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Theatre

Review The Penis Apology, Anker Sengupta by Rhys Payne.

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out of 5 stars (4 / 5)

There is nothing I love more on a lazy weekend than wrapping myself up in a cosy blanket and watching re-runs of the mockumentary sitcom The Office. If you haven’t heard of this show before it’s set in a fictional paper distribution company Dundee Mifflin which is run by an incompetent boss. I know that this is going to start a debate but, despite Rocky Gervais’ comedy, I do much prefer the American version of the show which stars Steve Carrell. The reason I bring this up is that many fans of this show will be slightly confused and excited by the title of the latest play I have watched. Within this fictional show, a character simply referred to as Andy (played by the wonderfully talented Ed Helms) jokes about writing a companion to the controversial “Vagina Monologues”, which is a series of stories of real experiences of women, which he would title “The Penis apology.” This comment comes after this character stating that he had experienced numerous women’s studies classes while at college but still expressing his frustration at the modern feminism movement. While the play of the same title is not a parody or extension of this character’s creation (it’s not a play set in a similar time frame or location as the office) it is based on a very similar experience and/or frustration.

The play is created by Anker Sengupta who also stars in this one-man production. Performing in a one-person production must be incredibly difficult as the actor is solely responsible for keeping the audience’s attention throughout. This is even more impressive as Anker was able to keep a hold of the viewers throughout the whole hour show with no use of props/theatrics and very little movement which goes to show the acting ability that he possesses! This production was performed at Cathays Community Centre (which is not a venue I have been to before) which is a very cosy and intimate theatre experience. The smaller audience allowed Anker to be able to give direct eye contact to every person in the audience which further engaged them into the centre of the story. He was able to perfectly balance the opening moments of the show where the arrogant narrator expresses all his controversial options/frustrations with modern feminism with the closing moments of the show where we see a much more vulnerable side of the character. This contrasting book-ended structure helps the audience to get to understand the character and despite only knowing them for a short hour, you leave feeling as if they have been a close friend for many years!

The show starts with our character brainstorming how he is going to explain to his girlfriend that he had ran over her cat and follows their stream of consciousness in a meandering monologue that explores some of his viewpoints on modern issues. The narrative circles back at key points veers randomly and include a range of emotion that mimics the way in which people tell stories in real life which alongside the eye contact and content of the monologues allowed the audience to warm to our character despite their very controversial viewpoints. The end of the show is much more emotionally driven and powerful as we explore our guides childhood and some of the traumatic events that led to this more negative stance of life. Anker was able to flawlessly switch from the arrogant and confident aspects of the character to this more vulnerable perspective that had me very close to tears. I would say that “The Penis Apology” is a show for a more mature audience due to the apparent issues with feminism that may go over younger viewers heads. Additionally, there is strong language throughout with references to violence, alcohol and many other controversial modern issues that would not be suitable for young people. I also think that this show could have used some sort of cue to mark the beginning and the end of the performance. Whether that is a spotlight, a section of music, an action etc that would demonstrate to the audience that the show had begun/ended they seemed to blend into each other which some audience members may find confusing.

Overall, The Penis Apologies is an excellent portrayal of the ‘modern mans’ issue with feminism who, despite how controversial his viewpoints are, we get to understand and develop a fondness for as the play progress. It is very impressive that Anker is able to keep the audience’s attention sharply on him during this one-man show without the use of any props, staging etc and the structure of the monologue has been carefully crafted to showcase a believable character.  I would rate this show 4 out of 5 stars!

Theatre

Rhyddhad Mawr i Theatrau Cymru wrth i Gyfyngiadau Covid Gael Eu Codi ond bydd £10m o Golledion yn sgil Cau Dros y Nadolig yn Amharu ar yr Adferiad.

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Newyddion i’w croesawu yw cyhoeddiad diweddaraf Llywodraeth Cymru o ran dechrau codi cyfyngiadau cadw pellter cymdeithasol i sector y celfyddydau perfformio, ond mae adroddiad newydd gan Creu Cymru yn dogfennu cyflwr argyfyngus y diwydiant a achoswyd gan y cyfyngiadau Covid yn enwedig dros gyfnod y Nadolig sydd fel arfer mor brysur.

Mae Creu Cymru, gynghrair sector y celfyddydau perfformio yng Nghymru sy’n cefnogi ac yn cysylltu pobl, cynulleidfaoedd a chymunedau, wedi amcangyfrif mai cyfanswm y refeniw a gollwyd gan ei haelodau, sy’n cynrychioli bron holl theatrau, canolfannau celfyddydau a chwmnïau cynhyrchu’r genedl a reolir yn broffesiynol, yw £8-10 miliwn ers i Gymru fynd yn ôl i Lefel Rybudd 2 ar 26 Rhagfyr. Canlyniad gorfod dychwelyd i’r rheol o 6 gydag uchafswm o 200 yn y gynulleidfa oedd i’r rhan fwyaf o theatrau yng Nghymru ganslo perfformiadau neu gau’n gyfan gwbl gan nad oedd yn ariannol gynhaliol i barhau.

Mae Creu Cymru wedi bod yn lobïo Llywodraeth Cymru a Chyngor Celfyddydau Cymru ar ran ei aelodau am gymorth ariannol pellach ac i ailystyried yr angen am gadw pellter cymdeithasol mewn theatrau. Mae wedi bod yn eirioli dros y sector theatrau ers cyn i’r cyfyngiadau diweddar yma gael eu rhoi yn eu lle, gan gynnwys cyflwyno’r achos i Bwyllgor Diwylliant, Cyfathrebu, y Gymraeg, Chwaraeon a Chysylltiadau Rhyngwladol y Senedd fel rhan o’i ymholiad undydd i’r celfyddydau a’r diwydiannau creadigol. Tynnwyd sylw at bwysigrwydd derbyn cyllid yn gyflym yn dilyn unrhyw gyhoeddiadau ariannu.

Yn ôl Louise Miles-Payne, Cyfarwyddwr Creu Cymru, “Rydym yn cydnabod ymateb cyflym a chadarnhaol Llywodraeth Cymru i’n lobïo parhaus ers diwedd 2021 am gefnogaeth ariannol i sector y celfyddydau yng Nghymru. Roedden ni’n hynod falch o weld y Prif Weinidog yn cyhoeddi dyddiad terfyn posibl ar gyfer y cyfyngiadau ar theatrau a sectorau adloniant eraill heddiw. Ochr yn

ochr â’r newyddion ynghynt yr wythnos yma am Gronfa Adferiad Diwylliannol bellach o 15.4 miliwn, bydd hyn yn mynd ymhell i helpu sector y mae’r cyfyngiadau wedi effeithio arno’n enfawr.

Mae tymor y Nadolig yn gyfnod hollbwysig yn y calendar theatrig; mae’n denu incwm sydd ei ddirfawr angen ac yn dod â theuluoedd ynghyd. Ein hamcangyfrif oedd cyfanswm colledion o tua 8-10 miliwn i theatrau yng Nghymru yn y rownd ddiweddaraf yma o gyfyngiadau. Rydym yn ddiolchgar am yr ymgynghoriad y gallen ni ei gael â Gweinidogion a swyddogion Llywodraeth Cymru sydd wedi gwrando ar ein pryderon a’n cwestiynau.

Ar ran ein haelodau, rydym wedi pwysleisio’r angen am amser digonol i gynlluniau gael eu rhoi yn eu lle. Mae’r newyddion heddiw’n golygu bod y miloedd o gynhyrchwyr, actorion, cerddorion, canolfannau a staff cynorthwyol ar draws y diwydiant sydd wedi bod yn trafod yn bryderus a ddylent ailddechrau sesiynau ymarfer a’r marchnata cysylltiedig â chynyrchiadau sydd yn yr arfaeth ar gyfer mis Chwefror ymlaen, yn gallu symud rhagddynt gyda mwy o sicrwydd.”

Mae adroddiad Creu Cymru i Lywodraeth Cymru ar statws y sector yn nodi bod o leiaf 19 o theatrau’n gorfod canslo eu cynyrchiadau i’r Nadolig a pherfformiadau ar y gweill ym mis Ionawr.  

Mae Llywodraeth Cymru hefyd wedi cyhoeddi taliad brys o £1000 ar gyfer gweithwyr llawrydd sy’n gweithio yn y sector a fydd ar gael drwy awdurdodau lleol o’r wythnos nesaf, gyda’r manylion llawn yn cael eu cyhoeddi 17 Ionawr. Fe ymddengys y bydd lleoliadau perfformio a chanolfannau celfyddydau ac amgueddfeydd diwylliannol yn debygol o fodloni’r meini prawf ar gyfer y gronfa £15.4m gan eu bod yn gallu dangos yn haws y golled incwm a gafwyd. Fodd bynnag, hyd yn hyn, nid yw’n eglur sut y bydd cwmnïau cynhyrchu’n cael eu cefnogi os na all prosiectau arfaethedig fynd yn eu blaenau neu pa fathau o yswiriant a allai fod ar gael os bydd gwaith sydd wedi’i gomisiynu’n cael ei ganslo.

Theatre

Welsh Theatres Relieved As Covid Restrictions Lift But £10m Losses Resulting from Christmas Closures Will Hamper Recovery

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The latest Welsh Government announcement to begin lifting social distancing restrictions is welcome news for the performing arts sector, but a new report by Creu Cymru documents the crisis-status of the industry caused by the Covid restrictions particulary over the typically busy Christmas period.

Creu Cymru, Wales’ Performing arts sector alliance that champions and connects people, audiences and communities, has estimated that the total loss of income for its members, who represent virtually all the nation’s professionally run theatres, arts centres and producing companies, is between £8-10 million since Wales re-entered Alert Level 2 on the 26th December. Having to return to the rule of 6 with a maximum capacity of 200 resulted in most theatres in Wales cancelling performances or closing completely as it was not financially viable to operate.

Creu Cymru has been lobbying Welsh Government and Arts Council of Wales on behalf of its members for further funding support and to reconsider the need for social distancing in theatres.  It has been advocating for the theatre sector since before these recent restrictions were put into place, including presenting the case before the Senedds Culture, Communications, Welsh Language, Sport and International Relations Committee as part of its one-day inquiry into arts and the creative industries.

The importance of getting funds turned around quickly following any funding announcements was highlighted Louise Miles-Payne, Director, Creu Cymru said “We recognise the swift and positive response by the Welsh Government to our continued lobbying since the end of 2021 for financial support for the Welsh arts sector. We were extremely pleased to see the First Minister announce a potential end date to the restrictions on theatres and other entertainment sectors today.  Alongside the news earlier this week of a further 15.4 million Cultural Recovery Fund, this will go a long way to help a sector hugely affected by restrictions. The Christmas season is an incredibly important part of the theatrical calendar, it brings in much needed income and brings families together.  We

estimated total losses of around 8-10 million for theatres in Wales in this latest round of restrictions.  We are grateful for the consultation we’ve been able to have with Welsh Government Ministers and Officials who have listened to our concerns and questions.

On behalf of our members, we have stressed the need for sufficient time for plans to be put into place. Today’s news means that the thousands of producers, actors, musicians, venues and supporting staff across the industry who have been anxiously debating whether to begin

rehearsals and the subsequent marketing of productions planned from February onwards, can now proceed with greater assurances.”.

Creu Cymru’s report for the Welsh Government on the status of the sector documents that at least 19 theatres had to cancel their Christmas productions and performances scheduled in January..

The Welsh Government also has announced a £1000 emergency payment for freelancers working in the sector which will be made available through local authorities from next week with full details announced on January 17. Venues and cultural arts centres and museums look likely to meet the eligibility criteria for the £15.4m fund as they can more easily demonstrate the loss of income they have suffered. However, it is as yet unclear how producing companies will be supported if planned projects cannot go ahead or what insurances could be available if cancellations come after the work has been commissioned.

Dance

REVIEW, MIST, FILM BROADCAST, NEDERLANDS DANS THEATER BY JAMES ELLIS

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Photo Credit: Rahi Rezvani

out of 5 stars (5 / 5)

It’s a new year with new beginnings. Whilst we haven’t quite licked the pandemic just yet, it seems that streaming and how we view things will remain this way for a little longer. Let’s continue to be patient.

Dance is an acquired taste and my pallet is hungry for more. Across the North Sea, a new work of filmed dance has stunned this critic. Dancers lie on the stage as smoke drifts around them, a transgressive sight and truly one of our time. This just might be one of the finest moments of theatre I will see this year. Damien Jalet might be evoking the mood of theatre practitioner Grotowski with dancers who rarely rise to their feet, here languishing in smoky evocations. Every movement is graceful, yet feels like a mighty effort. We are forever with them in these vividly detailed moments.

https://youtu.be/YKe8oSDxK20

This majestic, haunting sight harks to the natural features of The Netherlands, how wind and fog embellish the lowlands. Other moments felt these dancers were flung into a tornado, these bodies wading through the air. They glide around as if almost in water, poetry in slow motion feels the right descriptor. Most amazing of all, the film has no alterations in speed, these artists are moving that obtusely. I didn’t want to feel like the imagery could evoke the Holocaust, though this was hard to get out of my head. Even anime Attack on Titan came to mind, seeing these figures sprawled out and steaming at the same time.

With concept and sets by Kohei Nawa, him and Janet seem to make magic on stage with past work also eye-bulging sights. The sublime soundscape of Christian Fennes is the perfect addition to this already heightened contact. We hear foghorns, gentle and minimal looping, along with some soaring ambience. The music is worthy of it’s own release, I dare say. Shadow and projection conclude the hour long piece, with some stimulating execution with a darkly phased gleam.

In an interview seen after, Jalet, speaks of the influence of Shinto and The Tibetan Book of the Dead. The afterlife or even the other-world feels true to this performance, one which wont be forgotten in a hurry. He takes pride in the birds-eye-view shot of the dancers who appears to be gracing a river, the mist here awash, both exquisite and flowing. We can’t argue with him about that.

Book to stream Mist on Nederlands Dans Theater’s website, with screenings till 8 Jan 22.

Opera & classical

REVIEW, IOLANTA, ROYAL SWEDISH OPERA, YOUTUBE, BY JAMES ELLIS

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Photo Credit: Helena Lindroth

out of 5 stars (3 / 5)

Thank goodness for Opera Vision! Throughout lockdown their YouTube channel has screened a wide selection of international opera. This has been a well of resources at this time and I found myself drinking in its heady properties. It’s a well curated pick ‘n’ mix of treats, something for all tastes.

Iolanta, Tchaikovsky’s last opera (and a slight one at that), is now seen again in the Swedish capital since 1893, the year after its premier in St. Petersburg. One can understand the reasons why, but debate over Russian opera is the subject of a bigger discussion.

https://youtu.be/21KRHLp5Tio

In this new production, Director Sergey Novikov is trying to tackle themes of an internet culture, with variable success. The greenery of Provence seeps through the truth and lies of this internet generation themed production. Characters taking a selfie and the use of phones does not add to the mood of the story nor enhance the production, mostly set in Aleksandr Vysotskaya’s plush, gothic garden. Watching online, you pick up on a clunky feel with some of the scenes, especially with the use of the chorus members, who excel in their roles but not in their blocking.

Video work by Dmitrij Ivanchenko represents both security cameras and a giant phone. The typical shots of a lingering set of eyes feel apt to the themes of the story and more of this could have emboldened the atmosphere. The formal, monochromatic costumes of Mariya Vysotskaya feel like they have some historical weight, although without a defined period. Let’s not forget the sun-kissed youths who seem to be off to the beach, for some reason.

You can feel the rugged energy emanating from conductor John Fiore, although the cameras recording the production are rarely on him. The Royal Swedish Orchestra kept up gracefully with the dynamics of the story, rich in lush double harp and sincere, reedy woodwind. For me, there is no real standout moment from the opera, even if two arias and a duet can be considered as highlights.

Some problematic elements still linger concerning staging this opera. The lead role is a blind character and thus debate concerning who should be playing her. The “blind acting” of Olga Shcheglova might be considered dated by many, although her portrayal of the title character is one of the most appealing aspects of the production. Locked away, kept from knowing how her blindness debilitates her, Shcheglova plays Iolanta with a naïvety and fragility. It’s everything you’d want the part to be. Like many opera heroines, so many decisions are made for her, without any consent.

Perhaps the most shocking moment came with the arrival of the Muslim doctor Ibn-Hakia, a “brown-faced” Dmitry Yankovsky. Taking on board the Continent’s polarised stance of “black-face”, this still is a jarring sight. Despite this, I would say Yankovsky sings with a fiery, harsh intensity for this vital role (he somehow cures Iolanta, so she can finally see).

King René is played by Stanislav Shvets, who plays the intimidation card well. The command in his voice is what makes such Russian singing so mesmerising. He is not on stage enough. Robert, Duke of Burgundy is not an essential character, his role only to be there as an arranged groom for our leading lady, in an agreement made years past. Yet, in the role, Konstantin Brzhinskiy seems to enjoy time on stage with bravado, impressive in tone and feeling. Nursemaid Martha from Klementina Savnik is deeply perfumed and a fascinating, brief sound to hear of which I wanted more.

However, the show belongs to a masterful Igor Morozov as Iolanta’s “saviour”, from Greve Vaudémont. Not only does he get the princess, but our praises. The intense moments in the fourth and final scene, where you assume tragedy will strike, standout.

The streaming of the production was not without fault. The English subtitles occasionally did not indicate that two people were singing simultaneously. Although we have these videos online for a few months, perhaps a whole year would be invaluable. It’s what we all need at this time.

Watch Iolanata on Opera Vision, available until 15th April 2022. Subtitles available in English, Swedish and German.

Art, Literature

REVIEW STEPHEN SHORE: AMERICAN SURFACES BY JAMES ELLIS

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Photo credit: STEPHEN SHORE/303 GALLERY NEW YORK

out of 5 stars (4 / 5)

I’ve often wondered what defines the United States. Is it the polarising politics? The proud, hammering patriotism?The melting pot of cultures and lifestyles? Within this reassurance of nostalgia hyped up by popular culture, one book returns from the past with a subtle yet brilliant impact.

Though met with puzzlement when first published, Stephen Shore’s American Surfaces is a very telling piece of its time. Having traveled in 1972 from New York to Texas and back, Shore inhales everything around him. No sight is too banal or sordid and we get these really telling moments from a bygone era. A “palette of the age” seems to capture what I’m trying to say here. All images appear to utilise flash, all are in landscape and their breadth remains impressive.

We see meals, buildings, portraits and everything in-between. Though the shots of food make us think of today’s influencers, he seems to capture houses and other buildings rather well. The pop art feel comes in with the many photos of adverts, stands and sign posts throughout his American journey. Though only 24 at the time, his eye for a real cracking image is proven here and would herald a fine career in photography.

You can see Andy Warhol and his numerous polaroids soon to create similar sights, though on a much more intimate scale. An interesting feature here is the ominous shadow which lingers over models for their portraits, due to the intensity of the flash. This is undoubtedly the most 70s thing you will ever see…the fashion, design, cars and advertisements are all its testament. This is very much my parents era, yet I still have a pang for this yesteryear.
There truly is a real joy in these haunting, candid shots.

Although this revised and expanded edition is sold out, we can only hope more copies come out soon.

Price: £49.95 Published by Phaidon.

K

Film & TV, Music

REVIEW, STUDIO KILLERS: 404 PILOT, YOUTUBE, BY JAMES ELLIS

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FILM & TV

DECEMBER 18TH, 2021 JAMES ELLIS

out of 5 stars (3 / 5)

Truly a group who have gone under the radar, Studio Killers have made some banger club tracks and also embraced some of the mystery surrounding them. Cherry, their lead “singer” is loud and proud, unashamedly herself. Watching this figure in songs like Ode to the Bouncer and Eros & Apollo, you can only fall in love this this outrageous CGI heroine, who seems to get herself in all sorts of trouble. In short, she’s your toxic friend with a heart.

With this cult success under their belt, a Kickstarter raising nearly £130,000 went towards an animated pilot, now finally for all adult eyes to watch. The name 404 is a wink to the error number which infuriates anyone unsuccessfully attempting to get on a website. The premise seems to be that the band are stuck in an internet realm which rules supreme. This is a world where people can be banished by the algorithm and hearts sent to people powers up their strength. Basically just real life, with more advanced technology. This pilot packs a lot into its mere 11 minutes and some things are missed upon the first watch. Some inside jokes about bands having a break and some meta humour help flavour the already multi-coloured pot. I’d like to think this group are well aware that they might not be getting the recognition they truly deserve.

The script is not as funny as it’s trying to be, some of the line delivery and quips don’t quite hit the mark. Many jokes about feminism and toxic masculinity have been done much better in the past, as the characters are thrust into Planet Jeff in the Reddit System (groan). One joke about their missing manager called Bi-Polar Bear harks back to an old internet cartoon called Queer Duck with a character bearing the same name. You get the vibe of Adventure Time, The Yellow Submarine, Daria and a touch of Sci-Fi to boot. Their are multiple cliches, though I find the animation endearing, with its minimal, stylistic lines. Some of the mouth flaps for the characters are not in sync either. That will need work.

There are some highlights. Cherry prepping for her Style Battle is a brief moment of dazzling fashion and visuals. Pornica, a fine villain to the plot, is a giant gas mask wearing dominatrix with hair that seems to waft like fumes. Grey Griffin is always swell in everything she’s in and here saves a lot of the other inconsistencies. Her design is my favourite part of the show and I hope she isn’t just a one demential baddie. Though Cherry’s voice has been drastically changed (it was originally an English accent and believed to be voiced by a man) though Hayley Marie Norman does a fine job, some delivery particularly well executed. Also voicing Cherry’s love interest Jenny (how could we forget her from her own song?) is hopefully not just a lone POC for the series, some nice lines here and there and hopefully more chemistry will develop between them both. Thankfully, the anthropomorphic animals (Goldie Foxx and Dyna Mink to name a few) in the group still keep their English accents, with varying degrees of effectiveness.

For a pilot it is a fine effort but its flaws need seeing to. Of course, I’m here for the journey and I look forward to watching more.

Watch on YouTube now. For mature audiences only.

Reviewed by James Ellis

Theatre

Review Black Box’s Murder Under the Mistletoe at Theatr Clwyd by Donna Williams

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Black Box Events, set up by Denbigh born Mark Hughes, specialise in unique events and entertainment across North Wales. Since its creation in 2019, the company have provided a variety of successful events across a number of different venues in the region. Mark initially started hosting murder mystery events back in 2017 as fundraisers for varying causes and enjoyed it so much he decided to turn it into a part time job! All Black Box’s actors either have professional training or a wealth of experience in performing and this was certainly made clear throughout their latest production Murder Under the Mistletoe at Theatr Clwyd.

On entering the Clwyd Room at the venue, we are greeted with what looks like an office party set up; lots of tables boasting beautiful festive centrepieces, a makeshift bar (with a free glass of wine included on entry…I like this office party already!) and Christmas tunes playing through the speakers. There is even an office Santa making his rounds. The only giveaway that this is not your average office party is a notebook and pen atop the table for scribbling down clues and musings, and a QR code (how modern!) which, when scanned, takes us to a set of character profiles, giving us an insight into the characters we will be meeting this evening. And before we know it, those characters are in the room, chatting, not only amongst themselves but to us, transporting us to their office party and making us included in their company. That company being TechQ. The company director, Jackie, has seemingly thrown us all this party to celebrate such a successful year. Although we already start to get a glimpse that something is not quite right as the characters begin to bicker, throw looks at each other and, as is somewhat expected from a murder mystery evening, one goes and pops their clogs. And it just happens that Inspector Beckett is attending the party and so begins the fun! The inspector duly lines up the culprits ‘on stage’ and we start to learn a bit more about them. After this, it is our turn to interrogate and so ensues a hilarious back and forth between the inspector, the audience, and the characters, all of whom are portrayed brilliantly throughout and, even more impressively, the company improvise most of the piece. As the audience interaction heightens it is wonderful to look around the room and see audience members get so involved: writing in their notebooks, chatting to their friends and family about who they think’s ‘dunnit’ and even turning to guests on other tables and comparing clues! Towards the end, the audience must put on their ‘Sherlock’ heads and decide who they think did it! There is even a prize for the correct guess!

Despite it being ‘murder most horrid,’ this truly was a festive evening; we were even treated to a few Christmas numbers by the boss’ PA as well as her son! All music, sound, props etc. were organised by the cast super slickly and each character had their own clear aesthetic and personality; often stereotyped but not too over the top. There was plenty of dark drama from Jackie and her family, perfectly balanced by some wonderful comedy moments from Jackie’s PA, Josie…and Edward’s wig! The action was not without excitement but there were also a few interludes where the characters left the ‘stage’ and the audience were able to take toilet breaks, purchase another drink and/or discuss the goings on at TechQ! The company even stayed behind at the end of the performance to talk to the audience and take photos with them-a lovely gesture.

Black Box can cater for a wide variety of events including weddings, parties, corporate or even nights in with friends! They can hire out singing waiters, flash mob choirs and even a cinema screen/projector; bringing the magic of the movies into your home (something which went down a storm over lockdown!) And in 2022, Black Box will be hosting their murder mysteries all over North Wales so make sure to keep an eye on their social media channels for ticket info!

You can find them on Facebook and Instagram (just search for Black Box Events North Wales), or you can give Mark a call on 07748 747209 to start organising your personalised event!

Theatr Clwyd, Mold

December 11th, 2021

Writer: Mark Hughes

Director: Mark Hughes

Cast:

Inspector Beckett: Mike Teeson

Jackie Guzzel: Karen Campbell

Sophie Guzzel: Sei Watkins

Ben Guzzel: Mark Hughes

Edward Bamford: Shea Farron

Donna Jarvis: Norma Davies

Josie Davies: Sarah Leanne Davies

Dance

Artists confirmed for Tŷ Cerdd and National Dance Company Wales collaborative short film series

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National Dance Company Wales and Tŷ Cerdd will make five short films working with music creators and dance artists based or working in Wales, in a series called Plethu: affricerdd.

Tŷ Cerdd have commissioned five music-creators of African descent living and working in Wales as part of a collaboration with the Sub-Sahara Advisory Panel. The films are a part of affricerdd, a strand of Tapestri, which is a new initiative (funded by Arts Council of Wales’s Connect & Flourish programme) to create a living musical archive of the people, languages and communities of Wales.

National Dance Company Wales have commissioned five dance artists from any discipline to work in collaboration with these five music-creators to make original short films or music videos. There have been 15 Plethu/Weave films to date which can be watched for free on digital hub on the NDCWales website.

The films will be released between January and July 2022. Follow @ndcwales and @TyCerdd_org for release dates. The five Plethu: affricerdd partnerships are:

Idrissa Camara and Eric Martin Kamosi
Music-creator Eric Martin Kamosi is a guitarist and electronic musician, who creates folk, rock, concrete, electronic and minimal music using a variety of instruments, field recordings and electronic sounds.  Idrissa trained from a young age with the renowned Ballet Bassikolo du Guinee. He has been principal choreographer with many leading dance companies in Guinea and Senegal and pioneered the teaching of dance to the hearing impaired at the Visual Theatre Company of the National Association of Sports and Culture for the Deaf.

June Campbell Davies and Seun Babatola (A.K.A Mista B)
A.K.A Mista B is a musician, lyricist and socially conscious rapper.  His musical tastes vary from break-beat to metal to trip-hop, and he believes, at heart, that genre is simply a veneer. June is a Cardiff based dancer, choreographer and carnival artist. June has also worked collaboratively as a singer and sound artist on a number of albums as well as being a consultant & facilitator with Butetown Carnival.

Kitsch n Sync and E11ICE
E11ICE is the alter-ego of Cornwall-born Cardiff based multi-genre singer and rapper Thalia Ellice Richardson. Melding thoughtful melodies with conscious lyrics on powerful flows E11ICE’s music reflects her journey through each day making the ordinary extraordinary. Taking inspiration from all things retro, vintage and wonderfully absurd, Kitsch & Sync Collective is immediately recognisable by their innovative brand of curiously quirky dance theatre.

Rosanna Carless and Sizwe Chitiyo
Born in Harare, Zimbabwe, Sizwe ‘SZWÉ’ Chitiyo is a 23-year-old singer, rapper and songwriter based in South Wales. After starting his music career professionally 4 years ago, Sizwe played acoustic sets around Wales before venturing into electronic production 3 years ago. Rosanna grew up in Aberystwyth before moving to Bristol and eventually London, where she fell in love with street dance and breakin’.
After joining a number of street dance crews, Rosanna battled as a solo B-girl at events and conventions, winning third place in ‘London’s best street dance crew’. Rosanna has since worked with companies such as HSBC and Sony as well as with musical artists such as Giggs, STylo G and Wiley.

Gundija Zandersona and Jeferson Lobo
Brazilian-born Jefferson Lobo is a musician, composer, and producer living in Cardiff. His music is an invitation to a world of unpredictable sonic possibilities: sweet harmonies combined with soothing and witty melodies, form the basis for his musical cauldron with a pinch of jazz, orchestral, Latin, reggae, futuristic and world music. Gundija Zandersona is a Latvian performer, choreographer and an educator based in Wales, Cardiff. As an executive director of Kokoro Arts Ltd and an independent dance artist she works across a variety of genres including work for families and young audiences, spoken text and movement, physical theatre and contemporary dance.

A further two films made in collaboration with Literature Wales, that fuse poetry and dance, will join these five films made in partnership with Ty Cerdd to complete a third series of Plethu/Weave films produced by National Dance Company Wales.

Idrissa Camara
Born in Guinea Conakry in West Africa, Idrissa trained from a young age with the renowned Ballet Bassikolo du Guinee. He has been principal choreographer with many leading dance companies in Guinea and Senegal and pioneered the teaching of dance to the hearing impaired at the Visual Theatre Company of the National Association of Sports and Culture for the Deaf. In 2010 Idrissa, who is also a musician founded Wales’s only professional Black dance/music company, Ballet Nimba. His innovative ideas have taken the UK by storm and with his direction, Ballet Nimba has combined traditional dance roots with dynamic young performers and an original musical score. Idrissa has curated many successful productions throughout Wales and beyond.

Rosanna Carless
Rosanna grew up in Aberystwyth before moving to Bristol and eventually London, where she fell in love with street dance and breakin’. After joining a number of street dance crews, Rosanna battled as a solo B-girl at events and conventions, winning third place in ‘London’s best street dance crew’. Rosanna has since worked with companies such as HSBC and Sony as well as with musical artists such as Giggs, STylo G and Wiley. Rosanna returned to Wales to have her son, and studied to become a Bwy yoga teacher. Rosanna still teaches dance regularly, and has toured with educational and street dance performances, and worked on the Lead creative scheme projects as well as joining National Dance Company Wales as a Dance Ambassador.
@warriorprincessrosa

Gundija Zandersona
Gundija Zandersona is a Latvian performer, choreographer and an educator based in Wales, Cardiff.
As an executive director of Kokoro Arts Ltd and an independent dance artist she works across a variety of genres including work for families and young audiences, spoken text and movement, physical theatre and contemporary dance. Trained in Latvia, Denmark and the UK, she has been working internationally for the last 6 years creating and reviewing performance works.

Sizwe Chivito
Born in Harare, Zimbabwe, Sizwe ‘SZWÉ’ Chitiyo is a 23 year old singer, rapper and songwriter based in South Wales. After starting his music career professionally 4 years ago, Sizwe played acoustic sets around South Wales before venturing into electronic production 3 years ago. Having achieved Spotify Playlisting, National Radio Play and a new Project Manager role for Beacons Cymru, his goal now is to build a hub for Urban Music to thrive in Wales and produce a new wave of sound.

Jeferson Lobo
Musician, composer, and producer Cardiff-based Brazilian-born Jefferson Lobo has been working on his compositions and arrangements for the last couple of years and will be releasing music from his catalogue throughout the year. Jefferson’s compositions are an invitation to a world of unpredictably sonic possibilities, hauntingly sweet harmonies combined with soothing and (at times) witty melodies, form the basis for his musical cauldron which included styles such as jazz, orchestral, Latin, reggae, futuristic, and world music. He has worked with August 012 (theater company), on BBC radio productions, has written, scored, and arranged music for the Butetwon Carnival 2020 and 2021 with special highlights to his transatlantic piece called ” Zamba ” commissioned by BACA

Seun Babatola
A.K.A Mista B is a musician, lyricist and socially conscious rapper.  Born in Nigeria, he spent the first few years of life in Cardiff, then lived in Ibadan (Nigeria), London and Birmingham, before returning to Wales. His musical tastes vary from break-beat to metal to trip-hop, and he believes, at heart, that genre is simply a veneer. Real music will reach out, regardless of the style.  Perfection in substance, not presentation.

Eric Martin Kamosi
Eric Martin Kamosi is a guitarist, electronic musician and composer who creates folk, rock, concrete, electronic and minimal music using a variety of instruments, field recordings and electronic sounds. He has written and performed for professional dance and physical theatre and created music installations, sound design, algorithmic compositions and music for live instruments as part of a BA (Hons) ‘Creative Sound and Music’ degree from the University of South Wales and a Master’s degree in ‘Digital Composition and Performance’. Having taken part in a media composition traineeship and created music for screen and live theatre, Eric continues to be interested in working with artists from a wide range of disciplines.

June Campbell-Davies
June is a Cardiff Based Dancer, Choreographer and Carnival Artist. She trained at the Laban Centre for Movement & Dance in London before working with Moving Being Mixed Media Theatre Company, Dance Wales, Cwmni Dawns Gwylan, Welsh Independent Dance and Cwmni Whare Teg. June then taught at Royal Welsh College of Music & Drama, Cardiff Metropolitan University and for Rubicon Dance, where she taught for their community, arts and health and education strands. June has also worked collaboratively as a singer and sound artist on a number of albums as well as being a consultant & facilitator with Butetown Carnival and has worked on several community projects involving dance in schools, documentary videos and at Hospitals.

June continues to perform, for Striking Attitude Dance Company for senior performers and works with Oasis One World Choir leading movement sessions with Refugee & Asylum Seekers. In May 2021 June was selected for an R & D commission to create a site specific body of work for Artes Mundi 9.

Kitsch & Sync
Taking inspiration from all things retro, vintage and wonderfully absurd, Kitsch & Sync Collective is immediately recognisable by their innovative brand of curiously quirky dance theatre. Taking fashions, fads and toe-tapping tunes, to create an infectious blend of highly visual choreography , colourful characters and a dressing-up box bursting with enough vintage clobber to make your gran proud! Kim Noble and Kylie Ann Smith fuse different dance genres, unusual props and a dash of audience interaction to bring you something truly unique. Kitsch & Sync was set up in 2011 and have built up a reputation for itself as one of Wales’s most exciting, original and eclectic companies. 

If you recognise the name, it may be because you have seen the trio perform at the award-winning Festival Number 6, Green Man Festival or at the Edinburgh Fringe. Perhaps you spotted them at The TATE Britain as part of the David Hockney exhibition, dancing in Goldie Lookin Chain’s music videos or Jarvis Cocker’s DJ set, or you may have seen their picture on the front of The Sunday Times and in the Guardian. You may have danced your socks off at one of the group’s popular electro-swing hop dance classes or at the Depot’s infamous Bingo Lingo nights! Their alter-egos, The Lampshade Ladies, also made a surprise appearance on BBC Two’s Have I Got News for You. This may even be your first venture into the curiously quirky world of Kitsch & Sync. Either way, you’re in for a treat.

 These ferocious females have a large repertoire of small scale outdoor shows, full length theatre and circus Shows and a plethora of walkabout characters that have been performed all over Wales, UK and now internationally. They have received funding from Arts Council Wales, National Theatre Wales, the Millennium Centre- Blysh Festival, Coreo Cymru, and commissions from Articulture and festivals such as The Big Splash, Wilderness, Kendall Calling, Appetite ‘The Homecoming’ – Circus 250 and toured with the Northern Touring Network, as well as various arts festival across the UK and beyond. Kitsch & Sync are also represented by a London agent- Contraband and have performed in clubs, warehouses, cafes and shop windows (amongst many other unusual spaces!).

E11ICE
E11ICE is the alter-ego of Cornwall born Cardiff based multi-genre singer and rapper Thalia Ellice Richardson. A core member of Cardiff based community initiative Ladies of Rage Cardiff E11ICE’s inimitable live performances have made her an integral feature of any Ladies of Rage live showcase. Melding thoughtful melodies with conscious lyrics E11ICE’s music reflects her journey through each day making the ordinary extraordinary. E11ICE’s live performances range from stripped back sets on the mic to full jazz band productions each time E11ICE steps to the stage she seeks to bring something fresh to her audience.

Dance

Artistiaid wedi’u cadarnhau ar gyfer cyfres ffilmiau byrion gydweithredol Tŷ Cerdd a Chwmni Dawns Cenedlaethol Cymru.

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Bydd Cwmni Dawns Cenedlaethol Cymru a Thŷ Cerdd yn gwneud pum ffilm fer gan gydweithio â chrewyr cerddoriaeth ac artistiaid dawns sy’n byw neu’n gweithio yng Nghymru, mewn cyfres o’r enw Plethu: affricerdd.

Mae Tŷ Cerdd wedi comisiynu pum crëwr cerddoriaeth o dras Affricanaidd sy’n byw ac yn gweithio yng Nghymru, fel rhan o fenter gydweithredol â Phanel Cynghori’r Is-Sahara. Mae’r ffilmiau’n rhan o affricerdd, un o geinciau Tapestri, menter newydd (a ariennir gan raglen Cysylltu a Ffynnu Cyngor Celfyddydau Cymru) i greu archif gerddorol fyw o bobl, ieithoedd a chymunedau Cymru.

Yn ôl Deborah Keyser, Cyfarwyddwr Tŷ Cerdd: “Gwefr arbennig i ni yw cydweithio â CDCCymru ar Plethu:affricerdd. Mae prosiect Plethu CDCC gyda Llenyddiaeth Cymru wedi bod yn gymaint o ysbrydoliaeth ac mae’r cyfle i greu partneriaeth newydd rhwng crewyr cerddoriaeth ac artistiaid dawns yn cynnig gorwelion artistig newydd bendigedig.  Pleser o’r mwyaf i ni yw cyhoeddi’r parau – mi wyddon ni’n ddi-os y bydd y canlyniadau’n plesio.”

Mae Cwmni Dawns Cenedlaethol Cymru wedi comisiynu’r pum artist dawns o unrhyw ddisgyblaeth i gydweithio â’r pum crëwr cerddoriaeth hyn i wneud ffilmiau byrion neu fideos cerddoriaeth gwreiddiol. Hyd yma cafwyd 15 o ffilmiau Plethu y gellir eu gwylio am ddim ar yr hyb digidol ar wefan CDCCymru.

 “Rydyn ni wrth ein boddau cydweithio â Thŷ Cerdd ar Plethu: affricerdd, esblygiad pellach yn y prosiect Plethu sydd erbyn hyn yn paru artistiaid dawns â chrewyr cerddoriaeth. Mae prosiectau â chydweithredu’n ganolog iddynt yn rhan o’m huchelgais a’m gweledigaeth i CDCCymru ac mi ydw i’n edrych ymlaen at weld canlyniad y partneriaethau hyn ar draws ffurfiau ar gelfyddyd yn y pum ffilm newydd.” Matthew Robinson, Cyfarwyddwr Artistig, CDCCymru.

Rhyddheir y ffilmiau rhwng mis Ionawr a mis Gorffennaf 2022. Dilynwch @ndcwales a @TyCerdd_org am y dyddiadau rhyddhau. Y pum partneriaeth Plethu: affricerdd yw:

Idrissa Camara ac Eric Martin Kamosi
Gitarydd a cherddor electronig yw’r crëwr cerddoriaeth Eric Martin Kamosi sy’n creu cerddoriaeth werin, roc, diriaethol, electronig a minimalaidd gan ddefnyddio amrywiaeth o offerynnau, recordiadau maes a synau electronig. Hyfforddodd Idrissa o oedran ifanc gyda’r enwog Fale Bassikolo du Guinee. Ef fu’r prif goreograffydd gyda llawer o gwmnïau dawns blaenllaw yng Ngini a Senegal ac yn arloeswr wrth ddysgu’r ddawns i’r rhai sydd â nam ar eu clyw yng Nghwmni Theatr Weledol y Gymdeithas Genedlaethol Chwaraeon a Diwylliant i’r Byddar.

June Campbell Davies a Seun Babatola (A.K.A Mista B)
Cerddor, awdur geiriau a rapiwr sy’n gymdeithasol effro yw A.K.A Mista B. Amrywiai ei chwaeth gerddorol o frêc-bît i fetel i drip-hop ac mae’n credu yn y bôn mai dim ond haenen sgleiniog yw genre. Dawnswraig, coreograffydd ac artist carnifal o Gaerdydd yw June. Mae hi hefyd wedi gweithio’n gydweithredol fel cantores ac artist sain ar sawl albwm yn ogystal â bod yn ymgynghorydd ac yn hwylusydd gyda Charnifal Butetown.

Kitsch n Sync ac E11ICE
Hunan arall yw E11ICE y gantores a rapwraig amlgenre a aned yng Nghernyw ac sy’n byw yng Nghaerdydd, Thalia Ellice Richardson. Yn cyfuno alawon a geiriau meddylgar ar lifau grymus, mae cerddoriaeth E11ICE yn adlewyrchu ei siwrnai drwy bob dydd gan wneud y cyffredin yn anghyffredin. Gan dynnu ysbrydoliaeth o bopeth sy’n retro, vintage a rhyfeddol o wirion, mae rhywun yn nabod menter gydweithredol Kitsch & Sync yn syth wrth eu brand arloesol o theatr ddawns hynod a difyr.

Rosanna Carless a Sizwe Chitiyo
Wedi’i eni yn Harare, Zimbabwe, canwr, rapiwr a chyfansoddwr caneuon 23 oed yw Sizwe ‘SZWÉ’ Chitiyo sy’n byw yn ne Cymru. Ar ôl dechrau ei yrfa gerddorol yn broffesiynol 4 blynedd yn ôl, byddai Sizwe yn chwarae setiau acwstig o gwmpas Cymru cyn mentro i gynhyrchu electronig 3 blynedd yn ôl. Maged Rosanna yn Aberystwyth cyn symud i Fryste ac, yn y pen draw, Lundain lle y syrthiodd mewn cariad â dawns y stryd a brêcin.
Ar ôl ymuno â sawl criw dawns y stryd, bu Rozanna yn brwydro fel B-girl unigol mewn digwyddiadau a chonfensiynau gan ennill y trydydd lle yn ‘Criw Dawns y Stryd Gorau Llundain’. Ers hynny mae Rosanna wedi gweithio gyda chwmnïau fel HSBC a Sony yn ogystal â chydag artistiaid cerddorol fel Giggs, STylo G a Wiley.

Gundija Zandersona a Jeferson Lobo
Wedi’i eni ym Mrasil, cerddor, cyfansoddwr a chynhyrchydd yw Jefferson Lobo sy’n byw yng Nghaerdydd. Gwahoddiad yw ei gerddoriaeth i fyd o bosibiliadau sonig anrhagweladwy: cytseiniau melys wedi’u cyfuno ag alawon llyfn a ffraeth sy’n ffurfio sylfaen ei bair cerddorol, gyda phinsiad o gerddoriaeth jazz, gerddorfaol, Ladin, reggae, ddyfodolaidd a cherddoriaeth fyd. Perfformwraig, coreograffydd ac addysgwraig o Latfia yw Gundija Zandersona sy’n byw yng Nghaerdydd. Fel cyfarwyddwr gweithredol i Kokoro Arts Cyf. ac artist dawns annibynnol, mae’n gweithio ar draws amrywiaeth o genres gan gynnwys gwaith i deuluoedd a chynulleidfaoedd ifainc, testun llafar a symudiad, theatr gorfforol a dawns gyfoes.

Bydd dwy ffilm arall a wnaethpwyd ar y cyd â Llenyddiaeth Cymru ac sy’n cyfuno barddoniaeth a dawns yn cael eu hychwanegu at y pum ffilm yma a wnaethpwyd mewn partneriaeth â Thŷ Cerdd i gwblhau trydedd gyfres o ffilmiau Plethu i’w cynhyrchu gan Gwmni Dawns Cenedlaethol Cymru.