Tag Archives: yasmin williams

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: Cheer at The Other Room by Gareth Ford-Elliott

4 out of 5 stars (4 / 5)

Cheer by Kitty Hughes is a dystopian, anti-panto where Christmas is controlled by the elite and briefly experienced by the poor through the Christmas drug, ‘cheer’.

We follow Jules (Alice Downing) on a journey of exploring her own morality. Jules sells illegal Christmas licenses, seeing herself as a Robin Hood figure, but operating more like Sports Direct, TK Maxx or one of those Gucci knock-off labels. Offering cheap alternatives to allow the poor to join in on the rich people’s rampant consumerism. Enabling and in essence supporting the elite.

When Todd (Cory Tucker) enters, Jules is forced to recognise her hypocrisy as someone who understands the oppressive system, but merely profiteers off the desires of the poor.

 

One thing Kitty Hughes does well in the script, is neither character is particularly likeable. Jules is clearly exploitative and, despite being relatable in many ways, flawed. We would all like to say, “I’m not like that,” but ultimately if you can afford Christmas, you undoubtedly will relate in some way to her moral conundrum.

One main criticism has to come with Todd’s character. He doesn’t really have a story and is more of an event in Jules’ story. A statement in itself. But one that is potentially problematic. He goes in wanting one thing and comes out with it and despite recognising the over-consumption and greed of it all, he still wants to participate. And that is his position going in. He doesn’t learn a lot and really, at its heart this is a story about the moral dilemma of left-wing, middle class person. A conversation urgently needed in theatre, so good that it’s being had here. But perhaps a stronger working-class character, with more of a story would make this production more powerful.

It’s a play that explicitly talks about class, in a way that really isn’t very dystopian at all. Some people can’t afford Christmas, this is simply a reality. But also, it’s a script you can interpret in various ways. General classism, how the “first” world treats the “third” world in terms of aid, or even migration. The play feels a lot more real than a lot of dystopian pieces that speak in metaphor or allegory. This is more literal and stronger for it.

The script certainly gets a little lost in repeating itself. It seems to drag and with less of the playful style Big Loop usually adopt, 85-minutes does seem too long to tell this story. Especially as it feels as though you could pack this into an hour very easily. That said, the scenes themselves are well written, and you don’t get bored. But in terms of a script, it could be planned and plotted better.

Not Duncan Hallis’ most playful piece of direction, he shows that he can handle a heavy piece without compromising his style too much.

Perhaps one of the main downfalls of this production is, it sometimes feels like we’re split between Hallis’ imagination and Hughes’ political conscience. Sometimes it gets a little cluttered and the drama gets lost.

However, this conflict of style isn’t always a negative. The direction sometimes distracts from the deeply political text in a way that makes the message sink deeper. For example, when the two characters are arguing about their backgrounds, an exchange that is packed with political language, it’s a complete mess.

But a mess in a good way. It seems real. There’s a lot of frustration in this argument and the two characters are not exactly in the mindset in that moment to string together coherent political points. It comes from the character’s heart in a way that we don’t really see elsewhere, particularly from Todd, in the production. And so despite the political language, the manic actions and energy make it seem as if they’re just shouting and rambling, despite making thought-out political points. There’s a complete contradiction between what we see and hear that works really well.

The combination of styles is really good and a writer-director team I’d like to see more of. It just would have been nice to see some more weird, wacky or surreal moments from Hallis’ mind at times.

Alice Downing shows a lot of depth in her complex character. She exploits a brilliant use of facial expressions and body language to portray her character’s inner emotions.

Cory Tucker doesn’t have the same amount of character depth to play with, but does a good job of depicting what is there for his character. In particular, Tucker’s attention to detail in certain moments, the first time he tries gingerbread or the first time we see him on ‘cheer’, stand out. Considering there’s not much depth to his character, Tucker does a good job of letting us know the important moments for Todd.

The set design from Ceci Calf is really nice. The classic bookshelf/cupboard the best bit, but it’s just generally a nicely decorated set. The lighting design by Garrin Clarke compliments the production well. Lights changing and flashing when characters are on ‘cheer’ and a projection of a crazy Father Christmas onto the set in particular stand out.

The sound design from Matthew Holmquist shows a great use of music in particular. A bit of a throwback to earlier in the year when Cardiff Boy, which Holmquist directed, took over The Other Room. Again we see the influence of Holmquist’s mix of music to emphasise what’s happening on stage.

Generally, the productions is enjoyable and funny, as well as deeply political and thought provoking. A protagonist with a clear moral dilemma that isn’t solved by the end is left at a satisfactory conclusion encouraging the audience to discuss further after the show. And isn’t that exactly what theatre should be about?

Cheer is a bleak outlook on the world and Christmas, but has messages and themes that really should be spoken about further than just in the theatre. It’s a brave production that won’t fail to get a reaction from anyone.

Cheer at The Other Room.
Running November 27th – December 15th
Produced by Big Loop Theatre Company
Written by Kitty Hughes
Directed by Duncan Hallis
Starring:
Alice Downing as Jules
Cory Tucker as Todd
Creative Producer: George Soave
Designer: Ceci Calf
Lighting Designer: Garrin Clarke
Sound Designer/Composer: Matthew Holmquist
Stage Manager: Kitty Hughes
Assistant Producer: Yasmin Williams
Assistant Director: Alanna Iddon
Arts Placement: Natasha Grabauskas
Set Construction: Jack Calf
Promo from Sean Cox Design
Photography from Tess Seymour Photography