National Dance Company Wales (NDCWales) and English National Ballet’s Dance for Parkinson’s programme has been transported from the Dance House (Cardiff Bay) and Blackwood Miners Institute (Caerphilly) to a new Zoom online class to help support those most vulnerable and still shielding.
NDCWales has been running the high quality dance classes for people living with Parkinson’s, their family, friends and carers since 2015 at the Dance House and 2017 at Blackwood Miners Institute, both part of a UK wide programme with English National Ballet.
Dance for Parkinson’s has been proven to support people with Parkinson’s to develop confidence and strength, whilst temporarily relieving some participants of symptoms in everyday life. Classes are expressive, creative and promote feelings of freedom from the physical and social constraints of having Parkinson’s.
Since the start of lockdown NDCWales and English National Ballet have been piloting a version online to support existing attenders to take part from the comfort of their own home, many of whom are vulnerable and have been shielding since March. It’s also allowed existing attenders to the classes to stay connected to people through lockdown sociably.
Dance for Parkinson’s Participant said, “The lockdown has been very hard, as I was no longer able to see people and my family. I felt isolated and my speech was suffering. I found the Zoom sessions helped me reconnect and it was lovely to see the teachers and all the participants of our group. The sessions were very uplifting for me and I always looked forward to them.”
As well as setting up the sessions online, NDCWales has partnered with Digital Communities Wales who work with digitally excluded people. Helping them deliver digital inclusion activities so they can do it well and make a bigger impact. They helped NDCWales to provide free training and support for those who have never used Zoom before.
NDCWales’ Learning and Participation, Guy O’Donnell said, “The feedback we’ve had from our loyal Dance for Parkinson’s participants is that they wanted to still feel connected and still continue to feel the benefit of the programme on their health. They were keen and wanted to be adventurous and learn about technology, and fortunately with the continued support from Digital Communities Wales we have been able to do this.”
Following the pilot over lockdown, Dance for Parkinson’s will now be available online for new members to join in from Thursday 17September, 1.15pm-2.45pm. The programme runs across 12 weeks and participants can join in at any time. The first class on the 17 September is free and the first class is free for new attenders, classes are £3.50 per week thereafter. Each term the programme focuses on one English National Ballet or National Dance Company Wales production and explores the themes and ideas around the movements of that dance piece. This term, Dance for Parkinson’s will be focused on NDCWales’ production of Ed Myhill’s Clapping?! which was adapted for online during lockdown.
As well as encouraging new members to take part in Dance for Parkinson’s, NDCWales and English National Ballet are continuing to look for volunteers to help support participants in the programme. If you would like further information and to sign up to the programme as participant or a volunteer please contact – Guy O’Donnell, Learning and Participation Producer, NDCWales email guy@ndcwales.co.uk or ring 07305 534 981.
Dance for Parkinson’s is supported by Caerphilly Council, Hodge Foundation, The Moondance Foundation and The Goldsmiths Charity Company.
Mae rhaglen Dawnsio ar gyfer Parkinson’s Cwmni Dawns Cenedlaethol Cymru ac English National Ballet wedi cael ei symud o’r Tŷ Dawns (Bae Caerdydd) a Sefydliad Glowyr Coed-duon (Caerffili) i ddosbarth ar-lein Zoom newydd i helpu i gefnogi’r rheiny sydd fwyaf bregus ac yn parhau i warchod eu hunain.
Mae CDCCymru wedi bod yn cynnal y dosbarthiadau dawns o safon uchel i bobl sy’n byw â Parkinson’s a’u teuluoedd, ffrindiau a gofalwyr ers 2015 yn y Tŷ Dawns a 2017 yn Sefydliad Glowyr Coed-duon, pob un yn rhan o raglen ledled y DU ag English National Ballet.
Profwyd bod Dawnsio ar gyfer Parkinson’s yn cefnogi pobl â Parkinson’s i fagu hyder a chryfder, gan leddfu dros dro symptomau ym mywyd bob dydd rhai o’r cyfranogwyr. Mae’r dosbarthiadau’n fynegiadol, yn greadigol ac yn hyrwyddo teimladau o ryddid rhag cyfyngiadau corfforol a chymdeithasol Parkinson’s.
Ers dechrau’r cyfnod clo mae CDCCymru ac English National Ballet wedi bod yn treialu rhaglen ar-lein i gefnogi mynychwyr presennol i gymryd rhan o gysur eu cartrefi eu hunain, y mae llawer ohonynt yn fregus ac wedi bod gwarchod ers mis Mawrth. Mae wedi caniatáu i fynychwyr presennol gadw mewn cysylltiad â phobl drwy’r cyfnod clo yn gymdeithasol.
Dywedodd Cyfranogwr Dawnsio ar gyfer Parkinson’s, “Mae’r cyfnod clo wedi bod yn anodd iawn, nid oeddwn yn gallu gweld pobl na fy nheulu rhagor. Roeddwn yn teimlo’n unig ac roedd fy lleferydd yn gwaethygu. Helpodd y sesiynau Zoom i mi ailgysylltu ac roedd yn wych gweld yr athrawon a holl gyfranogwyr ein grŵp. Roedd y sesiynau yn codi calon ac roeddwn bob amser yn edrych ymlaen atynt.”
Yn ogystal â sefydlu’r sesiynau ar-lein, mae CDCCymru wedi uno â Chymunedau Digidol Cymru sy’n gweithio gyda phobl wedi’u cau allan yn ddigidol. Gan eu helpu i ddarparu gweithgareddau cynhwysiant digidol fel eu bod yn gallu ei wneud yn dda a chael mwy o effaith. Gwnaethant helpu CDCCymru i ddarparu hyfforddiant a chymorth am ddim i’r rheiny nad oedd erioed wedi defnyddio Zoom o’r blaen.
Dywedodd Cynhyrchydd Dysgu a Chyfranogi CDCCymru, Guy O’Donnell, “Yr adborth a gawsom gan ein cyfranogwyr Dawnsio ar gyfer Parkinson’s ffyddlon, oedd eu bod eisiau teimlo mewn cysylltiad o hyd a pharhau i deimlo buddion y rhaglen ar eu hiechyd. Roeddent yn awyddus ac eisiau bod yn fentrus a dysgu am dechnoleg, ac yn ffodus gyda chefnogaeth barhaus gan Gymunedau Digidol Cymru rydym wedi gallu gwneud hyn.”
Yn dilyn y cynllun peilot dros y cyfnod clo, bydd Dawnsio ar gyfer Parkinson’s bellach ar gael ar-lein i aelodau newydd ymuno â’r rhaglen o ddydd Iau 17 Medi, 1.15pm-2.45pm. Cynhelir y rhaglen dros 12 wythnos a gall cyfranogwyr ymuno unrhyw bryd. Mae’r dosbarth cyntaf ar 17 Medi am ddim ac mae’r dosbarth cyntaf am ddim i fynychwyr newydd, ar ôl hynny codir tâl o £3.50 yr wythnos am ddosbarthiadau. Bob tymor mae’r rhaglen yn canolbwyntio ar un cynhyrchiad gan English National Ballet neu Gwmni Dawns Cenedlaethol Cymru ac yn archwilio’r themâu a syniadau y tu ôl i symudiadau’r darn dawns hwnnw. Y tymor hwn, bydd Dawnsio ar gyfer Parkinson’s yn canolbwyntio ar gynhyrchiad CDCCymru o Clapping?! Ed Myhill a gafodd ei addasu i’w arddangos ar-lein yn ystod y cyfnod clo.
Yn ogystal ag annog aelodau newydd i ymuno â Dawnsio ar gyfer Parkinson’s, mae CDCCymru ac English National Ballet yn parhau i chwilio am wirfoddolwyr i helpu i gefnogi cyfranogwyr y rhaglen. Os hoffech ragor o wybodaeth a chofrestru i’r rhaglen fel cyfranogwr neu wirfoddolwr, cysylltwch â – Guy O’Donnell, Cynhyrchydd Dysgu a Chyfranogi, CDCCymru e-bostiwch guy@ndcwales.co.uk neu ffoniwch 07305 534 981.
Cefnogir Dawnsio ar gyfer Parkinson’s gan Gyngor Caerffili, Hodge Foundation, The Moondance Foundation a The Goldsmiths Charity Company.
‘One household, all alike in dignity, In our living room, we rehearse our scenes’ reads The HandleBard’s Facebook promo post. The cycling Shakespeare troupe, formed in 2013, are finally back in the bicycle saddle after emerging from lockdown with a new version of Romeo and Juliet directed by Nel Crouch. This year’s configuration of Bards is co-habiting trio Tom Dixon, Lucy Green and Paul Moss, which includes real-life couple Tom and Lucy…perhaps making Paul the third wheel (pun intended). “Which is why I’m playing Romeo!” announces Paul to laughter, an arrangement which allows for some entertaining mock-jealousy and several warning glances at guilty-looking audience members.
Melodramatic madness in the world’s greatest love story. Image: Rah Petherbridge
On arrival at the picturesque venue, Hoghton Tower’s walled garden, we’re welcomed and informed of the safety guidelines, doused with hand sanitiser, and led to a spot well clear of other households. All this is done by the HandleBards themselves and it’s lovely to feel part of something wholesome and organic: it’s clear that though a renowned and fully-fledged company, the HandleBards are still mucking in with all aspects of their show, from stewarding to stage set-up (though no doubt there is a dedicated team supporting them). Though all the safety precautions are adhered to – including no more infamous picnic stealing (luckily for me and my Kinder Bueno) – refreshingly, the play itself contains no lockdown references, no toilet paper gags, and no pandemic buzzwords. Despite having seen some interesting pieces of art and media exploring the crisis, it’s actually blissful to just have 80 minutes of pure fun and escapism.
A masked masque: Tom Dixon, Lucy Green and Paul Moss. Image: Rah Petherbridge
That said, one allowance is made for when Juliet (Lucy Green) runs to Friar Laurence’s gaff – the route being the long perimeter of the socially-distanced audience – where she complains ‘It’s much farther than usual!’. But apart from that, almost everything else is the usual HandleBards affair, featuring their classic conventions like repurposing bike equipment (tyre pumps become swords and pannier straps secure the stage), slow-motion fights, rapid character swapping, and their signature humorous, high-energy cavorting.
With just three actors, the troupe play multiple roles, often using just a wig held by an extended arm as a stand-in when more than three bodies are required in one scene, demonstrating clever choreography by director, Nel Crouch. To avoid confusion, the audience are helped to distinguish between characters through exaggerated accents, colour coded costumes bearing big ‘C’s and ‘M’s to denote house loyalties, and bike bells attached to each performer’s finger, which ding periodically to signal a character switch.
Juliet (Lucy Green) on her balcony, the Nurse (Tom Dixon) and musical accompaniment from Paul Moss
The characterisation in the production is suitably overblown for a tragedy turned comedy: Juliet (Green) swings from silly and girlish to teenage tearaway, screaming at her mother that she “come[s] anon!”, while Romeo (Moss) is a typical Northern sixth former with backwards cap and denim jacket. The emphasis on the lovers’ young age pokes fun at Shakespeare and allows for an amusingly melodramatic death scene, after which the pair get up unceremoniously, announcing “We’ve gotta play the other characters…”. These include: Lady Capulet (Moss), a soprano-voiced snob; Mercutio (Dixon), a Scouse mad lad; and Friar Laurence (Moss), re-imagined as a monk-cum-ninja with an accent one foot in Scotland and the other in the West Country, constantly dousing the hormonal teenagers with holy water. This is a Shakespearean retelling that certainly doesn’t take itself too seriously. But the audience favourite has got to be the Nurse (Dixon), with her comical stoop, heralding “alright”s, and senior moments, which culminate in her mistaking Juliet’s wedding ring for a jelly sweet and spitting it out with “Sorreh! Thought it wore a ‘aribo!”
Amongst the crazy antics and the hilarity, there is a tender moment between the eponymous tragic heroes when they first lament their love for one another: it’s created with just Shakespeare’s verse, four chords on a ukulele, and the natural accompaniment of the wind, which is a testament to the HandleBards’ ability to completely change lanes in both tone and pace before we’re back to more high jinks and tom foolery. Music also opens and closes the show, with stripped down vocal harmonies, as well as a funny interval song dedicated to an unfortunate front rower. The staging is equally stripped down: there isn’t exactly a set to speak of, only a raised platform, and costume changes are done simply with actors’ backs towards us (there’s isn’t time for anything else!). It feels unpretentious and transparent – a return to the bygone era of touring players entertaining the rural masses, and it’s all the richer for it.
The Handelbards in their fetching cycling socks
The HandleBard’s Romeo and Juliet is a pocket rocket – small but mighty – and its 80 minutes is jam-packed with more accents, more character changes, and more laughs than you can Shake a spear(e) at. It’s witty, fresh, and appears to be performed by a cast who genuinely love what they do. More than that though, this production facilitated a group of strangers coming together for a bit of fun on a patch of grass, just long enough to keep the rain off. And in these challenging times, it’s the perfect antidote, if only for a couple of hours.
If you too seek happy days to happy nights, Romeo and Juliet, and the HandleBards’ new children’s show, Gnora The Gnome’s Daytime Disco, tours across England (and the Netherlands!) until 19th September.
“We need to ask ourselves how do we encourage the next generation of artists and creatives to strive and aim for the stars? A big factor in encouragement is inspiration. If they never see role models they can relate to win awards how are they ever encouraged to become the next Octavia Spencer or the next Steve McQueen.”
2 years ago I wrote that above quote
On Friday 28th June 2019 … Thousands of young boys and girls sat at home from their “cheap seats” and watched history play out.
They watched a 24 year old Michael Ebenazer Kwadjo Omari Owuo Jr. headline The biggest music festival in the world. Or as many and most people know him by the name of Stormzy.
The reason I start this article with that is because 2 years ago I wrote about Oprah being sat at home as a little girl in 1964 and watching history play out with Sidney Poitier winning an award and found herself inspired.
Now fast forward over 50 years and the exact same thing has happened.
There are little boys and girls who were either there like I was lucky enough to be, or at home watching, but either way were inspired to see a young Black British man on the biggest stage in the world and his talent and hard work got him to that position.
That inspiration is priceless. And that’s how we encourage the next generation to strive for bigger and better things.
By showing them what they can achieve.
Like I said 2 years ago “If opportunity is not given to people then how are we ever going to be in a position where we can showcase our talents?, be nominated for awards? and inspire our peers and the next generation?”
Stormzy, for example, got the opportunity to headline and smashed it out of Worthy Farm. His talent got him there, not the colour of his skin and that’s inspirational to everyone that can relate. Thats inspirational to all our peers and to the next generation who can watch that and believe that they can headline Glastonbury, Or perform or direct at the National Theatre or on Broadway, Or be on the front cover of GQ, Or play football for a premiership team, or be in the next avengers movie. Or be the next Stormzy or Oprah.
During Stormzy’s set he bought on Dave and Fredo to perform ‘Funky Friday’
He used his platform and his moment to give an opportunity to Dave and Fredo to perform on the pyramid stage and to experience that thrill and allow them to share in the moment.
Thats huge!
I say it all the time in conversations with friends, when running workshops or giving talks – If I’m winning then we’re all winning because I’m going to learn some new skills, new knowledge and make new networks etc which I can then relay back to others to allow them to bask in the new found knowledge and glory I have gained and vice versa.
If YOU are winning then we are all winning because you’re going to learn things that can only help benefit others journeys and careers.
To quote Denzel (as I always do) – “I’m not in this to compete, I’m in this to get better”
That night in June at Glasto, Stormzy was winning but he gave an opportunity for others to win as well.
That for me is on the Macro Level in Stormzy and Oprah and I’m going to bring it to the Micro Level of myself and Wales.
Back home in Wales the last 2 years have been a whirlwind (for me personally)
I’ve been given so many opportunities that have led to me:
I’ve had organisations like Literature Wales believe in me and my talent to help develop further works of mine.
I’ve been on TV (which for a kid from Hammond Drive is huge – Check out changing the narrative from 27 for more clarity)
I’ve been a part of a sold out show by the incredible Tin Shed Theatre again in my hometown.. bringing top class theatre to my doorstep (something I never had when I was growing up)
But again as I echoed 2 years ago the key word in ALL of that is opportunity.
They’ve given me the opportunity so i’m on the same page as other creatives and artists.
They gave me that opportunity to either sink or swim but it’s that chance that is so greatly needed. Without that chance, very few people can reach the potential that they have the ability to reach.
Without opportunity all that remains is an imbalanced and under-represented system where inspiration can’t flourish.
And without Inspiration many journeys won’t even start and many potentials never realised.
I can’t write this and act like opportunity hasn’t been present for me because it has but hard work and determination has been right along side it as I’ve built a career for the past 6 years.
The more I reflect on the past 2 years since writing that article the more I realise that it has been a good starting point in Wales where more of my peers and community are getting given opportunities and they’re smashing it outta the park everytime.
Alex Riley is breaking down barriers with her Mixed documentary and being a member on the above writing groups alongside myself and starring in smash hit TV like The Tuckers and End of the F***ing World
Mali-Ann Rees is killing it in the Tourist Trap alongside Leroy Brito.
Kyle Lima, like myself with The Riverfront has been made associate artist of HIS hometown theatre at The Sherman.
The reason I list these Kings and Queens is simply because like myself, 2 years ago they weren’t in the position that they are now.
Through hard work they’ve been given opportunities which they have consistently smashed.
So many young Welsh black and mixed race girls can turn on the tele and see Alex and Mali on their screens. Thats huge! because that’s inspirational. Thats showing them that it can be done and they can one day be in the same position as them.
Like Oprah did when she turned on the TV back five decades ago.
Youth who see Kyle and myself in Associate roles at their hometown theatres again can start to think that they too can achieve the same success. That those local buildings are for them as much as anyone else. They can start to aim for similar aspirations.
Once opportunity is given then all you’re judged on is your talent. It’s a level playing field where all it comes down to is you. BUT opportunity has to be given for the talent to shine.
So carry on giving opportunities to the talented individuals that warrant them and if you can’t find those talented individuals then seek them out. Because trust me theres plenty of them!
Talent comes in all shapes and sizes and we simply HAVE to find that and represent that.
We can’t afford to be lazy.
I guess what am I trying to say with all of this ….
Well simply put, I recently asked a close friend of mine to list White Welsh Published Playwrights and without hesitation they were able to list many amazing playwrights, many of whom I look up to myself and have helped paved the way for me BUT then I said now name me Black Welsh Published Playwrights and there was a pause as we both tried to think.
That pause is what has to change!
And that’s why I list the amazing individuals and there are so many more but in future when little welsh boys and girls of colour are talking about playwrights and writing that represents them and inspires them, they can think of Connor Allen, Alex Riley, Kyle Lima, Darragh Mortell, Taylor Edmonds, Durre Shahwar and so many more
There won’t be a pause.
Thats how we change the system and keep that encouragement for the next generation to follow in the footsteps that we lay before them. We must become the change that we seek. We must become the role models that we never had growing up.
Mentorship and role models are huge and so vital to development. It’s the work of them that lays solid foundations and blueprints down for the next generation to follow and build upon, so they can make a more equal and justified system and industry.
Opportunity is now being given and its a great and much needed starting point.
But we have to develop that starting point.
There is still more that can be done to make equality and inclusivity a more normalised thing within the arts.
Create more gate keepers, role models and mentors that relate to and represent the communities that make up Wales’ rich diverse culture and history.
According to Welsh Government Data only 6% of Wales is made up of “Black, Asian and Minority Ethnic” (not sure how much I believe that) but my point is that in a country that is predominantly white we need to make systems and industries that represent ALL walks of life. Even the 6%.
We are experiencing a real positive shift at the moment and this can only be fully realised through education and sacrifice of power and privilege.
I realise that the more I am improving and the more success I gain, the more power and privilege I am given. BUT with that power and privilege I am given, I can make a choice to share that.
Take my recent Literature Wales commission 27, I chose to give some of my commission to other artists to allow them the opportunity to have paid artistic work where one of the artists is still in high school, one is yet to graduate and another has only recently graduated. Now I don’t say that to be like “oh look at me” I say it simply because if I can do that then people in far bigger and more important positions than me can do that as well.
I know how important opportunity has been in getting me to the position I am in today so i’ll never shy away from offering opportunity to those coming up
J Cole says it brilliantly in Middle Child – “I’m dead in the middle of two generations I’m little bro and big bro all at once”
It was only 5/6 years back that I myself was one of those artists looking for a chance and if it wasn’t for people taking a chance on me and believing in me well, I wouldn’t be where I am today, so its only fair that I give back where and when I can.
And if I can do that so can other organisations and institutions. I’m just one man with a modicum of influence. Imagine the potential if others with far more influence and power made the same approach that I have done.
Its about being courageous and then we will see some positive changes. Changes that are generational. That can have an impact for future generations.
Every single role model/person that we look up to, started off exactly like us. As people learning and working to get better.
Yes, many of my community are angry, upset, confused and more at the moment. And its the likes of role models on a global and local level that will maintain the inspiration and development of the next generation. If we don’t see ourselves and our representation then how are we meant to be engaged and inspired to be the next generation of role models and trend setters.
It’s cyclical.
In these dark times we must never forget our own power, our own talent, our own strength.
It’s only in the darkest of times that we can see the light.
And even though opportunities are becoming more and hopefully more of the younger generation are finding hope and inspiration in looking at the current generation of us achieving success we have to strive for more.
Opportunity is just the planting of the seeds, For real fruition we have to see representation in all forms, from all walks of lives showcased throughout the arts and throughout all sectors.
We live in a multi-cultural, multi-ethnic world where all forms of race, gender, sexuality, disability and more are ripe and without positive and sustained change then we run the risk of an industry not embracing that and not showcasing every form of the human condition.
Art is a reflection of life, in ALL its forms.
Real collective change can only be made when representation is across all levels of infrastructure.
Hi, my name is Connor Strange, and for those that do not know me, I am a Freelance Theatre Technician & Event Crew. I have written a couple of articles on the Get the Chance platform before, and the article I am writing today is especially poignant and relevant to me.
I am making this public appeal, in light of the current Covid-19 outbreak. The closure of our theatres and live events has spelled disaster, with theatres on the brink of collapse and redundancies already starting. I felt a sense of sadness and despair looking at the disaster unfolding before me, I could not and would not stay silent on this issue.
So this is a story of how I am standing up and supporting our theatres colleagues and friends across our beloved country, and sharing the event that I am organising and taking part in to raise money for Acting For Others.
I am an avid gamer in my spare time, and thought to myself how could I raise money? It dawned on me that I could do a charity gaming livestream and raise money that way. So here’s what I am doing:
I am taking part in a 12 hour gaming livestream on the 1st of August 2020 between 9am and 9pm (UK BST) playing 5 well known game titles, in this order: Minecraft, Fallout 76, Forza Horizon, Fortnite, Elder Scrolls Online.
The event will be raising money for UK charity Acting for Others, and will be broadcast on Twitch – www.twitch.tv/connorstrange145
Acting for Others is a charity that represents 14 UK theatrical charities. The funds raised are used to offer emotional and financial support via their 14 member charities to members of the entertainment industry who have fallen on hard times through illness, injury or circumstance.
They support actors, dancers, singers, variety performers, backstage workers from the dressers to the techs, front of house & box office, theatre admin and behind the scenes creatives such as directors and choreographers.
I am raising money because I want to help colleagues from across the country who are struggling financially and emotionally due to COVID-19, and I want to give something back to a community of creatives that are truly accepting and inclusive. Our community has been let down by government, and some colleagues have not been able to access funding, grants or government loans. This is unacceptable, and I felt that I could not turn a blind eye or stay silent on an issue that means so much to me.
As a Freelance Theatre Technician, I have been accepted and included and I am truly thankful to the theatre industry, for giving me an opportunity to thrive and succeed.
The work that Acting For Others do is truly inspiring, and I hope that you can donate. However small or big your donation is, it will truly help. If you can’t donate, that’s completely okay. If you could share my page far and wide, I would be extremely grateful. If you would like to donate the link is www.justgiving.com/fundraising/connorstrange1
Thank you for your support, and I hope you’re all safe and well.
Dominic Dromgoole’s A Midsummer Night’s Dream is just that: dreamy. It has everything you could want from a woodland romp – gorgeous costumes, plenty of gags and superb acting, but is never cliché, nor rests on the Globe’s laurels.
The Fairy Queen (Michelle Terry) and her followers. Image: Alastair Muir
This production uses both Elizabethan staging and costumes though you’d be mistaken to think it fusty: John Light’s Oberon and Matthew Tennyson’s Puck both bare their chests, while Michelle Terry as Titania skips about in a fur pelt skirt that looks straight off a runway. The fairies’ costumes are also stripped down; trousers and corsets are embellished with natural materials like twigs and mud, as well as animal features such as feathers and stag horns. Delicate winged creatures these fairies are not. Instead, they snarl and shriek like a wild chorus, adding an element of danger to the forest scenes. Their bestial and androgynous clothing contrasts heavily with the pristine, stiffly laced, and heavily gendered garments of the humans in the Athenian court. But when the four young Athenian lovers get lost in the woods, they gradually become more uncivilised and less dressed, which makes for an interesting crash course on the various layers of Renaissance garb.
The lovers a little worse for wear – well, ‘the course of true love never did run smooth’. Image: John Haynes
The set design by Jonathan Fenson is pleasingly simple: the existing polished brown wood and red ‘marble’ arches of the Globe suit the pomp of the court scenes, and these earthy tones, when coupled with foliage and green tapestry curtains, equally complement the autumnal imagining of the forest scenes. As an outdoor venue, staging Midsummer at the Globe is always a special experience, but the rejection of the usual floral, sunny features is a welcome change and actually matches the overcast day of recording rather well. Opting for a darker, cruder design captures the more mysterious and animalistic themes of magic and lust within the play.
The opening of the production begins uniquely with a dance sequence reflecting a battle between male swordsmen and female archers, in which Hippolyta is bested and won as a war trophy wife. This completely alters the meaning of the first lines between King Theseus and his new bride. They are not a lovesick couple longing for their wedding day but a growling Lord and his bitter captive (both roles played brilliantly with seething venom by Light and Terry). This patriarchal tyranny informs the next shocking scene where Hermia’s father reminds his daughter that the penalty for disobeying him is death. In the forest, we learn there is also trouble in paradise where the tension is mirrored between the fairy king and queen; themes of misogyny are not brushed under the woodland carpet and the threat of violence lingers here too. When the young lovers enter the realm however, things do take a turn for the ‘fancy free’. In this version, the line ‘What fools these mortals be’ rings true as the lovers are played less seriously – a valid interpretation for me, as Shakespeare’s device of having them ultimately wake up and fall in love with the ‘correct’ person is a silly notion in the first place. All young actors give accomplished performances, Hermia (Oliva Ross) and Helena (Sarah Macrae) as headstrong women and Lysander (Luke Thompson) and Demetrius (Joshua Silver) as hapless posh boys.
All is not well in Fairyland: Oberon (John Light) threatens Titania (Michelle Terry). Image: Alastair Muir
Stand out performances also come from Michelle Terry, the Globe’s current artistic director, whose Titania is just as haughty as her Hippolyta, though more full of the joys of spring – or summer. John Light adopts a husky Irish accent for his Oberon and his ultra-masculine portrayal contrasts with Matthew Tennyson’s boyish Puck. The pair makes a great duo, employing Sian Williams’ tactile choreography – the use of gymnastics and swinging ropes also bring out the production’s playfulness. The tactility flows into romance: everyone, regardless of gender or species, seems to be getting it on in this production.
Oberon (John Light) is enamoured with his protégé Puck (Matthew Tennyson). Image: Alastair
It’s Bottom, however, who steals the show; Pearce Quigley is a comic genius, his Salford accent thicker than gravy with cheesy chips and his performance raises belly laughs from the audience. The comedy is ramped up with the Mechanicals, a usual audience favourite, who certainly don’t disappoint here. The infamous roll call is blocked clearly and each actor’s intonation allows us to fully understand the dialogue. Though the Mechanicals’ questionable acting skills mean they shouldn’t give up their day jobs, director Dromgoole adds yet another trade to the craftmen’s collective wheelhouse – clog dancing. Bottom the Weaver and Peter Quince (a brilliant Fergal McElherron) clash fantastically; Bottom undermines micro-managing Peter (‘Peter?’) through constantly interrupting and forgetting Peter’s name, but the rivalry is ultimately settled with a ‘clog off’, where Peter whips out a delightfully anachronistic moon walk.
‘Take pains. Be perfect.’ The rude Mechanicals celebrate their play’s commission. Image: Alastair Muir
The play within a play brings the comedy to a crescendo and is a great reward for the near 3 hour runtime, though this production is definitely no chore to watch. ‘Director’-cum-‘narrator’ Peter is in his element and his campy, over-bearing manner wouldn’t be out of place in any am-dram rehearsal room. Under his direction, the misguided players bring out a pop-up replica of the Globe itself, which is wonky and requires periodic mending by Snug (an understated Edward Peel), regardless of whether the sound of hammering and the piggybacking of actors is a tad distracting to both ‘players’ and their courtly audience. Things only get worse (or rather, better) when Wall’s (Tom Lawrence) huge costume threatens to eclipse the entire structure and his ‘crannied hole’ is set in a very unfortunate place. ‘Beauteous’ Thisbe (Christopher Logan) provides no respite to this theatre of the absurd as her portrait is visually terrifying, all garish face paint and huge hooped skirt which upturns in her death scene, though this is too drawn out and the audience’s laughter drops off a little. Despite the otherwise successfully overblown actions and slapstick tone, these elements are contrasted with many pregnant pauses, subtle glances and small gestures, all timed perfectly to alter the pace and heighten the comedy. As the play in miniature and play proper draw to a close, the cast have us eating out of the palm of their hands.
The tragic tale of Pyramus and ‘Thingy’ (Christoper Logan and Pearce Quigley). Image: Alastair Muir
The live music, composed by Claire Van Kampen, is sparse but used to good effect: the traditional fanfare frames the opening sequence, and periodic drums and strings create an eerie atmosphere to signify the faeries’ arrivals. The accompanying wordless singing is unearthly and a perfect fit; as such, it also closes the show with a final masque, categorising this production as both beautiful and haunting.
With innovative interpretation, visual flair and real comic wit, the Globe’s 2013 performance of A Midsummer Night’s Dream is, dare I say, the best version I’ve ever seen. Acapella vocals and traditional yet naturalistic costume take Shakespeare’s deceptively dark comedy back to its roots, but in doing so, breathe fresh life into it. It’s passionate, stirring, and above all, funny – they must have taken Bottom’s plea to heart and took pains – for it was perfect.
The ensemble in the closing masque. Image: Alastair Muir
National Dance Company Wales has announced its next live streamed online premiere, Ed Myhill’s Clapping, which will unite Company’s dancers together in lockdown.
Following the first ever Live Streamed dance performance of Alexandra Waierstall’s 2067: Time and Time and Time, NDCWales are again creating a Live Stream Online Premiere, this time Ed Myhill’s Clapping created via Zoom and broadcast on Facebook. Clapping will be bringing the dancers in lockdown together for a one-off live performance on Thursday 25 June 7pm.
Clapping uses rhythm as a driving force. The dancers use lively movement and clapping to create a soundtrack for the fun and dynamic dance.
A few weeks ago, the Company created a short 1-minute Clap for Carers version, as a thank you to NHS, carers and support workers across the UK and beyond.
Company dancer, Ed Myhill created the piece originally for National Dance Company Wales’ Alternative Routes in 2018, before it toured across Wales as part of the Company’s Routes tour in 2019. The extended version, Why Are PeopleClapping?! will be included in NDCWales’ tour of Europe in December 2020, and as part of its Spring UK repertoire in 2021. Following the 10-minute live stream performance on 25 June there will also be a live Q & A.
The broadcast is still available on Facebook on NDCWales’ Video channel here
From 8 June there will be classes for young people and those who have restricted mobility based on the dance piece, as well as an insight into the rehearsals process in two Open Rehearsals on Facebook and Instagram. Audiences will be able to join the Company on Thursday 11 and 18 June 2-2.30pm to watch how rehearsals are developing, plus an opportunity to ask NDCWales questions via comments on Facebook Live during the session.
NDCWales wants to keep connecting to its audiences across Wales and the world, as well as engage with new audiences, many of whom many not have had the chance to experience Contemporary dance before lockdown.
Over the last eight weeks, NDCWales has been premiering many of its productions online for the first time for audiences to watch for free as part of its online programme KiN:Connected, including Afterimage (by Fernando Melo), Rygbi: Annwyl i mi/ Dear To Me (Fearghus Ó Conchúir) as well as a live streamed Zoom version of Alexandra Waierstall’s of 2067: Time and Time and Time where the dancers joined together to create a dance piece from isolation.
Associate Director, Lee Johnson said, “This uplifting dance piece is immediately relatable as you bounce from a tennis match to a rendition of Heads, Shoulders, Knees & Toes, to a dance-off, and from these into full-bodied, energetic & joyous dancing. The choreography is sophisticated and witty yet laidback and down to earth.
Full details of the KiN:Connected can be found at ndcwales.co.uk and on social media channels @NDCWales
Take me back to the days when we were never alone – well, let’s see, it was the month of March when creativity rocked the Arts Factory in Ferndale and we were altogether. The scene had been set in 2019 when the forward looking company Avant Cymru introduced a MaDCaff evening event to The Factory in Porth as part of the FestYPorth celebrations. It sparked an idea for such an event to be held in the Rhondda Fach. Proposals for a venue were put forward and the nucleus began to evolve as the Arts Factory (the Trerhondda Chapel Arts Centre in Ferndale) took up the baton for it to be staged as a Community activity to raise funds for Mental Health.
A MaDCaff event is an experience which is encompassed in its very title
Music Dance and a Café
It is an open mic where people can perform or be entertained, pressure free with a quiet place to talk if required. With DAC (Disability Arts Cymru) and the Arts Factory volunteers, the evening became a cornucopia of colour as musicians assembled their electrical equipment and sound tested their instruments, dancers waited in anticipation of opening the event, whilst people bought Raffle Tickets on their arrival, sourced the Refreshment stand and marvelled at the artwork that had been kindly donated by local artist Carole Kratzke for the Art Auction.
The young dancers of Avant Cymru, coming from their recent performance at the Millenium Centre in Cardiff, blew caution to the wind with their energetic and exhilarating movements, incredibly intricate and jaw dropping showing the skills that they had been taught by Jamie Berry, a company Director of Avant Cymru, who, in January 2020 won the deserved accolade of Wales Creative Tutor of the Year bringing his distinctive talent to develop the health and wellbeing, through dance, to the Valleys.
Gaudy Orde announced their arrival with their usual toe tapping eclectic music with Jeff Japers (aka Andrew Powell) on the ukulele, keyboard and main vocals; Tall Joy (aka Joy Garfitt), Helen Spoons (aka Helen Probyn-Williams); James Parr – Superstar; Barry Sidings (aka Alex Coxhead) and Romany Bob (aka Andy Roberts) providing a surreal and distinctive experience of music, song and humour into an intoxicating mix as the evening progressed.
In turn Jeff Japers, as the evening’s Master of Ceremony, introduced the Nutz ‘n’ Bolts duo which normally consists of husband and wife team Dawn and Dave Hoban, but on this night we were invited to meet Jowan who sang with Dawn. It was an experience of emotions entwined harmonies and excellent guitar playing.
Les Allen, Linda Michele, Ann Davies and Anne Lord, who are members of the RCT Creative Writers Group, read selections from their 10th Anniversary publication “Handle with Care” ably supported by Members Jess Morgan, Gerhard Kress, Helen Probyn-Williams and Rachel Williams. Jakey (12), our favourite therapy dog was present to ensure that everyone was feeling safe and well.
The interlude that followed included the results of the Raffle, closely followed by the Art Auction which had bids bouncing from every direction in the audience. The Open mic participation was offered to the audience as one of the young Avant Cymru dancers stepped forward to sing, closely followed by singer guitarist Lee Harvey from Aberdare. Talent can be found in quiet places as Josh and his “companion” dummy took up the Ventriloquist mantle for the night in a comedic conversation. The Bella Vista Coffee Club brought the house down with their jazz performance provided by Ann and Paul Hughes, Jim Barrett, Helen Probyn-Williams and Sally Churchill.
TimeLine a trio of local singers and musicians namely Nigel, Gary and Keith, opened the second half of the evening’s entertainment. Their songs were rich and melodious and the audience were soon joining in with the verses of the songs that brought back so many treasured memories.
Tricycle, comprising of Gerhard Kress, Paul Rosser and Michael Morton brought the event to a close with the atmospheric musical sounds of a fiddle combined with guitars alongside their passionate lyrics.
Louise Gaw, Project Coordinator for Changing People Changing Lives at the Arts Factory Ferndale introduced Sara Beer, South Wales Regional Officer of DAC (Disability Arts Cymru) to bring the evening to a close. Thanking all within the Arts Factory and DAC for their hard work in organising the event. Goody Bags were given to people as they left including items from DAC. Gifts were kindly donated by Francesca Kay the noted WordArt, Poet and Letter Press professional from Hay on Wye, who is a friend of RCT Creative Writers Group
I would like to personally extend my appreciation to all who responded to the request for participants and to RCT Creative Group Members who supported me in arranging this event giving their time and energy freely to provide a true Noson Llawen Merry Night to remember for those who attended.
We were all left with the memories of songs, music, dance, poetry and stories echoing the creative talent that is within the community.
Times have changed and we are now finding ourselves in an unprecedented situation.
WE are all the waves on the same sea, and at this moment we send each other a virtual hug with the message to stay safe and well.
MaDCaff maintains the talent of RCT.
With thanks and appreciation to Sara Beer and Volunteers of Disability Arts Cymru Louise Gaw and Volunteers of Arts Factory Ferndale RCT Creative Writers Group Members especially Anne Jess Les Gerhard Helen and Rachel not forgetting Jakey Carole Kratze Francesca Kay To photographers for their kind permission
Sara Mayo Gerhard Kress Anne Lord Jess Morgan Open Mic performers
Jamie Berry of Avant Cymru and dancers Jeff Japers for his Master of Ceremonies Gaudy OrdeNutz ‘n’ BoltzTimeLine Tricycle and for all who gave their support for this event to raise funds for Mental Health
National Dance Company Wales Dance Ambassador Angharad Harrop reflects on the challenges and creative activity she has developed during the Lockdown period.
Angharad is employed as one of the NDCWales, Welsh Priority Venue, Dance Ambassadors. This project is funded by The Foyle Foundation
NDCWales supports seven Welsh Priority Venues. Each Priority Venue has a Dance Ambassador who is local to the venue, knows the companies repertoire and has received specialist training. Their role is to support the public to access the work of NDCWales and keep year-round contact with its communities Wales wide.
Delivery is informed by the dance already happening in local areas. This model supports local communities to become audiences and participants. This helps with engaging more people in a broader range of dance but also to sustain and develop the dance sector in Wales as more people engage with the artform.
“Before the COVID-19 crisis came, I was working as a Dance Artist in schools, a Dance Ambassador with NDCWales and with community groups. Some work has been postponed, though much has continued.
The projects that have continued have shifted into a digital space and are being shared, as best as possible, with the spirit of the live interaction and emphasis of community that drives the work – including NDCWales’ Rygbi education pack and Ribidirês – early years dance sessions supported by Pontio. I am fortunate to have young children, who love to move and use their imaginations, and a supportive husband. This has allowed us to collaborate as a family to create learning resources that engage both children and adults in dance that supports children’s education and development.
Creating videos in this way has allowed me to use my work to support the wellbeing of my family, with the exploration and learning of my children becoming the heart of the work. We have made some wonderful memories as a family from within our home, whilst supporting the learning and development of our children.
We have climbed through forests, flown to space and scored a try for Wales in a crowded stadium.
Our hope is that through working as a family, we can give confidence to other families to use movement and dance to support their health and wellbeing at this difficult time. Inspiring families to get lost in a journey into the unknown from their own homes, to discover the power of touch and to learn through fun.
Our hope is that through our work families can strengthen bonds and make magical memories, of meeting aliens and winning the Six Nations for Wales, and to allow themselves a minute to find the value in flying as freely as a butterfly, without a care in the world.”
More information on Angharad and her work is below.
Angharad is a Dance Artist working in North Wales. She has worked as a choreographer and dancer for companies such as Light, Ladd and Emberton, National Theatre Wales and Theatr Genedlaethol. She is co-director of Cymru:Brasil and intercultural performance company who create work inspired by Welsh and Brazilian culture. Angharad works across the community and within education delivering projects for companies including National Dance Company Wales (Dance Ambassador), Pontio at Galeri and Theatr Clwyd. Angharad has a passion for Dance in Early Years and through her company Ribidirês runs bilingual classes to encourage a love of the Welsh language from an early age.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
