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Preview: CRAVE by Sarah Kane at The Other Room

As their showcase production of the Professional Pathways Programme at The Other Room, Yasmin and Samantha are presenting Crave by Sarah Kane, at The Other Room running between April 30th and May 11th 2019.

I met up with Director Samantha Jones, Producer Yasmin Williams and Assistant Director Nerida Bradley to chat about Crave, Sarah Kaneand the Professional Pathways Programme.

Why Crave? Why Sarah Kane? Why Now?

Being completely technical, for the Professional Pathways Programme I think this is exactly what we needed. There are no limitations, no rules, no guidance and that’s exactly what we needed from a script as a challenge and a gift.

When next are we going to get the opportunity to stage whatever we want with no limitations – Sarah Kane, obviously. It’s exactly the kind of work we’d like to see more of in Cardiff. The way it plays with form, but also what it says and what it means to people.

The Other Room opened with Sarah Kane and this play was an artistic turning point for her career. So, it just felt right, being the first Professional Pathways Programme at The Other Room and a turning point in our careers, to stage this play.

There are loads of reasons why this play is relevant now, but really what’s so great about Sarah Kane is that she’s so real she’ll always be relevant and so will Crave.

What does Sarah Kane mean to you as artists and people?

As an artist she’s bold and experimental. Her work is full of anger, but doesn’t fall into the trap of angst or the box people tried to put her in. She’s angry but it still feels feminine without the work needing to be about femininity. Just feminine through the way she uses language. Everything in the text is earned and the artists involved in her plays have to raise their game to her level.

As a person, she doesn’t make you feel judged, she just makes you feel and reflect. She can make you feel anything with her words. When I first read one of her plays, I had to read the others and read them all in one sitting. She’s just great.

What’s your aim with this piece?

Is it enough to say truth? Sarah Kane said, “I write the truth and it kills me,” so it’s important to stay true to that.

But also, Crave is written in a way that allows us to play and experiment. She was bold and experimental in writing this play, so we need to be the same in presenting it too.

It’s about what it means to be a human, the loneliness that comes with that, what love is, etc. We all have different perspectives and feelings in regard to this play, as I’m sure you will when you see it. Everyone will feel different things as the play is so true it relates to everyone individually. We want the audience to reflect and feel something about the themes, but more importantly about themselves.

Samantha Jones, director, speaking to actors.

Sam, considering how open the script is to a director’s interpretation, how are you approaching Crave as director?

Crave is a play that is always moving and changing as you work on it, so it’s more of a facilitation process, rather than direction and I wouldn’t have it any other way.

It’s key working with Nerida, not only as one of the best assistants around, but as someone who loves Sarah Kane and understands the text in a way that is different, but just as brilliant, to me. The whole team, including Yasmin and the actors, the same. The moment someone puts their stamp on Sarah Kane is the moment the it dies. So, everyone in the room has a voice.

Yas, with the everchanging, undefined nature of the script and production process, how are you approaching Crave as producer?

One of the great things about the Professional Pathways Programme is that this is the first full-show I’ve produced on my own, and I’ve been trusted to do so. The experience has sort of confirmed my theory that nobody really knows what a producer is and it’s an everchanging role in theatre. But given me confidence in knowing that’s okay. There is no set of rules for a producer as the job changes so much from show-to-show.

Part of what makes producing Crave so great, is that I have to be involved in the creative discussion to do the job. It might be easier to produce if things were more set in stone, but as the piece is constantly moving forward and growing I need to stay on my toes and get involved in the room. It’s very hands on and it needs to be as I have to stay connected, artistically, to the production.

How have you found the past year at The Other Room as part of their Professional Pathways Programme?

The Professional Pathways Programme has been a great way to step into the world of professional theatre making. Building new relationships, especially with each other as this year has just made us want to work with each other more in the future. Opportunities to work with new writing with things like SEEN and Spring Fringe Script, working with Royal Welsh College of Music and Drama have also been super beneficial.

Learning how a theatre building works and runs, beyond the shows, has probably been the biggest thing to learn. And now getting to work on whatever play we want, being able to produce it and put it on for a full-run is the perfect way to end the year. Overall, it’s been an invaluable experience for both of us.

Nerida, as you’re on arts placement at The Other Room and assistant director on Crave, how have you seen Yas and Sam grow over the last year?

They were always capable of doing this. But they’ve just had the chance to prove it. They’ve not just done the job but really added to the discussion and put their ideas forward. In particular they’ve absolutely smashed the year in transforming SEEN and working on Spring Fringe Script amongst other things. It’s just so great that they’ve been given the opportunity and platform to show what they can do as well as learn and move forward.

Actors rehearsing the script.

Crave runs at The Other Room in Cardiff between April 30th and May 11th 2019. Presented in collaboration with the Royal Welsh College of Music and Drama and The Other Room’s Professional Pathways Programme. You can read more about the production and the Professional Pathways Programme HERE.

Crave by Sarah Kane at The Other Room, Cardiff
30th April – 11th May 2019
Directed by Samantha Jones
Produced by Yasmin Williams
Starring:
C – Emily John
M – Johnna Watson
B – Benjamin McCann
A – Callum Howells
Assistant Directed by Nerida Bradley
Set Designed by Zoe Brennan and Mimi Donaldson
Sound Designed by Joshua Bowles
Lighting Designed by Ryan Joseph Stafford
Stage Managed by Millie McElhinney
Deputy Stage Managed by Emily Behague

Review: Cardiff Boy at The Other Room by Gareth Ford-Elliott

5 out of 5 stars (5 / 5)

Kevin Jones’ monologue Cardiff Boy is a nostalgic jump into the 90’s with a story as relevant today as it was in the 90’s. A story of male friendship that explores toxic masculinity with a killer 90’s soundtrack.

Narrated by “the quiet one” of the group, the story follows a group of young Cardiff lads as we join them on a night out. The use of set, sound and lighting design really add to Jones’ descriptive and emotive piece, which is guided well by director Matthew Holmquist and actor Jack Hammett.

Jones’ writing in this piece has its strength in the language. Whilst the plot is fairly basic, it is the expression of the characters that really stands out. Jones uses a clever mix of comedy and archetypal characters to juxtapose the hard hitting moments of the play. This works very well and makes the play relatable, enjoyable whilst also saying something unique.

There’s more you want to know about the characters and paths that are left unexplored. But not in an unsatisfying way. Details such as the protagonist’s relationship with his father is touched upon, but quickly brushed over by the protagonist. A detail that could be explored, but the lack of clarity of which is harrowingly too real for many young men.

When the audience enter the space of The Other Room, we leave behind Porters, the pub within which the theatre resides. However, with Cardiff Boy, The Other Room literally feels like the other room of the pub, such is the strength of the set design.

photo credit Kirsten McTernan

 

 

 

 

Sitting down you’re greeted by benches and chairs scattered throughout the room, with tables on which to rest your drinks. And as Hammett wanders between you and the other audience members, it is hard not to feel a strong sense of place.

This is heightened with the hanging photographs of 90’s Cardiff, which act as a sort of scrapbook of the protagonist’s photography collection. Photography and perception is used at various times by the protagonist to set the scene, with the city and locations generally described in great detail. Looking around at these fragments of Cardiff hanging from the ceiling, creates a very evocative feeling that makes it easy to get drawn in.

The directing of Matthew Holmquist is another strength of this piece. Not an easy piece to take on, such is the temperamental nature of the script. Without a brave director, that temperament could easily become a major flaw. But, the tone of the piece is handled brilliantly by Holmquist who allows the moments of emotion time to breath, without letting them take over.

Jack Hammett does a good job of portraying the protagonist and his mates as he bops around the room. In particular moments of vulnerability, which defines his “quiet” character, stand out. Ultimately a play about difference in men, Hammett does a great job in portraying this.

The use of sound is crucial to this play, and it doesn’t fail to impress. The soundtrack is obviously brilliant for anyone who enjoys 90’s music. Often used to comedic effect, the music, like the photographs, has a deeper meaning to the protagonist of the piece. Sound is also key in setting the scene and does so well.

The only issue for sound designer Joshua Bowles to work on would be that the level of the sound often drowns out Hammett’s voice. On occasion this works, for example in the club, where you can never hear anyone anyway, however, probably an occurrence too regular were that the desired effect.

photo credit Kirsten McTernan

 

 

 

The use of lighting from Ryan Stafford is understated. Often going unnoticed until you try to see it, the lighting adds to the overall piece well. A tough play for lighting, as the stage is the entire room, Stafford manages to keep it effective without distracting. Even when there are flashing lights, you barely notice it because the music, direction and acting are all working together with the lighting to set the scene.

Perhaps this is the biggest compliment to Cardiff Boy and Red Oak Theatre as a wider company. A company that views the roles of the designers as importantly as the director, writer or actor. Something that is weirdly rare when you consider how well it has worked in Cardiff Boy and how vital these professions are to the theatre industry.

It’s good also to see that with this in mind, Red Oak are committed and passionate about developing young artists with a paid assistant director (Nerida Bradley) and assistant designer (Lauren Dix). A company no doubt restricted by a budget won’t always do this, so it’s nice to see Red Oak committing to young artists in this way.

Along with this, it is heartening for a piece that started at a scratch night, to grow into such a strong piece of theatre. Again showing Red Oak’s commitment to new work and new artists.

Overall, Cardiff Boy is a wonderful production. It’s hard to say anything stands out in this production as everything works so well together to achieve its aim. However, April Dalton’s design, assisted by Lauren Dix, is phenomenal and deserves recognition.

The play’s greatest strength is the team behind it because with another team, and another company, Jones’ emotive script could be easily forgotten.

Cardiff Boy by Kevin Jones
Presented by Red Oak Theatre
Running From: 30 October – 11 November 2018
Performed at The Other Room, Cardiff
Director: Matthew Holmquist
Cast: Jack Hammett
Designer: April Dalton
Lighting Designer: Ryan Stafford
Stage Manager: Joshua Bowles
Sound Designer: Joshua Bowles
Producer: Ceriann Williams
Assistant Director: Nerida Bradley
Assistant Designer: Lauren Dix

Review: ‘Misfire’ from Old Sole Theatre by Gareth Ford-Elliott

4 out of 5 stars (4 / 5)

Misfire from Old Sole Theatre Company is relevant and shows real promise to be an excellent piece of theatre.

In the interest of clarity, I’ll start this review by saying I am good friends with the director Nerida Bradley, despite what she may tell you. That said, I believe in constructive, critical response and it is what I would want as an artist myself. You can either believe me or not.

I will also be reviewing this piece based on it being an R&D production and part of the Fringe Lab at the Cardiff Fringe Theatre Festival. So, the star rating is given on the basis it is R&D and the review is also acting as feedback.

This piece is here to further the discussion of the main theme of the play, toxic masculinity. It also takes inspiration from the exposé of the #MeToo Movement, exposing the likes of Harvey Weinstein.

The play is a monologue set up as anti-stand-up comedy. A stand-up comedy show that goes wrong if you will. We immediately get a sense of the character’s obnoxious nature during his entrance. Jon Parry plays Jake, a stand-up comic, who enters, demanding a drink at the bar. Unsuccessful, he goes to the stage and waits for the music, ‘The Entertainer’  by Tony Clarke, to stop.

Jake then proceeds to make some terrible jokes. “Next joke… Carrie Fisher died… Princess Leia’s gone.” This just isn’t funny – but the distasteful pleasure of the joke shows us a glimpse of this characters mindset and the dry delivery from Parry enforces this well.

The great thing about this play is, from the start of the play you really have no idea what is going to happen. You have no idea what Jake is going to do.

Jon Parry does a good job of portraying the stand-up comedian, who is drunk and stoned. The highlight of the performance comes when Jake has a gun in his mouth and tells the story of a congressman, Budd Dwyer, who shot himself in the head on camera. In this we also have a double-entendre of speaking about dying. The comic doesn’t reveal whether this is dying on stage as a comedian or literally dying. But to the relief of anyone who doesn’t like death endings, like me, he doesn’t kill himself, literally. And he dies on stage at the start of the play.

The writer James Neale does a good job of covering the subject on the scale of your average guy. However, the piece often lacks vision and ambition. The feeling that the stand-up comic could do anything is good, but needs to be met with sufficient vision and structure. It also feels like the boundaries could be pushed much more. In the post-show Q&A it was clear from a few of the audience members, that the script needs work in this sense.

Structurally, the script gets going into the theme very quickly, but then dies out a little. Not completely, but the most explicit stuff comes at the start. The piece doesn’t build particularly well. We need to be building to something. This is what the piece lacks more than anything. We don’t need to know where we’re going, but need to be taken on a journey.

The language used is good and we get a really good sense of the character. There are parts of the script which are very well written. But when you’re talking about toxic masculinity, it needs to push more.

The direction for this piece is good. Jon and Nerida worked well together to portray James’ script. The messy moving around the venue – AJ’s Coffee House – works well as it feels naturalistic.

We could see a more sinister approach at times, particularly when Jake talks about stalking girls and choking his girlfriend during sex. The relaxed nature works in that it shows these things as normal to the character. But the tone is often quite relaxed and with this, these significant moments only stand out in text and not in the performance. The tone and pace of these things could be played with.

Overall, I’ve given the play a star rating of four as I feel with a bit of work, when it gets to a place where it is ready to go on stage fully, it will be a very strong show. It was certainly a strong R&D performance and exactly what the Cardiff Fringe Lab is about.

The post-show Q&A was an interesting discussion – but it definitely became clear that there is more vision and potential not being explored in the text and in the rehearsal room to come from this play.

Also, very quick note. It’s really nice to see shows that are BSL interpreted – but sometimes this can’t be arranged for whatever reason. It was nice to see an apology for this on the freesheet. The more we can normalise BSL interpretation, even if we aren’t using it, the better.

Tonight, June 12th at 7.45pm, you GET THE CHANCE to see this production again. Tickets are available here.

Misfire – Presented by Old Sole Theatre Company and Cardiff Fringe Theatre Festival.
AJ’s Coffee House – June 11-12, 2018.
Written by James Neale.
Directed by Nerida Bradley.
Starring Jon Parry as Jake.
Poster art by Miles Rozel Brayford.
Running time: 30 mins approx with 30 min Q&A about the play and toxic masculinity following.

Review by Gareth Ford-Elliott