You can listen to Barbara reading her review at the Soundfile below just click on the link.
Madam Butterfly Wales Millennium Centre Cardiff
Music: Giacomo Puccini
Libretto: Guiseppe Giacosa and Luigi Illica
Director: Joachim Herz
Revival Director: Sarah Crisp
Reviewer: Barbara Michaels
(4 / 5)
That most heartrending of operas, Puccini’s Madam Butterfly is staged by Welsh National Opera as the second in their Love’s Poisoned Chalice season. Following on after La Boheme, which opened the season, Butterfly is, like the former, one of the most popular operas and as a consequence – in these days of cuts to the arts funding – one of those most often performed.
Once again, it is a case of reach for the tissues as the story of the Japanese fifteen-year-old geisha, Cio-Cio San, who gives her heart to, and marries, a bounder of an American naval lieutenant, one Benjamin Franklin Pinkerton who doesn’t take the marriage seriously, unfolds towards its tragic end. In restaging this opera which they first performed back in 1978, WNO have wisely adhered to the original format directed by Joachim Herz and first performed at La Scala Milan in 1904.
Sepia toned sets emphasise that this is old Japan – and the gulf between the two worlds and their values runs as an undercurrent throughout, at times becoming more prominent. The political undertones are emphasised throughout the libretto, epitomised by recurrent musical themes in the orchestration, as well, as in the repeated playing of the Star Spangled Banner.
This time round WNO has honed and polished their performance of the poignant story set to Puccini’s wonderful score to a state of near-perfection. This is due in no small part to Karah Son’s portrayal of the central role of Butterfly. Not only has the South Korean soprano a voice of the utmost clarity, with a seemingly effortless ability to soar to the high notes which the role demands, but Son excels both in Act I, as the innocent young girl who believes in true love everlasting (only to be thoroughly deceived and let down by that cad and absolute bounder Pinkerton) and in Act II, where she achieves the difficult shift to the more mature Butterfly, bringing depth to the tragic denouement This requires not only a change in characterisation but in style of singing, and this Son does, notably so in the beautiful aria One fine day..
In the role of the bad guy (and what a cad Pinkerton is to abandon his young wife so callously) Jonathan Burton’s tenor is pleasing, particularly in his duets with Son. His portrayal of the callous and worldly Pinkerton contrasts well with the naivety of the young Japanese girl who has never been further than Nagasaki, but Burton does at times lack facial expression. One could perhaps argue that this is intentional on the part of the director in that Pinkerton is a reflection of the attitudes that existed during that era. Nevertheless I would have liked a tad more expressiveness from Burton, as this can at times make him appear a tad wooden in the role.
Welsh baritone David Kempster brings gravitas to the role of the Consul who does his best to avert the tragedy, while as the bowler-hatted marriage broker Goro, Simon Crosby Buttle skips around the stage in great form. As ever, the WNO chorus is an added bonus, particularly so as the posse of Butterfly’s geisha friends in Act I, and the rendering with the orchestra, under conductor Lawrence Foster, of the humming chorus in Act II.
A production honed to near perfection which should not be missed. Catch it if you can.
Runs at the Wales Millennium Centre 17, 18 February, then touring,
All posts by Guy O'Donnell
Top Tunes with Caroline Finn, Artistic Director of National Dance Company Wales
Top Tunes is a new feature for Get the Chance in collaboration with Outpost. http://www.outpostrecords.co.uk
The Director of Get the Chance Guy O’Donnell recently got the chance to chat to Caroline Finn, Artistic Director of National Dance Company Wales. Caroline discussed her career to date, the spring 2017 tour of The Green House and choose her 5 Top Tunes!
Caroline in rehearsals with the company for The Green House
Click the Soundcloud file below to listen to the interview described.
Hi Caroline great to meet you, can you give our readers some background information on yourself please?
Hi there! Well, I am currently the Artistic Director of National Dance Company Wales, based in Cardiff. But I guess my story begins way back when I was 11 years old and decided I wanted to become a professional dancer. I went to The Arts Educational School, Tring Park until I was 18 and then moved to New York to study at the Juilliard School. My first professional job was with Ballet Theatre Munich and subsequently I also danced with ballet Preljocaj in France and Compagnie Carolyn Carlson. In 2009 I decided to focus on working as a freelance choreographer and travelled all over the world making works for various companies before coming here to Cardiff!
Thanks, 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 am currently only listening to the soundtrack for my new work, The Green House, which will form part of our Spring tour this year. It’s all-consuming!
Caroline in rehearsals with the company for The Green House
Music has always played a big part in my life- I learnt to play the piano and violin as a child and of course at Juilliard I was constantly surrounded by and influenced by some wonderful musicians.
In terms of choreography, the inspiration for my work often comes from hearing a particular piece of music which immediately generates stories, emotions or images for me. I then try to build on that, finding other musical tracks which compliment it. The soundtracks to my works are often quite eclectic and can span a range of musical genres from Balkan folk music to Radiohead. The Green House for example has a bit of Max Steiner (look him up – you’ve almost certainly heard his work before), mixed in with Shostakovich and a Brazilian film soundtrack. It’s incredibly varied!
We are interviewing a range of people about their own musical inspiration, so we want to ask you to list 5 records/albums which have personal resonance to you and why.
1 Beethoven Symphony no. 7 in A major
2 Beirut- the Gulag Orkestar
3 Radiohead -Creep
4 Travis -The Man Who
5 Olafur Arnalds -Stare
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?
I think I would have to say Creep by Radiohead. Maybe because listening to it takes me back to a very specific time and place in my life and I think that so many people can relate to those lyrics. I know there have been many cover versions over the years but I particularly love Frank Bennett’s because he takes it right back to the 1950’s. Surely it’s the measure of a great song when there can be such incredible cover versions?
I actually used Frank Bennett’s for a piece I created for Phoenix Dance Theatre in 2015 called Bloom.
Spring Tour 2017 – The Green House | Profundis
National Dance Company Wales presents an evocative double bill of new work Spring 2017
The Green House
Caroline Finn
What happens when we prune ourselves to perfection? Caroline Finn takes us on a nostalgic journey, asking us to peer into The Green House. On a twisted TV set, characters discover the fine line between fantasy and reality.
The Green House is Finn’s second theatrical work as Artistic Director for the Company, following the overwhelming success of Folk in 2016.
‘Finn knows how to choose a resonant image, and how to orchestrate emotions’ The Guardian
Profundis
Roy Assaf
“It’s about Profundis. It’s not about Profundis…”
Playful, vibrant and provocative. Profundis dares us to ask questions about what things are, and what they are not. Roy Assaf’s thoughtful movement is accompanied by whimsical wordplay and an exotic soundtrack featuring Egypt’s Umm Kulthum.
‘a tapestry of exquisitely detailed gestures adorned with sparkling stories’ Buzz Magazine
Suitable for age 12+
* Watch Dance Class
12.45 – 2pm
See * below for dates
Get a unique behind-the-scenes look at how our dancers prepare just hours before a show.
You can observe, sketch, record and photograph the ballet or contemporary class on stage, giving you a glimpse into NDCWales life.
Perfect for dance students, artists, photographers and anyone interested in peeking behind the curtain. Expand your portfolio, practice drawing from movement or just observe with interest.
Free to attend but please book a space – email megan@ndcwales.co.uk for more info
Discover Dance
#GetDancing with National Dance Company Wales
The perfect 90-minute introduction to dance for families and schools. Suitable for age 7+
More info & dates here
http://www.ndcwales.co.uk/en/what-s-on/calendar/spring-tour-2017
Get the Chance Creative Associate Jonny Cotsen on #Fresh2Deaf
Get the Chance Creative Associate Jonny Cotsen on #Fresh2Deaf
Dance is a universal language. That’s why I think it is so special. Some people choose to sing in the shower every morning but me…I dance in the kitchen to start my day, and now I have some new moves thanks to Jukebox Collective and Chris Fonseca.
I walked into Jukebox Collective Studios based underneath the railway track in town on a cold, wet and grey Cardiff day, not knowing what to expect but excited about what was ahead. I was hoping that it would be a dance class that I could follow; where I could follow the moves of the teacher and which would make allowances for my complete lack of coordination…oh, and hearing! The class was physical, emotional and ended up being more inspiring than I could have ever imagined. I have tried to do a few dance classes in the past, but this is one is definitely the most memorable.
Chris Fonseca who led the dance class is completely deaf. Chris is a London-based dancer and choreographer has defied all by continuing to teach and dance despite his deafness. He shot to fame by being part of Smirnoff Ice’s “ Keep It Moving” campaign. Whenever I saw the advert or the promo poster it made my spine tingle because of Smirnoff’s hashtag #KeepItMoving and #deafdancers. The advert reiterated the fact that dance is a universal language and like he says in the advert… “We can’t hear the lyrics but we FEEL the beat!”
After seeing the advert so much last Summer I was a) desperate to meet him and b) I wanted to make this happen in Cardiff!
I was fortunate enough that Jukebox Collective wanted to bring this experience to Cardiff. Jukebox Collective are a creative company focused on the delivery of the highest quality performing arts education, performance and consultancy. It was founded by Liara Barussi, and is recognised as a leading company for dance in the UK. Jukebox studios has a particular emphasis on the training and professional development of young people.
With the exciting news that Jukebox Collective had become a new Regularly Funded Organisation funded by Arts Council Wales, we exchanged ideas of running an inclusive group within their existing academies. I was delighted to be asked to work with them to consult and advise on how to make this happen. I have always been a big fan of their work especially their involvement with ‘Breakin’ the Bay’ conventions, an annual event at the WMC (worth checking out if you haven’t seen to see it!!).
Inspired by what they had seen of Chris from the Smirnoff adverts, they were really keen to set up the first ever deaf dance group in Wales. I met up with Sylvia Kulesza, who co-ordinated the project and a plan was hatched to bring Chris to Cardiff for an open session at the studios. The hope was that this session would inspire deaf people and Jukebox could then run regular dance sessions for deaf people. I could barely contain my excitement of the idea and loved that Sylvia shared my passion and enthusiasm for making this happen. Sylvia also came up with the idea of calling it #Fresh2Deaf!
As part of the plan, I agreed to do a Deaf Awareness workshop the week prior to the dance class for the Jukebox Academies who range in age from 11 to 19 years.
I wanted the Deaf Awareness workshop to be engaging, fun and informative. I felt it was really important for them to learn how to communicate with deaf people, to understand the right terminology and have a better understanding of deafness. The students were great. We did lots of deaf-aware games, learnt basic finger-spelling and signs, and of course each one of them got their own ‘sign-name’. I felt so blessed to do this with such lovely and passionate group of young people.
The following week was the first ever #Fresh2Deaf open session!!
As well as the students from Jukebox Academy, half of the class were deaf and we all had the feeling that we were not going let our impairment put us off because we were all there for the joy of dance. Chris was really calm and made us feel really confident. Watching someone like Chris chase his dreams is really inspiring to watch and I can see how he can influence younger deaf people.
Chris used sign-language and an interpreter relayed the message for those that did not know sign-language. The attraction that Chris has to hip-hop is magnetic! He can’t hear the music so he relies on the vibrations from the heavy deep bass to count the music while he teaches so that he can stay on beat.
“I love hip-hop music because the bass is so strong on it, and I just love that,” he said. “The structure of the rhythm is something that I really connect to easily. All it takes is one beat, and I’m there!”
After a quick and very physical warm-up, Chris taught us how tocount the beat through vibrations, so that we could stay in time with the beat. The music was blasting so loud that the bass was heavy enough for every one of us especially those that were deaf to FEEL. I was initially worried about the older deaf members in the group but they had just as much energy as the younger ones. Seeing the older member made me think that age is no deterrent to dance, the same as our disability. Jane, who is 63 years old and goes to Bridgend Deaf Club told me afterwards that it was one of the best times she had.
It was also lovely to see some of the Jukebox Collective Academy students mixing with the younger deaf people. Taylor, one of the more experienced academy students was doing basic signing and fingerspelling too. That really excited me!
After the workshop we had a Q&A with Chris (and we needed a breather!). It was really interesting to hear him speak so openly about his life, his influences, his passion and he spoke with so much enthusiasm. Since his advert has been aired, he said that people have come up to him and said they have been inspired. Chris said there have been lots of really positive responses which are really lovely and heart-warming so he says his aim is to give something back to the deaf community and get more recognition of sign language. He wanted to show the importance of deaf culture and get hearing people interested in learning dance through deaf persons experience.
I have always thought and felt that dance was something that as a deaf person is not an easy thing to do because there is that major barrier, hearing the music! A lot of hearing people think that if you are deaf then there is no way that you can dance. Chris defies that perception and you have to admire him for that. Ever since I got into the Arts, with my vision in life to make the Arts more accessible and more inclusive, I like Chris, am working daily to break down those barriers!
My final thoughts…I recently got a tweet from Cardiff’s Boiler House, a venue that does graffiti and pop-up events, who reminded me that I had a conversation with them about 5 years ago I had spoken with them about my vision to do hip-hop dance classes in Cardiff for deaf people. I totally forgot I had that conversation and it just reminded me that you have to believe in yourself to make it happen and never give up believing! I hope Jukebox Collective #Fresh2Deaf project will lead the way to make this a reality to happen in Wales.
“How do you know if you don’t try?”
Contact abby@jukeboxcollective.com for more information about #Fresh2Deaf workshops
An Interview with Elise Davison on Access and Breaking out of the Box 3
The Director of Get the Chance Guy O’Donnell recently got the chance to chat to Elise Davison Artistic Director of Taking Flight Theatre Company. Elise discussed her career to date, the arts in Wales, access issues and Breaking out of the Box 3.
This short video is an introduction from Elise Davison Artistic Director of Flight Theatre company. Elise introduced herself and briefly discusses Breaking out of the Box 3. There is an audio sound file interview with Elise below and a written one below that.
Hi Elise great to meet you, can you give our readers some background information on yourself please?
Hi, I started out as performer and toured for about 10 years living out of suitcase and having a reasonably successful career. I was also a drama teacher so that plugged any gaps on my theatre work. In 2008 I set up Taking Flight Theatre company with Beth House and in 2009 I moved to Cardiff, had my first child and I started directing. In 2010 I hung up my acting shoes and began my life as a theatre director and I love it!
So what got you interested in the arts?
My mum and my grandmother both danced to a high standard and despite some really exciting opportunities – neither of them went on to pursue it as a career and I think they both regretted it. I always thought I would be a dancer and studied ballet until I was 21. I realised, however, years before that that my real passion was for acting and so I went to Warwick University to study theatre – it was a very academic course and after graduating I felt I needed more practical training so I went to drama school in Birmingham ( I wanted to come to Cardiff then but it didn’t work out!)
Taking Flight have organised an event called Breaking out of the Box 3, I wonder if you can tell us more about this event?
Yes – it’s an access symposium focussing in particular about ways to increase access for blind and visually impaired audience members. We’ve got a really exciting line up and we will explore practical approaches to audio description and tactile access materials. We will discuss ways to access the blind and visually impaired audiences and hear about the innovative Ramps on the Moon initiative happening in England at the moment. I am really looking forward to it.
http://www.takingflighttheatre.co.uk/breaking-out-of-the-box-3/
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?
There are always barriers especially surrounding with access, but as a country need to recognise these barriers and realise that we have a joint responsibility to start breaking these down. I feel there has been a lot of progress in the last few years in Wales to tackle some of these barriers but there is still such a long way to go.
As an inclusive company Taking Flight also carefully consider their potential audiences. I wonder if you think there are any barriers for them to access cultural provision in Wales? On a positive I wonder if you can think of any examples of good practice?
One thing always strikes me as odd – there are often a lot of forums discussing access with no one who will be using that access present to say what they actually need. In 2015 TF did a lot of work with the D/deaf community in Wales to find out why they weren’t accessing theatre and how we could start to address this. The stories about mistrust of venues came flooding out. Stories of broken hearing loop, broken captions and shows billed as being interpreted not being. We realised that so much need to be done to make people trust that access would be provided before we could even start to build our audience. The blind and visually impaired audience also struggled to trust that their access requirements would be met. In addition it was hard to get the message out to the right people that shows were accessible. It was then that we started to look at our marketing and began developing BSL and audio flyers and made sure that the correct access symbols were clearly displayed.
The Hynt card is a great scheme and Sherman 5 have done some excellent work engaging new audiences.
http://www.hynt.co.uk/en/
http://www.shermantheatre.co.uk/sherman5/
If you were able to fund an area of the arts in Wales what would this be and why?
I’m going to be a bit predictable and say access but I feel so strongly about this. I feel people are put off by the cost and the fact that it eats into your budget so much. I would make access costs an extra pot which sits on top of grant limits. This is because – I believe it is a human right to be able to access the arts and sometimes this is denied due to financial constraints – or companies are forced to choose which access to provide. In an ideal world -all shows should be captioned, be BSL interpreted and be audio described – or have that provision available so that D/deaf and disabled people have the same choice as non disabled people. Access is expensive, so I would like to take the barrier of cost away so people can be freer to experiment with creative access.
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 love the arts community in Wales – it’s a wonderful place to live and make theatre. It’s a generous and support network and I feel honoured to be part of it. I’ve just comeback from an access forum (organised by Rhian Lewis at National Theatre Wales) where Jo Verrent spoke about Unlimited and it was wonderful, there were some amazing discussions, passion and desire to make a change.
http://community.nationaltheatrewales.org/group/access-forum?commentId=3152760%3AComment%3A248505
I’m massively looking forward to seeing Graeae’s production of House of Bernarda Alda especially as one of TF’s associate artists Chloe Clarke is performing in it!
http://graeae.org/our-work/house-bernarda-alba/
Thanks for your time Elise.
Review Ghost in the Shell by Jonathan Evans
(5 / 5)
Great Science-Fiction asks questions about what is going on in the time that they are made and gives us a vision of what all that will lead to. Now that it is over twenty years old, Mamoru Oshii’s Ghost in the Shell remains as a pinnacle of great science fiction by still being so relevant because it’s questions are still being asked now.
In the year 2029, the world’s international tensions are still high and the police still do their best to keep the world in as much order as they can. However technology has upped the game, now there is virtual hacking and information deliverance and speed is the name of the game. Just being human won’t cut it anymore so both sides now come with enhancements. They can now trade-in their organic parts and have them replaced with cybernetic upgrades. A brain that can have instant access to the police data logs or act as a radio, more powerful limbs etc. But there are some that are cybernetic from the ground-up. Enter The Major,a woman by appearance but everything from her hair, eyes to her brain has been manufactured. She even comes equipped camouflage capabilities that allows her to disappear.
Probably one of the biggest distinguishing aspects of the movie as well as whats played a part in making it so popular as well as recognizable is the choice to have it main character appear nude for a significant chunk of the movie. On one side, sex sells and there are undoubtedly many that simply come for the exposed breasts. However there are many intellectuals that still find merit in the movie beyond that choice. But lest focus on this part of it. Our opening sequence is the Major being built, the cybernetics, then the fake flesh, then finally the artificial skin. Early on we know that this is not a real woman before us, at least in body , you can observe at her sexualized proportions and say “That was definitely designed by a man” but here it literal on both sides, which adds to it.
Japanese animation operates at a different mentality than what the West will be used to with the Disney movies. First of all they make their movies at a lover frame rate, the West have twenty-four frames a second, while the East have sixteen, this means that they are allowed to have more moments quiet behavior rather than being in constant Ballet mode.They also don’t feel the need to have the characters in constant motion. Sometimes, or even many times they will land on a piece of framing and cinematography and have that be the shot throughout the scene, or for an extended time. It is a method of film-making that is primarily cost effective but can lead to moment of greater poignancy.
Much like Akira and Blade Runner the movie presents us with a city that is like the ones we have now, however elevated through the increase of technology. The building are more higher and technologically designed and advertisements are also everywhere however they are no longer flat projections, they have become three dimensional holograms and move around the building themselves (some even as bug as the buildings). In the slums every inch is used up to accommodate the mass population and is trash heavy and rustic.
We quickly learn that a terrorist is in Japan, one named The Puppet-Master. Who exactly he is nobody knows. They track down an inadvertent accomplice who’s a trash man trying to make money to help-out his daughter, however when they take him in it’s revealed that he has never been married and never had a daughter. This is a world where the enemy can manipulate civilians memories to make them do their tasks. It’s then quickly revealed that The Puppet-Master is actually an artificial intelligence, they simply call it him and he due to typical language conventions. What it really, or at least physically is, is electronic information.
The main theme, or at least the most prominent theme of the movie is what lies beneath. It is about pealing back the layers of what something seemingly is and getting to some sense of truth.
There is a sequence in this movie that consists of images, music and no dialog. It is shots of the city, the major moving through it, while passing she catches a glimpse of someone that resembles her at a restaurant. Nothing really comes of it and it’s not mentioned again but it plants the seeds for so many ideas. Was that a real person that the Major was based on? Is that another cyborg and her face is simply one of many identical ones? Was that even real or was that us getting a view into her imagination? I don’t know. I don’t need to know, because a crystal clear explanation would subtract from the interesting questions that I and/or someone else will come to through the watching and then we can discuss. It is the kind of scene where the robot part of your brain will tell you that it is inconsequential and should be cut, but the emotional, curious side needs it there.
With the heavy science fiction theme and images you would expect the musical score to be some kind of techno/synth style, but no. The score by Kenji Kawai is one of human chanting and traditional instruments. Nothing synthetic. A musical score can be considered the emotional layering on-top a movie, or its spirit.
The main theme, or at least the most prominent theme of the movie is what lies beneath. It is about pealing back the layers of what something seemingly is and getting to some sense of truth. Throughout the movie The Major keeps referring to “Twitch in my Ghost.” In context they are basically instincts, but it is what cannot be programed or truly logically explained in that machine way. They are those abstract feelings that have immense power over our decisions.
The Puppet-Master arranges for his body to be stolen out of the police headquarters. The team peruses and eventually, it’s just the two of them. Finally comes the encounter between The Major and The Puppet-master, taking place in some kind of old dance hall. He has gained control over a tank, which in this day and age is shaped more like a beetle. She dodges and shoots what she can but the armor is too tough, so she distracts it and then gets on-top if it in an attempt to rip off its panel. She pushes her artificial body to the limits and beyond, contorting her body to become incredibly butch in appearance, but even that is not enough, her circuits themselves rip out, leaving her limbless and only a torso.
It looks like the end but one of her colleague arrives to put the tank out of business. What is left is two beings that are no longer capable of psychical movement, only thought. In their time conversing The Puppet-Master proposes a merging to the Major, a merging of their minds.
With The Puppet-Master and The Major merged what we have now is something new. With her adult body destroyed in the fight the only replacement that could be found is a child’s one. Neither entirely him not her, their child? Where will she go now and what lies ahead of her? I don’t know. In the beginning the movie asks the question what makes us human, or what makes something living, at the end resolutions are made like any satisfying narrative but the really big one goes unanswered because it will never be answered.
In order for a ghost to be made something must first be living, right? Something must be there is whatever physical entity harbors it. Japan has a different relationship with technology than other countries. It’s more harmonious, encouraged and celebrated, they don’t fear or distrust the progress that’s been made, they’re quite proud of it. Ghost in the Shell is intricately detailed in many regards but it also operates so much in the blank spaces, leaving the audience to guess and fill in the blanks on their own steam. If you want something to flat out give you all the answered there are many other mediums that can give it to you like that. But a movie should have faith in it’s audience and that they can work things out for themselves. Besides, these questions can never be properly answered.
An Interview with Christopher J Orton.
Christopher J Orton
Director of Get the Chance Guy O’Donnell recently spoke to Newport born, writer, musician and West End star Christopher J Orton. Chris talked about training opportunities, his career to date, barriers in the arts and his new musical ‘My Land’s Shore.’
Hi Chris great to meet you, can you give our readers some background information on yourself please?
Hi Guy, great to meet you too. I was born and raised here in Wales. After finishing school I moved away for a while to study and work but now I’m back. When I left school I studied opera in Manchester and then musical theatre in London. After that I was working as a professional actor. I’m a musician too and a lot of the productions I have been involved in I have played violin, piano and guitar as well as acted and sung. I also do a lot of writing. I write plays, musicals, songs, novels. I have also set up a vocal group called The FlyBoys that I sing in and manage. We perform all over the world. I have semi-retired from acting now to concentrate on the various projects I have been putting off for years! I also, weirdly, invent and make board games.
The FlyBoys
You are from Newport and have worked on an amazing range of productions. Do you have any advice for any of our readers interested in following your career path?
My advice would be to get a thick skin. As thick as possible. And don’t become bitter. Anyone wanting to enter the competitive world of theatre will face more rejection than success. And it’s easy to become disheartened and embittered. You have to stay strong. And always have other things going on. Don’t sacrifice a social life for success and whenever you can, try to create your own work. Keep yourself motivated, learn an instrument or a new language, anything to help you achieve your goals.
When you are involved in a big West End musical what does your normal day usually entail?
It’s not particularly glamorous! After the excitement of rehearsals and opening night it starts to feel more like a job. Depending on where you live in London it can take a while to get into the centre of town so you are preparing to set off around 3pm. It’s easy to fall into the habit of getting up late because of the late finishes but if you can get out of that habit and get up early then the day is there to do whatever you wish with! I used to write music or paint or make my games. I have a reputation for not being able to relax and sit still so I’d be up to all-sorts! Once you are at the theatre you have a warm up with the rest of the cast and then the show. And then you’re running for the train so you can get home as quickly as possible!
Christopher playing Tom Jones
You have played the role of Tom Jones in Tom the musical I wonder if you can tell us some more about this production?
The production of TOM holds a very special place in my heart and my career. It was developed and produced by Theatr Na Nog, directed by the lovely Geinor Styles. It was an amazing piece of theatre. More a play with music than a musical though. The show concentrates on the early years of Tom Jones, before he was famous. It’s about the young Tom striving for success and how it affects his relationship with his wife, Linda. The music in the show was all played live by a very talented bunch of lads who were also amazing actors. It focused on his time with his band, The Senators. He used to cover numbers by Ray Charles, Jerry Lee Lewis, Elvis etc so it was incredibly exciting to perform live every night. It was like a rock concert! It was the hardest and best thing I have done in my performing career. It’s also the reason I don’t really act anymore…there aren’t any roles out there at the moment that excite me as much as that role did.
You are currently involved in a very exciting new musical called ‘My Land’s Shore’ can you please tell us more about his production?
My Land’s Shore is a musical I have written with Robert Gould. He has written the book and lyrics and I have written the music and lyrics. It’s fair to describe it as my life’s work. I started writing it 16 years ago. It tells the true story of Dic Penderyn and his involvement in the Merthyr riots of 1831. He became the first martyr for the Welsh working class and is a symbol of hope and rebellion against the establishment. It has been described as the Welsh Les Mis. At the moment it is in rehearsals for it’s world premiere in London. It is being produced by an off West End theatre company called All Star Productions. A lot of people have asked me why it isn’t being premiered in Wales. The sad answer is we tried for years to get funding and support in Wales but there just isn’t the support for a Welsh piece of theatre, about Wales, and written by two Welshmen!! Baffling! If anyone would like to come and see it in London it runs from Feb 7th – 26th at Ye Olde Rose & Crown Theatre Pub in Walthamstow. More information is available at www.mylandsshoremusical.com.
You have a great deal of experience in musical theatre. Do you think this performance form still resonates for audiences and why?
I think musical theatre will always resonate with people. Music is a fantastic way into people’s hearts and sometimes words just aren’t enough. More and more people are being drawn towards it every year. And every year it becomes more and more accessible as genres evolve.
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?
I can only speak for myself and my own experience within this industry but I found a huge barrier was placed in front of us by the Wales Millennium Centre in Cardiff. It is supposed to be a centre for the arts that caters for all audiences and nurtures new and emerging Welsh talent. Sadly, I have found it to be completely inaccessible and incredibly blinkered.
If you were able to fund an area of the arts in Wales what would this be and why?
I would fund new talent, whether it be writers, composers, performers, choreographers, whoever and whatever. I would listen to ideas and explore them. It’s a sad state of affairs when the people holding the purse aren’t necessarily creatively minded. Just think of everything we are missing because the same people are getting the same chances over and over again. It’s a very closed shop at the moment. I would fund the opening up of that closed shop!
Thanks for your time Chris and good luck with My Land’s Shore.
Get the Chance to takepART
Get the Chance recently had the opportunity to run some free critical workshops as part of takepART 8 at Venue Cymru, Llandudno. takepART is aimed at the 0 to 18-years-old age group, but its open to parents, grandparents and even great-grandparents who all get involved in workshops and craft sessions that take place throughout Venue Cymru.
Get the Chance was just one of the organisations running a series of free workshops during the weekend.
https://issuu.com/venuecymru_/docs/vc29920_takepart_2017_fin_lowres_
The Get the Chance staff had the opportunity to chat to some of the members of Young Critics North Wales who are supported by the venue. Young Critics North Wales is based at Venue Cymru, Llandudno. It is supported by the Arts Council of Wales and is the first scheme of its kind in North Wales.
https://youngcriticsconwy.wordpress.com
We can recommend the scheme and If you would like to be a Young Critic please email joann.rae@conwy.gov.uk for more information.
We can also recommend the work of the Document Conwy who ran a free newspaper and photography workshops called The Daily PlanART
http://www.documentconwy.co.uk/the-daily-planart
The pop-up newspaper returned to Venue Cymru’s take pART arts festival where young people were given the chance to learn some of the skills of a journalist and news photographer. Under the guidance of Editor Joann Rae, Chief Photographer Paul Sampson and Chief Reporter Tim Moxley, young people were assigned a story to cover and photographs to capture from all of the exciting events at take pART! All the work below has been created by the young journalists and photographers of the Daily PlanART
It was a very welcome opportunity for Get the Chance to develop its critical network in North Wales. We thank the Arts Council of Wales for funding this opportunity.
Get the Chance to be a Critic with Take Part!
Are you aged 16-100?
Interested in theatre, dance, visual art, gigs, poetry, film and more?
Want to access a free workshop which will give you an insight into the role of a critic?
Then, this is for you!
What’s involved?
You will take part in a 1 hour workshop with Guy O’Donnell Director of online magazine website Get the Chance getthechance.wales
During the workshop you will be given an insight into the role of the arts critic. You will be given instruction on how to create a review and upload your response online. Participants will look at blogging, video, social media and much more! All workshop participants will get the opportunity for their reviews to feature on the Get the Chance website.
If you have one please bring a laptop, tablet and/or smartphone.
Workshops are on Saturday the 14th at 11.30 and 1.45 pm at Venue Cymru as part of Take Part 2017
https://venuecymru.co.uk/take-part-2017.html
Must-see cultural events in 2017
In the article below our members choose a range of productions and events they are looking forward to in 2017.
Young Critic Amelia Seren Roberts
Rosalind Dance 4/James Cousins Company
“I’m looking forward to a production called ‘Rosalind’ by Dance 4 and James Cousins Company at Nottingham Lakeside Arts”
http://dance4.co.uk/event/performance/2017-03-03/rosalind
“I am looking forward to hearing more from Artes Mundi, and to see Castle Ruins (a show by artists rejected from the Nottingham Castle Open).”
https://www.facebook.com/events/300069073728104/?ti=icl
“The New Art Exchange has an interesting show coming up called, ‘Untitled: Art on the conditions of our time”
http://www.nae.org.uk/exhibition/untitled-art-on-the-conditions-of-our/114
“Leon Sadler has a show coming up at Syson Gallery that I think is definitely going to be something worth going to see:”
https://www.facebook.com/events/229217837532707/?ti=icl
Young Critic Beth Clark
Killology The Sherman Theatre Cardiff and Royal Court Theatre
“The show that I am most excited for this year is “Killology” at the Sherman Theatre, written by my absolute favourite Gary Owen and directed by my also favourite Rachel O’Riordan. Two of the most moving and real life productions of the last two years are Iphigenia in Splott which I saw in Cardiff and Violence and Son which I travelled to London to watch so you can imagine my excitement. I love Gary Owens raw approach on controversial, gritty and jaw dropping subject matter. “Lie out darkest fantasies, but you don’t escape their consequences” a line used in the write up to the play… it gives me goose bumps as I know this play will take the viewers on a phycological trip they wouldn’t have imagined possible.I hope this play is in the studio theatre as the intense momentum that can be built up in there will be electric, with director Rachel O’Riordan no doubt pulling out all the stops.”
http://www.shermantheatre.co.uk/performance/theatre/killology/
The Moot Virginity of Catherine of Aragon The Sherman Theatre, Cardiff
“I am particularly interested in seeing this play as the writers and creative team alike are unknown to me so I am eager to enjoy and observe their styles and approaches in tackling such a controversial and historical topic. I have recently watched the BBC drama “Six Wives with Lucy Worsley” which give quite a different perspective of Catherine to that I had imagined and observed to date. I wonder whether this show will evoke more feelings and insights into the life of Catherine of Aragon for me and can it change my strong views I already have on the story? We will see!”
http://www.shermantheatre.co.uk/performance/music/the-moot-virginity-of-catherine-of-aragon/
I, Daniel Blake the film at Chapter Arts Centre
“I am so relieved that Chapter are doing more viewings of this as I have read epic reviews of this over last few months by some established critics. Always a good sign!”
http://www.chapter.org/i-daniel-blake-15
Drones Comedy Club at Chapter Arts Centre
“Operating monthly at Chapter Art Centre and rated in the the Big Issues top ten things to do in Cardiff it is definitely a Friday night option and something I am looking forward to throughout 2017.”
http://www.chapter.org/drones-comedy-club
Zero for the Young Dudes as part of NT Connections at The Sherman Theatre
“I am also drawn towards Zero for the Young Dudes performed by Sherman Youth Theatre which will be used as their competition entry to NTC festival. In attending the NTC festival in 2016 I am aware of the quality produced by these young individuals and in some circumstances when experiencing barriers which is always extremely insightful and inspiring to me. It’s also a good opportunity to catch glimpse of the up and coming stars that are going to rock the world of theatre in Wales and beyond for years to come!”
http://www.shermantheatre.co.uk/performance/theatre/nt-connections/
Music
“Firstly, Legend and a tribute to Bob Marley 28 January at the Globe being a 7 piece band which is noted to be a flawless musicianship. I am attending with a fellow reggae lover so set to be a fun evening.
http://globecardiffmusic.com/event/legend-a-tribute-to-bob-marley/
I am gassed for Cardiff’s very own asteroid boys who will be championing their recent success of their sold out tour and signing by Sony records and will be supporting Wiley at Y Plas event in one of my most memorial venues in Clwb ifor Bach”
http://www.seetickets.com/event/wiley/cardiff-students-union-y-plas/1054811
Im looking forward to any events for 2017 from Pryme cut and Rhyme cut entertainment incorporating Wild boys wasted and likes of Brave Mugraw, Crash, Lord Bendtner, Two Putt and more on battlers… Performers.. Saykridd, Jake the Ripper, Ferny Mac, Chew, Conrad Lott and Beatbox Hann plus much more as the events over the last two years have been something to shout about. These nights are open to any performers any styles making them completely diverse perfect for our very cultural city of Cardiff.
I am also looking for anything to attend that includes again Cardiff’s own Baby Queens with their album being released the latter end of 2016 and being noted in BBC online top 100 single. This band are the ones to watch.”
Get the Chance Creative Associate Jonny Cotton
The House of Bernarda Alba
By Federico García Lorca, Directed by Jenny Sealey
A Royal Exchange Theatre and Graeae Theatre Company co-production
Graeae has a new play, ‘The House of Benarda Alba’ which will be coming out in Feb and will be performing at The Royal Exchange in Manchester so I will be looking forward to see that.”
http://graeae.org/our-work/house-bernarda-alba/
“My dream or wish is to see a disability-led organisation to come to Wales in 2017. Although I don’t mind travelling to see the likes of Fingersmiths, Graeae, Birds Of Paradise I would like to see them perform in Wales. That would be my wish! I think the difficulties is because of the Arts strands and lack of support from venues which preventing these organisations coming to Wales. We need to see a change in that!”
Young Critic James Briggs
“I am looking forward to this year there are two which I have already got press for in St Davids Hall and they are ‘Anton and Erin’ and ‘Riverdance’.”
Anton and Erin and Lord of The Dance/Riverdance
http://www.stdavidshallcardiff.co.uk/whats-on/anton-erin/
http://www.stdavidshallcardiff.co.uk/whats-on/lord-of-the-dance/
3rd Act Critic Chris Howell
Sunny Afternoon at the Wales Millennium Centre
“I am particularly keen to see Sunny Afternoon. It started its journey at the Hampstead Theatre, one of my favourite venues in London. Then, as most good productions it is home to, it made it successfully to the West end and now there is a touring company. It’s also the start of an era for me as the Kinks played the Capitol in May 1965, I was there and witnessed the altercation between Dave Davies and Mick Avory”
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/SunnyAfternoon/?view=Standard
Community Critic Emily Garside
Killology by Gary Owen
“I am looking forward to another new work from one of Wales’ most interesting playwrights.”
http://www.shermantheatre.co.uk/performance/theatre/killology/
Young Critic Kat Leslie
“I’m looking forward to seeing Thunder playing live in March.
https://motorpointarenacardiff.co.uk/whats-on/thunder
I’m also going to see Footloose performed in June at the Wales Millennium Centre
I am also going.to a festival that I go to every year in August called ‘Solarsphere Astronomy and Music Festival.”
http://www.solarsphere.events
3rd Act Critic Barbara Michaels
“Matthew Bourne’s The Red Shoes which is coming to Cardiff. I was fortunate to be given house seats at Sadlers Wells on Christmas Eve. It is arguably the best thing Bourne has ever done. On the home front WNO start the new season with La Boheme. A great atmospheric production and an excellent on to enjoy if you have never seen opera before. “
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/TheRedShoes/
https://www.wno.org.uk/event/la-bohème
Young Critic Lauren Ellis Stretch
“I am looking forward to Killology at the Sherman Theatre and Funny Girl at the Wales Millennium Centre . The Other Room’s Spring season also looks thrilling!”
http://www.shermantheatre.co.uk/performance/theatre/killology/
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/FunnyGirl/
http://www.otherroomtheatre.com/en/whats-on/current-productions/
3rd Act Critic Helen Joy
1
“Welshness
A rather controversial topic perhaps but one which raises its curious head regularly in conversation if not in print.
Having touched on this in my review of Bafta Cymru, I feel a personal need to explore the impact of Welsh identity projected in the Arts on audiences.
2
Opera & Dance
Having absolutely adored having access to so much of both through 2016, I plan on deepening my knowledge through further attendance at performances, continuing to draw at open rehearsals and through interviewing performers and artists.
3
Homelessness
Leaving events in Cardiff at night has opened my eyes to the problem of homelessness. The stark contrast between the opulent glories of the stage and the plight of living on the streets has been brutal to witness, far more brutal to those who live it. Everyone has a story and I would like to help those stories be heard.”
An Interview with Niall Phillips Director, Producer and Founder of Lonesome Schoolboy Productions.
Get the Chance is keen to increase the diversity of critics, audiences and creatives in the sector. We recently spoke to director Niall Phillips regarding his work.
“I was recently asked whether the acting/theatre world is an inclusive space for people with Emotional Behaviour Difficulties (EBD) and if not, what can we as practitioners, audiences and creators do to change that.
I replied
⁃ Have more relaxed performances
⁃ Make people more aware of different needs.
⁃ Don’t make theatre for the rich and the lucky.
⁃ Create workshops and events for people with EBD.
My piece below discusses EBD, relaxed performances and how I believe that creating opportunities in theatre for young adults and kids with EBD will lead to a richer theatre world and perhaps a better, happier and more confident society.
But who the hell am I?
I am Niall Phillips, a trained actor who graduated from Birmingham School of Acting. Who worked in theatre, TV and film. Then found directing so much more rewarding and allowed myself to make my own work.
My Mum took me to the National Theatre when I was about 10. It changed my life. I remember walking into to the Oliver Theatre and the buzz and the atmosphere was like nothing I had ever seen, heard or felt. It was incredible. It was full of energy and excitement from every single person as they were about to witness something live, something unique and possibly never to be seen again. I remember thinking, that is the best job in the world. I want to do that forever.
I work at drama schools all over London including Identity School of Acting and Italia Conti. I spend most of my days working in rehearsal rooms with some very talented actors on some of the best plays ever written. It gives me an enormous buzz, to nurture and build talent and hopefully give actors skills to grow and build as professional performers.
When I’m not doing that I work with young people with Emotional Behavioural Difficulties (EBD) in East London. EBD is something I have worked with for over 10 years and it fills me with the same passion I get when working with actors. It started when a friend asked me to do drama workshops with some challenging kids. I was confronted with anger, violence and constant insults. It was unbelievably intense and a tad scary to say the least. I went back and spent the next two years working with some of the most dangerous kids in London and I loved every second. I learnt so much about them, the different struggles people go through and also loads about myself. I still work at different units and EBD schools and feel it is something I really want to explore further. I am determined to support and help people that don’t have the best start in life. I’m not saying a night at the theatre can change the way people are brought up, not at all, but I do think / hope it may make people see what their dreams are or even give them a break from their everyday struggle.
Official term…..’EBD’ stands for Emotional Behavioural Difficulties (often referred to as ‘Emotional and Behavioural Difficulties) and refers to a condition in which behaviour or emotional responses of an individual are so different from generally accepted norms, that they adversely affect that child’s performance. My term…..It is where kids have had a bad start in life and that creates difficulties. Kids need love and attention. Sometimes they don’t get it. So a release is nice to find or have offered out. A lot of the kids I work with find getting in a rehearsal room is a massive opportunity to tell stories, find new things and let out a good scream or two. This can only happen if we create a safe environment for them to play and explore in. That is how I learnt to let go. It feels amazing.
I will never forget one particular experience with one of the toughest kids in an East London estate. He was one of the top boys in the unit, getting expelled from place after place, and came up to me on my lunch and said, ” I wanna act like you” – little he knew I was awful – but that’s not the point. The bravery and honesty he had on his face shocked me. Luckily, I was putting on a new writing night in a brand new arts venue in South London and I didn’t even think I just said yes. I wrote a monologue about love and a boy called Bob and gave him the speech. The next day he had learnt it word for word. A week later he performed it to over 150 people, alongside some very talented and professional actors. He smashed it. He, right there, was a professional and determined actor standing centre stage telling stories. It was immensely powerful. At the end of the performance he gave me the biggest hug known to man and simply said “Thank you for giving me a shot” He now is applying for professional acting courses and he is a very talented young actor.
In my rehearsal room, at a professional level, at drama school level or even a workshop with special needs kids, my one rule is YOU CAN’T FAIL. You can try anything you want, any idea, any character and any creation you come up with – then lets go with it, if it works, that’s ace, if it feels strange or odd, try something else, just explore, just risk it, because, within that exploration something strong and wonderful will grow. Being restricted in the rehearsal room is a waste, just loose yourself in the work and allow the creativity to flow.
As a kid, like all kids I was worried, anxious and confused. Didn’t get maths or science, they just never sat well with me. I started doing drama lessons and everything changed. I totally came out my shell, I was a happier, more comfortable kid. My imagination was insane, just creating anything out of nothing. My parents allowed me that freedom to be whatever I wanted to be, I think they saw that the only time I was truly happy was when I was acting or creating a piece of – looking back – awful theatre. Now It feels like this is all I can ever, or all I ever want to do. I don’t want a big house, or a fast car, I want to be happy. That’s what really makes my heart beat faster. If I can spark that energy, that passion in a kid who doesn’t care or doesn’t want anything then that’s pretty cool.
Every single time I watch live theatre, I get inspired. From the National, Royal Court or some fringe theatre in South London, the idea that loads of creatives get together and go, let’s fill that empty, boring space with whatever we want. Now, that is the best thing in the world.
Looking back at my acting training, I don’t think it was inclusive of different cultural backgrounds or more specifically, of people with EBD. I understand why. I just wish we could allow all creative people the freedom that I had. I worked at the Halfmoon Theatre in East London for 6 years with some special needs kids, and honestly every single week, year after year I would be on the verge of tears. The support, the network and the pure energy that would happen in those 4 walls was tangible. Watching these kids with such poor backgrounds and severe learning difficulties create some of the most exciting theatre I have ever seen was unreal. It was only possible with staff and support by such heart-warming people. I just wish there were more places that offered that space and freedom.
Theatre is a very powerful experience. It can bring you to tears or make you laugh hysterically, so why is it for the select few? Surely everyone should be allowed to witness something that special and not feel guilty or not welcome. This is why I have implemented EBD/relaxed performances every Tuesday during the run of HE(ART) because they are specifically designed to welcome people who will benefit from a more relaxed environment.”
Niall Phillips
Director, Producer, Founder of Lonesome Schoolboy Productions, Acting coach.
Niall is directing HE(ART) at Theatre N16 from the 10th – 29th January 2017.
http://www.theatren16.co.uk/heart
Each Tuesday will be a relaxed performance. EBD schools will be offered concessions.
Purchase tickets here: https://www.ticketsource.co.uk/event/156627