Get the Chance has collaborated with Motherlode, RCT Theatres and Taking Flight Theatre Company to run a series of free ‘Get the Chance to be a theatre critic’ workshops, participants also accessed the rehearsal process and public performances. Get the Chance was able to run this activity with the support of partners and through funding from Arts Council Wales Sharing Together. “A strategic initiative to encourage the development of networking opportunities.”
During this activity a free workshop took place at The Coliseum Theatre in Aberdare. During the workshop we discussed the role of the critic, differing methods of giving critical feedback and the role of the press and marketing department. Those attending were strong advocates for arts venues and cultural provision in general.
After the workshop we spent time in the rehearsal room with Motherlode who were developing their new production, ‘Exodus’. This gave us a unique insight into the development of the companies work.
The workshop participants are all excellent examples of Creative Citizens. Get the Chance is developing a socially engaged, democratic audience development model called Creative Citizens Cymru. Many of the fundamental principles of this model are very similar to the principal goals of the Well-being of Future Generations (Wales) Act.
You can read a write-up of the workshop by Vicky Lord at the link below.
http://vickylord.com/2017/06/30/get-the-chance-workshop-write-up/
Get the Chance works in collaboration with a range of individual creatives, companies and organisations in order to achieve our aim of “Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.” We would like to thank Rachel Boulton, Artistic Director, Motherlode and Nia Wyn Skyrme- Freelance Producer/ Promoter for their statements of support relating to this activity below.
“Motherlode is all about removing barriers to theatre, making entertaining work with a political edge that our friends, neighbours and families can enjoy in a collective experience. In a quick survey we asked 100 women in Wales “Does theatre represent your world view?” 13% said yes, the other half said no, and the other half said they don’t go to the theatre. While this research needs more fleshing out, there’s a problem here with who we’re currently making theatre for and who we’re making it with…Get The Chance is vital to shifting how we talk about theatre, who gets to talk about theatre, and who decides what should be on our stages. It encourages local people to take ownership of their venues and creates a safe environment where communities can take risks and express themselves through sports, culture and live events, regardless of background.”
Rachel Boulton, Artistic Director, Motherlode
“I have been working as a freelance producer for over a year, and I have worked with Get the Chance with almost all the productions I’ve been involved with, as we share a passion for co-working, sharing ideas and contacts and creating active creative citizens in different communities across Wales.
It’s been very valuable working with an organisation like Get the Chance. Arranging reviewers, interviews and specific workshops raising the company’s profile and excellent promotion, sharing ideas and giving advice. Get the Chance have also brokered relationships with their members to become Local Promoters in different areas across Wales.”
Nia Wyn Skyrme- Freelance Producer/ Promoter
We have also recently ran a workshop in collaboration with Taking Flight Theatre Company. We ran a free ‘Get the Chance to be a theatre critic workshop’ on July the 11th at Cyfarthfa Museum. The workshop was attended by a youth group from Merthyr Tydfil. We discussed a range of areas of cultural provision and the participants then went to see Taking Flights production of The Tempest. Their reviews will follow soon!
Thanks to Beth House, Creative Producer, Taking Flight Theatre Company for supporting this activity.
“Collaborating with Get The Chance has been really exciting for us and I feel like we are only just beginning to scratch the surface of what might be possible in terms of working together and developing new arts professionals- and moreover broadening audiences. Thus far, we have been able to tap into groups who have traditionally been excluded from training as well as arts opportunities, often because of access requirements or other barriers. The work I have seen Guy do has inspired groups to think critically about the arts they consume and to want more. We are extremely hopeful that we can seek new ways to go even further with this partnership. More joined up working like this is definitely needed in Wales!”
Beth House, Creative Producer, Taking Flight Theatre Company
All posts by Guy O'Donnell
Review Black Mountain, Paines Plough, Theatr Clwyd by Bethany McAulay
(4 / 5)
The Roundabout Theatre is small – and though I initially appreciated the intimacy of the compact audience, as soon as the lights dimmed, I began to experience intense claustrophobia. This, I believe, was intentional on behalf of the production team, who succeeded tremendously in their apparent attempt at creating an almost Artaudian production. I cannot distinguish a moment in which I was not on edge, or physically quivering, for the relentless mystery of the play. Certainly, Brad Birch’s ‘Black Mountain’ is the most refreshingly original, and impressively sinister play that I have ever witnessed.
Hasan Dixon portrayed Paul with an extraordinarily potent, compelling, and convincing performance; so much so that one may mistake his acting for genuine fear and frustration. This, naturally, only strengthened the air of threat that seemed to consume the theatre as effectively as the lingering clouds of mist (which, equally, were outstandingly atmospheric). His portrayal was, above all, believable – and that is predominantly what allowed for the exponentially threatening atmosphere that left me feeling equally as terrified as Paul himself.
Sally Messham as Helen was extremely well played, and though the actress’ characterisation of the character was beyond satisfactory, the character itself was difficult to understand. Helen’s flaws seemed to be ingrained not in Messham’s performance, but in the script itself, as a character who was initially presented as understanding and concerned for Paul’s wellbeing, abruptly became depraved and psychopathic; which seemed too unrealistic, even for this play
In point of fact, I found that the script lacked substance. Most of the action and thrill derived largely from the physicality and manner of the actors, as well as the technical and atmospheric devices employed. I believe that, had I not viewed this play in the intimacy of the round, and thus felt so closely involved within the performance, the dialogue would not have been sufficiently strong or theatrical enough to create much tension at all.
For a large part of the play, Katie Elin-Salt’s portrayal of Rebecca was almost frustratingly unconvincing, and was mostly comprised of repetitive gestures and an unchanging tone of voice. In contrast to Dixon’s consistently adaptable tone and manner, Elin-Salt’s performance did not appear to vary much at all, and became very unstimulating, very quickly. However, I began to understand the characterisation only in the final moments of the play, when Rebecca’s soullessness became intensely ominous, and I started to truly appreciate the darkness of the character. I truly regret that this was only prominent within the final ten minutes.
Although the set itself was essentially non-existent, the production was impressively and ingeniously staged, and though techniques such as sudden descents into darkness were frequently adopted, i was equally as stupefied by the final burst or strobe of glaring light than I was by the first. My feelings of paranoia and entrapment were prominent and consistent throughout the entire performance (though this was certainly not unpleasant – I acknowledged and appreciated the psychological thrill). Additionally, the employment of a single torch on stage whilst the remainder of the theatre remained in absolute darkness, as well as the frequent ear-splitting screams, were profoundly, and intriguingly, effective. Equally, the tension was enhanced tremendously during the moment in which Elin-Salt and Messham disappeared from audience view and ran frantically around the exterior of the seating area. Particularly during this moment, their menace felt like a personal threat.
‘Black Mountain’ was so consistently immersive, and felt so isolated from the world outside the theatre, I had to remind myself on numerous occasions throughout that it was merely a performance.
https://www.theatrclwyd.com/en/whats-on/black-mountain/
Top Tunes with Rhiannon White
Hi Rhiannon great to meet you, can you give our readers some background information on yourself please?
So a bit of background – I’m a Cardiff born, Cardiff based theatre director. I mainly work with my theatre company Common Wealth but I also work on freelance stuff which has ranged from taking a circus to Gaza to making a show on a beach.
The work I make is socially engaged, often political and site specific – we find interesting places to stage our shows in the past we have made shows in houses,boxing gyms, courtrooms and now we’re making our new show in a huge industrial warehouse.
I grew up in Cardiff, St.Mellons – I’ve got a deep sense of love and pride for this city and the incredible people that I know here. I can’t imagine living anywhere else, this city gives me the fuel I need to spark and fuel my imagination. I love the magic of this city.
I think it was growing up in St.Mellons that got me into theatre. We didn’t have very much growing up but what we did have is loads of kids to play with. I spent my childhood playing in the street, dressing kids up in my mums old clothes and on plays on in the garden. I think that’s where my DIY spirit came from in those early lessons of making the most of what you’ve got.
My company Common Wealth grew out of those roots – we were a group of people that came together to make theatre. We started with nothing, making shows in large empty buildings, without funding and with the generosity of people who wanted to get involved.
Over the years Common Wealth has grown, we’ve made work in many different places, with incredible groups of people and are now working on shows in places like Chicago and Germany. Currently I am working on a new co-production with National Theatre Wales called We’re Still Here – I’m mega excited, it’s our first big show in Wales, staged in an epic former industrial warehouse and inspired by the incredible Save Our Steel Campaign.
https://nationaltheatrewales.org/were-still-here
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
Currently I’m listening to Kojey Radical’s album 23winters – he’s a London spoken word, grime artist. I’m loving it because it’s so poignant and powerful it feels like a new genre, he’s also a visual artist so he’s fusing all these different forms together. He’s a powerful man, full of real energy and rooted in his truth. I respect that.
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why?
The Holy Bible, Manic Street Preachers
This album changed my life, bit cheesy but it did. I discovered it when I was in school and it was one of those ones that spoke to me about who I was, it helped me make sense of the world. It’s genius, I’d go as far to say they’re some of the best lyrics ever written.
Drunken Lullabies. Flogging Molly
I love punk. I love how fierce it can be and that you can loose yourself dancing to it and let everything go. This song is particularly special to me, it’s a song me and my friends used to sing early hours of the morning as the sun was rising. It reminds me of a friend that passed away, Daniel Griffiths. It reminds me of the wild times.
The 4th Branch, Immortal Technique
I also love hip hop, especially it’s conscious, political and says things that we rarely hear. Immortal Technique is an independent rapper in America who refuses record deals, he holds his own. This song particularly resonates with me because it’s about the Palestinian struggle, it captures the situation in all it’s horrific truth. When I was travelling in Palestine this was a soundtrack for me, in a strange way it gave me hope that someone was writing music about it and that was reaching people that might not know.
https://www.viperrecords.com/artists/immortal-technique/
Shame, Young Fathers
Young fathers live. Wow, I dont have the words. I saw these guys at Clwb Ifor Bach, I had no idea and instantly fell in love with their music, I’d never heard anything like it in my life. Shame – has had a massive influence on my work, I use it in most of my workshops, it’s urgency really inspires me. I LOVE the video too.
Let them Eat Chaos, Kate Tempest
Kate’s a force of nature an important artist of our times – she always pops up at the right time, she inspires the shit out of me and puts me back on track. She’s a friend of mine and I’ve loved seeing her grow and smash it over the years. She’s reminds me to be true to myself, the past and to not apologise.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
It would have to be Shame, it makes me feel alive and full of fire. It’s a song you can run, dance, scream and shout too. That’s important to me.
Many thanks for your time
An interview with ‘The Revlon Girl’ company.
The Director of Get the Chance Guy O’Donnell recently met with The Revlon Girl company. We discussed the plays development, Edinburgh Festival Fringe and their plans for the future.
Hi pleased to meet you. Can you please give our readers some background information on yourself and your role in the arts in Wales?
Pontardawe Arts Centre
We are a small Arts venue based in the centre of Pontardawe, 20mins from Swansea. Our aim is to improve the cultural opportunities in the local area by providing a platform for the more striking shows within the arts. Annually we deliver approximately 60 professional shows encompassing drama, comedy, live music and children’s theatre. We also provide development opportunities to improve creative writing, script writing and song writing. We are involved in supporting emerging companies in assisting them with research and development opportunities in supporting the creation of high quality theatre. We also provide the practical things such as rehearsal rooms, technical and marketing support.
https://npttheatres.co.uk/pontardawe/
Writer/Producer- Neil Anthony Docking
Neil is a writer, composer and producer, and has worked in press, radio, film and theatre. He studied music at the University of Westminster and has written for The Guardian (newspaper), Station Road (BBC Radio Drama), The Throne Room (original play for radio), Bay College, Casualty (BBC), Nuts & Bolts, Crossroads, Emmerdale (ITV1) and has been shortlisted for the BBC Dennis Potter Screenwriting Award. He has written, scored and co- produced the original independent British feature film musical, Rain and most recently wrote and produced Storyline, an original comedy for online broadcast. He is married to Maxine Evans (they met in 1984 when they were both members of the West Glamorgan Youth Theatre and, in one way or another, have worked together pretty much ever since). ’The Revlon Girl’ is his first play.
Director/Producer – Maxine Evans
Maxine studied classical acting at the Guildhall School of Music and Drama and has worked as an actor, writer, series editor and director in television, film and theatre. She directed Without a Song or a Dance (shortlisted Best Director at the Cork Film Festival) Nuts & Bolts (ITV/RTS Award winner) and Rain (a Feature Film Musical) while her writing/series editor credits include Coronation Street, Crossroads and Nuts & Bolts (ITV). She continues to develop new writing for theatre (Goat Street Runners and Who’s Coat Is That Jacket?) and has recently directed a new comedy entitled Storyline. As an actor Maxine appears regularly on television- most notably in BBC’s Call The Midwife and A Song For Jenny and as the indomitable ‘Rhian’ in Sky 1’s hit comedy Stella.
Can you tell us about the work your company is taking to this Edinburgh Festival Fringe?
‘The Revlon Girl’ is an original play based on a true story following the Aberfan Disaster of 1966 (in which 144 people were killed- 116 of them school children). Set 8 months after the disaster, the play tells the true story of a group of bereaved mothers who met to talk, cry and to even laugh without feeling guilty. At one of these meetings, the women looked at each other and admitted how much they felt they’d let themselves go. Afraid of being judged frivolous, they secretly arranged for a representative from Revlon to come and give them beauty tips.
https://youtu.be/_mGw96vnoa8
A short version of the play was presented in Covent Garden in 2015 before a full length version toured Wales in 2016 during the 50th anniversary of the disaster to overwhelming audience and critical acclaim.
getthechance.wales/2016/10/01/review-revlon-girl-october-sixty-six-kat-leslie/
Following what we think will be a successful debut at Edinburgh, the play transfers to the London stage in the Autumn for a 4 week run at the prestigious Park Theatre.
https://youtu.be/9DDgYUu4cPo
Wales Arts International who have funded some of the companies this year state,
“The idea is to help the selected Welsh companies to present their work at the Fringe in the best possible way – with the best conditions – and, importantly, to connect with international promoters and programmers participating in the British Council Edinburgh Showcase.”
Why is their support important along with Arts Council Wales and British Council Wales?
As with the many people who have already said that ‘The Revlon Girl’ has worldwide appeal because it is a universal tale with enduring themes that is as much about courage as it is tragedy (and is a story told by women i.e. just over half the global population) I would only add that ‘The Revlon Girl’ exists in part- given that it’s a human story about one of the worst man-made disasters in history- to remind ourselves how indifference is the source of inhumanity and to ensure that this kind of thing never happens again (in fact, on its first outing in 2015, we were surprised just how many overseas audiences came to see it and were bowled over by the story and couldn’t believe that it happened at all)
However, most recently, the play has taken on a chilling- almost prescient – quality; something that has struck not just the writer but also the director and cast in the wake of the Grenfell Tower disaster in West London. Since the play in part explores and illuminates the reasons why disasters like these happen (and why, sadly, they are going to continue to happen) some sections of the play now make stark reading. Indeed, amidst the news reports of the tragedy itself and the subsequent public anger, the writer remarked recently: ’after Grenfell, people are going to think I’ve rewritten the speeches… like Rona’s: “Put up a memorial if you like; in forty or fifty years nobody’s going to remember what happened here anyway. It’ll be something else by then. Another disaster waiting to happen. But it’ll be the same people who’ll say there’s nothing to worry about. Those who’ll be far away and stand to make a lot of money…” ‘
The point is: anyone who has seen ‘The Revlon Girl’ will tell you about its worldwide potential. But that’s a tough mountain to climb. But now, with the help of ACW, British Council et al, it’s time to get out the climbing gear and realise that potential.
The festival features a huge range of productions and there is great deal of competition for audiences, why should audiences come and see your company’s work?
If you’re intending on seeing only one play at the festival, then ‘The Revlon Girl’ is it. Not just is it one of the most moving pieces of theatre you are ever likely to see, it is also one of the most up-lifting. In a sense it has all the hallmarks of a classic (i.e. it is a good story told well by an amazing cast- no gimmicks, no tricks) and fans of Arthur Miller, J.B. Priestly, John Osborne, Clifford Odets, Tracy Letts, Edward Albee, Aaron Sorkin and even David Mamet (or, to put it another way, anyone who likes their drama to be acute, moving, funny and enduring)- should come see it.
Welsh artists/Companies will be showcasing a range of art forms including theatre, new writing, site-specific work and contemporary dance. In your opinion is there anything that is distinctly Welsh which links them?
Difficult to comment at this stage since we haven’t seen each other’s work but I guess there’s one thing I can say for certain: having read about what’s going up and chatting with some of their creators, the one – distinctly Welsh- thing that links them is the sheer diversity of ideas. (I don’t know if there could be anywhere else – outside London of course- that could produce such a breadth of creativity and activity)
What would you recommend seeing from the other Welsh/Wales based companies going to this year’s festival or perhaps the festival as a whole?
I’d recommend seeing them all! And soon!
What do the artists and companies do when they aren’t performing?
Generally speaking, the cast are working all year round doing other jobs like providing voices for CBBC (Michelle McTernan) or appearing in the P&O ads being Rob Brydon’s wife (Zoe Harrison) or shooting new shows for HBO (Antonia Kinlay) or else appearing on stage and screen in a variety of roles (Charlotte Gray, Bethan Thomas). The director (Maxine Evans) is also known as an actor (Call The Midwife, Song For Jenny) and has just come back from shooting series 6 of the Sky 1 hit ’Stella’ by Ruth Jones, playing the indomitable ‘Rhian’.
Other than that, it’s all the things you do in the arts: getting inspired, developing new work and looking for money down the back of the sofa!
What’s the best Fringe show you’ve ever seen?
This is our first time at the Festival so looking forward to answering this question in full next year!
Thanks for your time
Top Tunes with Gary Owen
Hi Gary great to meet you, can you give our readers some background information on yourself please?
I’m a playwright. My family are from Pembrokeshire, I grew up in Bridgend, and I live in Cardiff. Mostly recently I’ve written Iphigenia in Splott for the Sherman Theatre, Violence and Son for the Royal Court, and Killology for both the Sherman and the Royal Court. Right now I’m working on a new version of Chekov’s classic comedy The Cherry Orchard, which relocates the play to Pembrokeshire in the very early 1980s. It’ll be on at the Sherman in October.
http://www.shermantheatre.co.uk/performance/theatre/the-cherry-orchard/
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I’ve actually got a playlist called “Just Great Songs!” – with the exclamation mark and everything – and I’m listening to that. Right now it’s playing “In Every Dream Home, A Heartache” by Roxy Music. A title I will almost certainly steal for a play one day. And now it’s playing “Glosh” by Cotton Wolf, from their amazing new album “Life in Analogue”.
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why?
On any day it could be any of dozens of other records, but for today. I find it almost impossible to work in silence, but at the same time if I’m going to work to music it can’t be too engaging, or it’ll distract me. So I’ve got a whole load of records that are maybe not quite music, or just very low key music, that I put on when I need to work. The top one is Brian Eno’s “Music for Airports”, but I use a lot of his ambient albums, especially “Discreet Music” and “Neroli”.
And then there’s a brilliant album called “Electric Enigma”, which is field recordings some guy made by going out into the desert and sticking up a big antenna so he could record radio noise made by cosmic rays and the solar wind and the Earth’s magnetic field. It’s available for free from the Internet Archive and it’s very beautiful.
https://archive.org/details/ird062
And I’ve got a CD-R called “Buildings”, which is two hours of recordings made by sticking contact mikes to buildings with lifts in them. So it’s two hours of lifts, going up and down buildings. Simon Proffitt gave it to me and I don’t know where he got it from. I worry he made it himself. Anyway it’s gorgeous.
“Bendith” by Bendith. Bendith are a Welsh folk supergroup made up of family trio Plu, together with Carwyn Ellis, mop-topped singer from psychedelic pop wonders Colorama.
They came together to make music mostly about Carwyn’s childhood in Carmarthenshire. There’s a lovely documentary show about the project on iPlayer which features live versions of the songs, and lots of pics of the villages and houses Carwyn’s family lived in, lots of elderly men in barns and sheds in the 1970s, and I’ve got a lot of very similar photos of my family in Pembrokeshire. And the music is so breathtakingly beautiful it stops me in my tracks every time I hear it. Not an album I can work to.
“Fantasia on a Theme from Thomas Tallis” by Vaughan Williams. Vaughan Williams is a deceptive composer in that he seems very catchy and undemanding and writes actual tunes (which is probably why I like him) but there’s a huge melancholy in much of his work (which is probably why I like him). “Fantasia…” was written in 1910 and it is, as its title suggests, a fifteen minute riff on a tune written in 1567 by the Elizabethan composer Thomas Tallis. Aside from being straightforwardly beautiful music, I love it because there is something glorious and heroic about these two men, collaborating across four centuries, together creating something neither could have made alone.
“Night Thoughts” by Suede. I have loved Suede since they and I were skinny indie boys in the 90s. Now they are chiselled indie men and I am a haggard old wreck, but I love them still. “Night Thoughts” is their latest album and I think it might be their best.
https://youtu.be/oeWEW3i_Ldg
It’s nostalgic and sentimental and over-blown and glorious. They made a heart-breaking film to accompany the music that turns the album into what we now call a visual album. I was lucky enough to see a screening of it at Chapter, after which Brett and Mat did a q&a. I couldn’t ask them anything as I was too much of a sobbing mess.
“Jesus’ Blood Never Failed Me Yet” by Gavin Bryars. This is a 70 minute piece based around a loop of a homeless man singing a brief refrain, which Bryars recorded I believe in Elephant & Castle in 1971. And what Bryars did was to build up an accompaniment to the man’s voice – gradually he is joined by brass, strings, layers of harmony and eventually Tom Waits turns up and sings along with him. There’s something profoundly deceitful about it. No-one really took this man and lavished the care and attention and love he deserved on him, as they did on this snatched recording of his voice. So the piece is a comforting lie. And yet – it is irresistible. It is beautiful. I fall for it every time I hear it. In my guts I feel it is a wonderful tribute, even as I think it is a lie.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
“Music for Airports” because I need it to work. But then, it’s not proper music. I could just work next to a lift and have Bendith to listen to. Yes, I’ll probably do that.
An interview with Gareth Clark
Hi Gareth pleased to meet you. Can you please give our readers some background information on yourself and your role in the arts in Wales?
Hello… I’m Gareth Clark and I work with Marega Palser under the name Mr and Mrs Clark. We make theatre performances and community art projects to share some of our thinking about the way we live and interact with our surroundings. The Clarks have been making performance work since 2006 and we are constantly trying to develop the way we make work so that it is surprising or engaging in different measures…. If that makes sense.
Thanks Gareth, can you tell us about the work your company is taking to this Edinburgh Festival Fringe?
(F.E.A.R.) is a solo show. It’s the first time we’ve produced a solo piece of work and it came from the research I’d done during a Creative Wales Award. It’s an autobiographical show that examines the multiple layers of fear used to control us in childhood and in our adult lives. It’s a direct and sometimes revealing account of how public information films, like those warning us against strangers, and news accounts of terror attacks constantly feed a wariness of other people. How distrust and fear perpetuate loneliness. It is a direct confession of fear from a man conditioned never to talk of such things and I think this opens up the debate about men’s mental health and our willingness to discuss our inner most feelings.
getthechance.wales/2017/03/01/bsl-review-f-e-r-mr-mrs-clark-production-chapter-arts-centre-stephanie-back/
getthechance.wales/2017/03/01/f-e-r-review-helen-joy/
Why is the support of Arts Council of Wales, Wales Arts International and British Council Wales so important?
Edinburgh is a competitive place. The very best are there and it costs a lot of money. The support is essential to help offset some of the risk companies take. However the opportunities are great. Four weeks at the fringe is like a years worth of business in one short hit. The number of people, promoters and producers attending make the festival an essential part of the calendar. Recognising that Welsh companies should be represented makes a lot of sense as the opportunities that are created beyond the fringe are excellent.
The festival features a huge range of productions and there is great deal of competition for audiences, why should audiences come and see your companies work?
That’s a good question and one that we have to constantly ask ourselves. This show. (F.E.A.R.) is a timely reminder that we are being manipulated through some of the press and political powers. There is a strong suggestion that uncertainty and fear allows governments and certain politicians to push through strong and divisive mandates. We’re seeing it across the world and we see it more and more in this country. I think now is a prime opportunity to talk about fear so that we can start discussing hope. However there is a strong lobby that thrives from chaos and war and that is something we have to overcome.
Welsh artists and companies will be showcasing a range of art forms including theatre, new writing, site-specific work and contemporary dance. In your opinion is there anything that is distinctly Welsh which links them?
I’ve not seen all the work. What I always get from watching Welsh companies is the incredible sense of passion. I think Wales has a thriving theatre scene that goes somewhat unnoticed… I think the same of the North East of England too… and I believe it’s time to shake the system up a little.
What would you recommend seeing from the other Welsh/Wales based companies going to this year’s festival or perhaps the festival as a whole?
I’ve been so head down working and trying to sell this show I’ve barely looked at the programme. However I would always recommend what Dirty Protest are doing and I particularly like the writing of Alan Harris. I think Revlon Girl will be on our radar as would fellow Newportonians Flying Bridge. At Zoo venues this year Liz Agiss is performing Slap and Tickle and it’s a real gem of a show. And whilst in Edinburgh I can never resist seeing Stewart Lee who never fails to delight in a subversive masterclass of comedy and Mark Thomas is always inspirational.
What do the artists and companies do when they aren’t performing?
There is always something to do. The morning is generally social media hype. Selling, prompting, reminding, sharing reviews online. Then we take to the streets and hand out fliers for the show usually picking our some key spots or performances that we think liked minded people might attend. The great thing about Edinburgh is seeing loads of shows. We will go to something everyday and sometimes see as many as five shows… supporting other companies in the hope they will do the same for you. Eating and drinking is added to this with some sleep but that how the four weeks will shape up.
And finally what’s the best Fringe show you’ve ever seen?
There are so many. In 2015 it was On Track – Kristien De Proost at Summerhall. She ran for 70 minutes on a running machine whilst directly addressing us and changing costume and shoes. It was mind blowing, life affirming and challenging. I went twice.
Credit: Mirjam Devriendt
Thanks for your time Gareth and all the best for the festival
“Why I am a 3rd Act Critic” by Barbara Michaels
3rd Act Critic Barbara Michaels gives a personal response to being a critic with Get the Chance.
With over half a century of reviewing under my belt, I can hardly remember a time when I wasn’t passionate about both music and theatre. This was intensified when I got my first job on a local paper. I was eighteen, as the most junior member of the staff – and the only female in the days when women on newspapers were few and far between. I was expected to cover tasks such as weddings, flower shows and (to my delight) amateur dramatics.
This was a wonderful training ground which led to me covering professional theatre on my second paper. My big break came later, when I was working freelance and also running a syndication agency. The reviewer covering a first night ballet performance at the Royal Opera House at Covent Garden was ill and asked if I could do it. I have always loved dance but had never previously reviewed a dance production so cut my teeth on the Creme de la Creme. To this day dance is my favourite of all the art forms and – like all the arts – underfunded, if I had the money (which, as an OAP, I don’t) I would support.
Opera in Wales is still regarded by some as only for the elite. This is far from being the case. Please give it a try! We are so fortunate in Wales to have the WNO – a world-class opera company performing in a wonderful venue. Their production of Richard Strauss’s Der Rosenkavalier, which I reviewed recently, was as near perfection as you are ever likely to see.
getthechance.wales/2017/06/18/review-der-rosenkavalier-wno-wales-millennium-centre-cardiff-barbara-michaels/
Life is busy for me. As well as reviewing I edit a community magazine and last year published my first book for young children, entitled WHAT’S THE MATTER WITH SLITHERS? The publication of the book, shortly;to be featured in a Cardiff book festival, coincided with the birth of my first great granddaughter Chloe Jo, and I am now expecting another great grandchild.
An Interview with Des George, winner of the Best Promoter, Rural Touring Awards.
Photographic credits Keith Morris www.artswebwales.com
Hi Des great to meet you, can you give our readers some background information on yourself please?
Hi my name is Des and I am based at Neuadd Dyfi a venue in West Wales.
The venue you support is called Neuadd Dyfi and is in West Wales. how is the venue used by the local community?
Over the last 20 years we have worked hard to create a flexible space. Flexibility is the key. A community hall has to attempt to do all things for all. Though there are some compromises we manage to hold full scale pantomimes, art exhibitions, community lunches wedding receptions play groups dance theatre workshops, Zumba Women’s institute and blood donor sessions.
Theatre Rum Ba Ba performing “L’Hotel at Neuadd Dyfi, Aberdyfi
How did you get involved in supporting Night Our performances at Neuadd Dyfi?
I met the legendary John Prior at a village hall forum around about 1999 he suggested Frank Hennessey & Friends we had a superb “Night Out “ and I was sold on the concept
Night Out financially underwrites the majority of the cost of booking professional touring work for smaller venues, community halls and schools. Would you be able to book work in your venues without Night Outs support?
We do book work in our hall without Night Out support but if we didn’t have their help this would severely restrict the range and quality of the events we put on. Night Out gives us and the performers the confidence to “be bold”
Your venue has a very diverse artistic programme including family productions, folk music, musical cabaret, adult drama and opera. How do you decide on what type of work to programme in your venue?
It would be great to say that it is based on sound market research and a deep understanding of the Arts. To be honest is largely what tickles our fancy. For the last three years I have attended the National Rural Touring Forum conference which has been excellent for seeing showcased examples some of which are in their development stage. Hosting an event that has been through the Night out vetting procedure is also a good filter. Variety and quality are the key.
Congratulations on winning the award for Best Promoter in the Ticket source Rural Touring Awards. The awards recognise the valuable work of productions, venues, promoters, schemes, and staff in the rural touring sector What qualities would you say are required for a successful promoter?
Research, marketing and being prepared to take risks. Develop and look after your audience. Create a welcoming atmosphere. Think about the layout most appropriate for the show theatre, cabaret , in the round. This can make a great difference to the success of the event. Be prepared to take risks and move on from failure.
We spoke to Peter Gregory, Head of Night Out at Arts Council Wales about the Night Out scheme and Des.
How does Night Out as an organisation support organisations such as Neuadd Dyfi to programme high quality touring productions?
Des George and the team of volunteers in Neuadd Dyfi work tirelessly organising a myriad of events and activities for their community. They use the Arts Council of Wales’ Night Out scheme to take away the financial risk of booking professional shows. In the same way that many of the major Theatres and Arts Centres get funding Night Out allows small community halls to book amazing shows. Night Out provides advice ,support and will often ensure that high quality companies that normally tour to Theatres also provide high quality shows for community halls.
http://www.nightout.org.uk
Des recently won the award for Best Promoter in the Ticket Source, Rural Touring Awards. In your own words why do you think Des won this award?
The commitment from Des is second to none and the feedback we get from the companies who perform in the hall is always positive. Not only does he ensure everything is correct technically, the performers are fed and watered and welcomed into the local community. In the words of one happy company “ Des is a God amongst men”
Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to accessing high quality productions for the audiences you support?
There is often a perception that because it is held in a village hall that it will be an amateurish production. There is so often the statement “Oh I don’t like that sort of thing” . In today’s environment of every home having widescreen TV’s, iPods, iPad’s, streaming videos, instantly obtainable music of any genre it is a battle to show that a shared experience at a live production is special
If you were able to fund an area of the arts in Wales what would this be and why?
For us I would like to develop our youth theatre provision. Active involvement.
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
I think that ACW has been absolutely right in concentrating on maintaining their support for performance. They have been good to us in a number of our capital projects but without the performances we wouldn’t have a community hall we would just have a hall. The recent report that support for the Arts is being strengthened in the regions not just London centric is very encouraging.
My advice to a potential audience member is do take the time to read that poster, have a look at what’s on locally and make that small bit of effort needed to venture out for a “Great Night Out”.
Thanks for your time Des
An interview with Rachel Trezise
The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to writer Rachel Trezise. We discussed her career to date, theatre in Wales, and access to literature/cultural provision.
Hi Rachel great to meet you, can you give our readers some background information on yourself please?
I’m a writer from the Rhondda valley. I’m most well known for winning the inaugural International Dylan Thomas Prize in 2006 with a collection of short stories about life in South Wales called ‘Fresh Apples.’
So what got you interested in writing and the arts?
Initially I wanted to be a journalist. I started writing a music fanzine when I was fifteen because I loved music and writing about it so much. Between the time I left school and throughout university I wrote my debut novel in my spare time because I couldn’t wait to start writing for a magazine or newspaper. The novel was published just before I left university and I stuck with writing fiction as well as some freelance journalism.
As a writer you work across a variety of forms from novels, short stories to plays. How do the different disciplines differ for you?
There are different levels of involvement and different amounts of time required to complete each. Short stories are my favourite simply because of their brevity and the fact you needn’t have to hold a whole world in your head which you have to for a novel and to some extent a play. But the writing or the aim of the writing is always the same; to realise each character and their circmstances.
Your first play Tonypandemonium for National Theatre Wales was autobiographical and from a predominantly female perspective. I believe the cast of your next play ‘We’re Still Here’ for NTW is predominantly male and developed from first hand interviews with steelworkers? Can you discuss how this process differs?
Tonypandemonium National Theatre Wales
Credit Mark Douet
Actually it doesn’t differ. Although Tonypandemonium was autobiographical and We’re Still Here is a form of non-fiction both works come via my own world prism. I’ve worked hard to ensure the steelworkers in the play reflect the people I met and spoke to in Port Talbot but I always try to make sure my characters are authentic to their own locality and situation in any case. What is different I suppose is that the characters in We’re Still Here are predominantly male. But they are working class men working in the rapidly-vanishing realm of heavy industry which, much like the de-industrialised setting in Tonypandemonium is an environment that’s underrepresented in literature and theatre. I’ve tried to make the characters as honest and soul-bearing as the men I interviewed and to completely avoid the more common strong and silent male character trope we see everyday in film and on TV.
For ‘We’re Still Here’ you are working with Rhiannon White from Commonwealth Theatre. Much of their practice is a socially engaged form of theatre making which has obvious links to NTW’s hugely successful production The Passion with Michael Sheen. Do you feel involving citizen in this way can create new audiences for what can be seen as an elitist art form?
The Creative team on ‘We’re Still Here’ Kully Thiarai, Evie Manning, Rachel Tresize and Rhiannon White
Of course. From start to finish we’ve engaged and will continue to engage with the people of Port Talbot. We’re making a show for the town rather than just about it. In fact Commonwealth Theatre and NTW have set the ticket price lower for residents of Port Talbot which is a very direct way to engage a local and perhaps previously unaccustomed audience and we have a large community cast. NTW worked in a similar way during the run up to Tonypandemonium at the Park and Dare in Treorchy, creating a community cast and inviting the community into rehearsals which gave Treorchy some ownership over the event.
https://www.nationaltheatrewales.org/were-still-here
Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists or specifically writers?
Nothing that isn’t already being identified and addressed but there are always factors that are beyond our control. I loved doing an intensive creative writing workshop with Literature Wales and the South Wales Literature Development Initiative throughout 2013, working mainly with three groups: Young carers, Comprehensive school students and Valleys Kids. All the young people I worked with were eager and receptive but I remember a couple of young people outside one of my Valleys Kids classes who didn’t have the confidence to come in and have a go and whatever I said I couldn’t encourage them because they thought creative writing was somehow academic. I just think it’s a bit of a tragedy that an initiative like that hadn’t reached them a bit earlier in their lives and made the arts seem less threatening.
southwalesliterature.co.uk
There are a range of organisations supporting Welsh and Wales based writers, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
Yes, it does feel healthy to me at the moment. My experience, although more with my literature than with drama work, is that it’s been difficult to get work reviewed widely. The literary quarterlies in Wales are always a few months late, the Welsh newspapers aren’t interested in reviewing the arts in any depth and the national media might not necessarily understand the setting of Wales-based work. (I still remember a headline from The Telegraph the day after I won the Dylan Thomas Prize: ‘Rural tales of despair scoop £60,000.’ I wouldn’t in my wildest dreams describe the post industrial south Wales valleys as ‘rural’.) All these issues make getting your work out there difficult but I know that Get the Chance, Wales Arts Review and NTW have been doing a lot of good work in this area.
If you were able to fund an area of the arts in Wales what would this be and why?
Libraries. My life would be very different had I not discovered Treorchy Library whilst my mother was a cleaner there and I’d like to think that every child has a well-stocked library within walking distance where they can access thousands upon thousands of worlds very different to their own.
Treorchy Library
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
Work on the script has been manic for the last few months so I haven’t got out much. One thing, which of course it was my duty to see, was an adaptation of one of my own stories ‘Hard As Nails’ by three Treorchy Comprehensive School drama students in association with RCT Theatres and Motherlode. The girls adapted the story, directed and acted in the fifteen minute performance at the Park and Dare and the Millennium Centre. It just made me very proud to have such talented and enthusiastic young people coming straight out of school and diving so fearlessly into the arts.
Many thanks for your time
An Interview with photographer Nigel Pugh
Hi Nigel great to meet you, can you give our readers some background information on yourself please?
I’ve been a practicing artist for twenty four years, concentrating solely on photography for the last seven years. I was born in Mid Wales the woods and rivers that surrounded me were my playground, place of solace and exploration. I absorbed the wildlife and it’s nature, whilst intuitively responding to the ever-shifting light upon the abundant textures and landscapes. During eighteen years of living in Mid Wales I began to note the ecology dwindling, and left wondering, why? Forty years on I estimate that 80% of the river ecology alone, has disappeared.
I went to Art College to study photography, typography and illustration. Four years later I returned to Wales to build and run a successful arts business in Cardiff. I became a father to two lovely children then returned to explore environmental and social themes in an attempt to seek answers to unresolved questions. Photography appeared to me as a modest way to retain a little bit of an ephemeral state; a record of what has been lost, to be lost, or regained. I began to explore my photography practice as my part to play in the promotion of living within environmental constraints and the promotion of a more sustainable, symbiotic relationship with nature, the promotion of a more socially equitable society. I chiefly focus on environmental and social themes; the actions, narratives, interactions of individuals and their relation to their environment and community. I have sought to promote sustainable community resilience, to live within environmental constraints. My nature photography usually documents and promotes native ecology and the worth of its reinstatement. Over many years I have campaigned for, promoted and supported many environmental organisations, that adhere to the above principles.
So what got you interested in the arts and specifically photography?
My fathers relationship with us was often via a lens, he was a very good photographer. We had several family albums in our home, since I can remember, when at the family home they would always be poured over. I loved the documentation, the relationship with moment, place, time and people. I was always praised for my art work, never imagined doing anything else. The hardest thing was settling on a medium. Even though photography was part of my degree, it took having children and being a full time dad to return to this medium. I never liked the blank canvas, although I have created, sold, exhibited, both 3D work and illustration. Photography re engaged my sense of community, took away the blank canvas, fitted perfectly with my social and environmental campaigning and activism. Initially as a medium of evidence, then increasingly as a component part of story telling, socially engaged arts practice, given over to creating positive change.
As part of Refugee Week you are currently showing at Wales Millennium Centre with an exhibition called ‘Creating Sanctuary’ can you tell us more?
‘Creating Sanctuary’ identified human commonalities of purpose, work, security of home, family, friends, community, creativity, camaraderie, healing, sharing loss and grief. The subjects sort shared the commonality of volunteering their time to working with refugees. Refugees, whoever they are and regardless of where they are from, have had their basic human requirements wholly or partly removed. Creating Sanctuary recognises and illustrates the core human requirements that volunteers, or the ‘sanctuary makers’ are assisting to recreate and reinstate. The exhibition was co-ordinated to coincide with Volunteers’ Week and Refugee Week and my hope was that the project will encourage others to accept and assist in the integration of refugees in Wales, and lead to increased voluntary action; to further Wales’ journey in becoming a ’Nation Of Sanctuary’. The exhibition features six volunteers that have worked with refugees in different ways, from right around Wales. Three portraits of each, loosely based on the themes of, voluntary work, home and community. These portraits are then followed by quotes extracted from written responses to seven questions that I asked of the volunteers before taking their portraits.
“I have held a teenage girl while she cried for her mother who she will probably never see again and heard women speak in hushed tones of their past that they struggle to share even with women who suffered the same. These people are just people, alone in a new place, they are professionals, students, mothers, daughters, sons, fathers.”
Catrin – The Birth Partner Project
Barry & Cardiff, South Wales.
https://www.wmc.org.uk/Productions/2017-2018/350509/350514/
Link to an audio interview with Nigel on FFoton.
https://www.ffoton.wales/interviews/2016/5/nigel-pugh
‘Get the Chance’ works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists or audiences?
The Arts Council; I feel is doing its best in ‘out reach’ and ensuring accessibility to all. It will always be extremely difficult to cover all bases, due to cost. All Arts Council funded Arts Centres should do their utmost to reach into disenfranchised, or non-engaged, disadvantaged communities.
If you were able to fund an area of the arts in Wales what would this be and why?
If I were to wave a creative wand, it would create ‘creative hubs’ central to all constituencies. These hubs would have affordable co working spaces, and would house access to facilities to deliver a wide range of the ‘creative arts’. Many a creative is born from a bedroom with an online connection, a computer, and the related software to be able to explore, learn, create and deliver. This access should not be a privilege. Think ’Creative Arts Youth Centres’
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
In all honesty, I barely have time to see enough of the Arts from right across Wales. I am usually tied up with what I am trying to achieve, whilst parenting two children. What does excite me is, if all had the realisation that where ever you are from in Wales if you raise your voice Welsh politics is extremely touchable. If you work together we can create more localised viable economies which include the Arts as a vocation, as being viable, without having to permanently move to a city region. Or if you wished to return to your birth town with your acquired skills it is an option.
Days of Melancholy © Tatiana Vinogradova
As a photographer living in Cardiff I was lucky enough to be included in the ‘diffusion festival’. The exhibition or works that touched me the most within ‘diffusion’ was Tatiana Vinogradova’s ‘Days of Melancholy’ a series focusing on the life of gay people in Russia. Works such as this strongly illustrate the relative freedoms that we do have in Wales to express and be, whoever we wish to be; this should be a right, again, not a privilege.
Lastly, the best things that I have experienced of late on a personal level, were 1) being awarded an Arts Council Grant, 2) getting to work with caring compassionate people from across Wales, 3) completing a project and seeing it on the walls of the Wales Millennium Centre, 4) how positively ‘Creating Sanctuary’ has been received.
It was a journey, that I fully intended to extend further, but whole heartedly not just for my own wellbeing, as my photography is not separate to my activism, or to who I am.
http://www.nigelpugh.co.uk/-/galleries/social-documentary/creating-santuary-final
nigelpugh.co.uk
Nigel gives an overview of the images from ‘Creating Sanctuary’