully directed by Steve Bennett who added even more comedy moments to the already remarkable writing. I thoroughly love the collaboration between Infini Productions and A Clock Tower Theatre Company. I will be looking out for them in future productions.

Review Meet Fred, Hijinx Theatre by Lauren Ellis-Stretch

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3 out of 5 stars (3 / 5)

In Meet Fred, Hijinx Theatre Company skilfully entwine all that is existential – penis jokes to political anguish – through one puppet called Fred. Just go and see it for yourself – It’s apparent simplicity and inclusivity (perfectly mirrored in The Other Room) is its charm.

Advocating the collaborative process, not only does the Director (Ben Pettitt-Wade) direct, but he also showcases this role within the play. Fred’s sublime puppetry and movement shows an inspired devotion from Dan McGowan, Morgan Thomas and Craig Quat through harmonious craftsmanship. However, some of the acting (rooted in improvisation) was, consequently, forced but then, quite suddenly, frenziedly unrestrained – as actors stormed out of doors zealous and soap-operaesque. Yet, blazingly Dan McGowan projects his Fred. In fact, it is far too easy to allow yourself immersion in, solely, his performance. Do resist the temptation, the spectacle of meeting Fred is within its unification for artistic illusion/societal awakening.

Through Fred, parallels are seamlessly drawn to today’s political climax as the defenceless, in an increasingly self-serving society, are subjected to the status of a puppet. Fred is begrudgingly bearing witness to the rise of the mercenary, or consequently lumped in a box. ‘Don’t blame me, blame the system’ penetrates an air of, too blissful, comedic ease.

Pettitt-Wade’s illustration of a messy, ‘self-directed’ life branches from the flourishing/twining set design to the incorporating of the deceivingly metaphoric. A lot of life is incomparable, and unexplainable to others; the cast and crew seem to relish in this conception – ‘Rice is water.’ It rains harder on some.

For the cast, sustaining an audience’s full submission with such taxing content: an unfulfilling, tragically ‘acceptable’ and some-what accepted lifestyle of the oppressed is hard – especially as Meet Fred is a play only wholly satisfying after being digested. So, take friends, chuckle at the lavish littering of expletives, and take it for what it is. An oppressed puppet, an oppressed, emerging under-class, or a shout into the void? Hijinx are pioneering in their ability to make innovative, intelligent, inclusive theatre. Challenging stigma; enabling their disabled performers.

Type of show: Theatre

Title: Meet Fred
Venue: The Other Room
Dates: 28th
Author: Devised by Hijinx Theatre
Director: Ben Pettitt-Wade
Ben Pettitt-Wade: Director
Ceri James: Lighting Designer
Tom Ayres: Technician
Martin Vick: Stage Manager
Dan McGowan: Puppeteer & Voice of ‘Fred’
Morgan Thomas: Puppeteer
Craig Quat: Puppeteer
Lindsay Foster: Lucille and The Maker
Richard Newnham: Jack
Tom Espina & Giulia Innocenti of Blind Summit: Puppetry Dramaturg
Running time: 60mins

Creative Cardiff Pop-Up Hub: Reflections on Hub Environments for the Arts

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All images taken from social media linked to the project

In the same week that it was announced that Britain was leaving the EU, free-thinkers in Cardiff were exploring new and innovative ways for arts professionals to work together as part of the Creative Cardiff pop-up hub.

From the 20th-24th June selected creatives occupied a temporary pop-up workspace in the Wales Millennium Centre as part of an initiative organised by Creative Cardiff. Sara Pepper, director of Creative Economies at Cardiff University, was a key organiser of the event having researched existing approaches to creative hubs both within, and outside of Wales. Pepper champions ‘hub’ models as potential centres for innovation within the Cardiff creative economy. Sara Pepper has authored a blog post in which she outlines her research which you can access via the link below:

http://blogs.cardiff.ac.uk/creative-economy/2016/06/16/a-creative-hub-for-cardiff/

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Creative Cardiff is an online network of practicing creatives in the Cardiff area initiated by a team at Cardiff University. The network went live in October 2015 and already currently has a membership of over 550 practitioners.

This form of online network has already proven useful to both my peers and myself, practicing within universities as well as on a freelance basis. Organisations such as EMVAN (The East Midlands Visual Arts Network) provide valuable access to creative opportunities and share relevant events information, thus implementing a meeting of like-minded practicing creatives and audiences alike.

What Creative Cardiff achieved in this recent venture is to demonstrate that the hub environment prompted an acceleration of the outputs of its occupants whilst retaining its supportive values. There are early indications that hubs may prove to be beneficial to the development of creative networks and productivity within the city. That these values could be propagated successfully within the physical space of a hub supports the demand for more dedicated collision spaces for creatives, which could support existing online networks.

“Our network aims to bring together people from across the full breadth of the city’s creative economy – from dancers and marketing professionals to architects and app developers. By collaborating and sharing ideas we want to encourage more innovation and creativity in our city” – Creative Cardiff.

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Reflecting on my own experience of working in the hub, I found the pop-up nature of the arrangement provoked thought and reflection on the nature of the co-operative working arrangement rather than focusing on the development of individual creatives. This differs from the way in which arts students or employees within other creative industries are usually encouraged to practice, and on the surface seems to contradict productivity. Although the arrangement of the short-term hub might have been initially disruptive, established examples have indicated that co-operative working increases productivity – hence Google’s eagerness to provide exciting, open workspaces for their employees to work collaboratively.

I found the group was particularly concerned with how professionals from various creative fields might gather to achieve the aforementioned aims of Creative Cardiff, whilst still continuing to realise autonomous objectives within their own creative practices. Countless discussions were had on the topic, and throughout the week questions were raised regarding the benefits, physical design, core values, social and creative impact of working in this way to name but a few. Issues such as these are often interrogated on occasions where creative practice mingles with academic insight.

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A particularly successful feature of the pop-up hub was the daily ‘Provocation Sessions’ provided in the mornings within the hub space. During these sessions, the hub members were invited to hear professional reflections on the nature of creative spaces and productivity and discussion on these topics was encouraged. We heard from a range of speakers including Prof. Wayne Forster of the Welsh School of Architecture, Clare Reddington and Jo Landsdowne of WATERSHED (Bristol) and Prof. Jonathan Dovey, UWE Professor of Screen Media and director of REACT. Such sessions provided an opportunity for focused learning and interaction amongst the hub members that I believed complimented more casual encounters experienced in the joint space.

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I found Prof. Jonathan Dovey’s insights regarding the hub as a creative eco-system especially informative and motivational. His experience has demonstrated that hubs can provide instances of exchange, impacts and continued mutual support amongst their occupants. Dovey placed particular emphasis on the benefits of shared values within creative hubs, such as generosity, openness, trust and excitement.

It is the presence of these shared values, possessed by the members of the pop-up, which contributed towards the success of the Creative Cardiff hub, and defined the unique and progressive environment that I experienced as a member.

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With the project only spanning over a short week, the conditions of the hub could not be established in the way in which an organically cultivated hub space might. However, many would agree that the potential for development and continuation of the project was evident. Through research carried out by Cardiff University, we can be positive the project has contributed to the development of creative hubs in Cardiff in the future. As well as this, I hope there is recognised potential for such hubs to become part of an interconnected network of creatives spanning Wales, the UK, and even Europe and globally.

Perhaps the potential of a hub network is way in which creatives can demonstrate that, despite established individualist tendencies, we are in fact better together.

To view Amelia’s Creative Cardiff profile, please follow the link below:

http://www.creativecardiff.org.uk/users/amelia-seren-roberts

Twitter: @amelia_seren