All posts by Guy O'Donnell

Hi I am Guy the project coordinator for Get The Chance. I am a trained secondary teacher of Art and Design and have taught at all Key Stages in England and Wales. I am also an experienced theatre designer and have designed for many of the theatre companies in Wales.

Dance, Theatre

Review Billy Elliot The Musical, WMC, by Barbara Michaels

June 22, 2016 Guy O'Donnell Leave a comment

(4 / 5)

The wow factor is very much to the fore in this production of Billy Elliot – one of the most heart-warming of musicals, it tugs at the heartstrings from the moment it opens. Brought up in the tough environment of a small mining town in the north-east of England during the 1984/85 miners’ strike, young Billy’s passion for dancing leads him to follow his dream. Abandoning his boxing lessons, he secretly joins a ballet class. The only boy, Billy is the subject of much speculation and teasing – some of it malicious. On the home front, it’s even more so. Billy’s elder brother pours scorn on Billy’s dancing and does his best to nip the young boy’s emerging talent in the bud. Spurred on by his ballet teacher, who knows talent when she sees it, Billy is determined to carry on dancing.

Of the four boys who alternate in the super-demanding role of Billy, Lewis Smallman was the one chosen to open in Cardiff. His was a Billy that we all know – a schoolboy going straight to the biscuit tin when he gets home. But this Billy is still grieving for the loss of his mum, and Smallman manages this part of the role with an expertise beyond his young years, but it is his skill as a dancer that rightly steals the show.

There is star quality here. This Billy is equally at home in the comically camp dance number in which Billy and his friend Michael (Elliot Stiff) dress up on girls’ clothes to the elegant precision of a version of Swan lake performed with an older Billy (Luke Cinque-White)in a dreamlike sequence in the second half – not in the original film but blending in perfectly. Martin Walsh, as Billy’s Dad, struggling both with the deprivations of the strike with no money coming and the problems of a recently bereaved father trying to bring up a young son on his own, brings a depth of understanding to the role, displaying both toughness and vulnerability. As Billy’s dancing teacher Mrs Wilkinson, who knows talent when she sees it, Annette McLaughlin has the role off pat – under no illusions as to her own teaching, and generous in spirit, cigarette puffing when the opportunity arises and with the big-hearted generosity that characterises the north.

Peter Darling’s choreography for the tour differs slightly from the West End production, particularly in the foot-tapping number ‘Born to Boogie’ but most of the sensational dance numbers are the same – and pretty amazing they are, too, doing full justice to Elton John’s lyrical and swinging score in musical numbers that make you want to jump from your seat and join in. A small caveat –which seems almost invidious in the face of such talent – is that several cast members, including Smallman, have not entirely overcome the difficulties of the north east of England dialect.

The darker side of the story is the miner’s strike, and the stand-off between Thatcher’s government and the National Union of Mineworkers, with scenes played out at the pit face of one of the mines threatened with closure, and in the working men’s club where the miners hold their meetings, and the soup kitchen which is established there for the hungry miners and their families during the strike. Light relief is there, too, in the shape of Grandma – not always quite with it (she hides her pasty in the bedclothes much to her grandson’s disgust!). Andrea Miller’s Grandma is a great cameo, displaying a love and empathy for, and with, Billy and his dreams with which many grandparents will identify.

Overall, though, Billy Elliot belongs to the young, and the ensemble of dancers and singers more than do it justice. Bravo!

Runs until 16^th July at the WMC
https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/BillyElliot/

Writer: Lee Hall
Music: Elton John
Choreographer: Peter Darling
Director: Stephen Daldry

Theatre

Welsh Playwrights, An interview with Tony Wright

June 19, 2016 Guy O'Donnell Leave a comment

Get the Chance values the role playwrights living and working in Wales bring to the cultural life of our nation. Here is our first interview in this series with Welsh playwright Tony Wright.

Hi Tony great to meet you, can you give our readers some background information on yourself please?

Sure, so my name is Tony Wright my dad was Jamaican and my mum was Welsh and is from the Valleys. I grew in in Tremorfa, which is near to Splott in Cardiff. I left school without any formal qualifications.

So what got you interested in writing then Tony?

When I was 14 my sister brought a book home the Contender, it was a boxing book and this was the first book I picked up myself and was interested in. This developed an interest in literature for me so I then started to go to the library myself to read. Inspired by the book I tried boxing but it wasn’t really for me, it was too painful!

When I was 16 my friends formed a band called Level Vibes and I was the guitarist. I didn’t stay with the band for very long and I quickly realised that I couldn’t really play guitar but I could write lyrics, so I started to write lyrics for the band. I wrote a couple of things and my claim to fame is I wrote a song for a Benji Webb who now fronts the band called Skindred. Benji cut his first 12-inch single for a song I wrote called ‘Plant a Seed.’

http://www.barddgriot-productions.com/#!eyes–dont–lie-bottom–page-plant-a-see/ctc7

That’s a great claim to fame! So what did you do then?

I realised then that I could write! I set up my own band Digital and we did a few gigs at Grassroots in Cardiff. Which is a drop in youth centre with a music studio, an excellent place! Two of my songs stayed in the set for Level Vibes and their profile really developed they were talked about as the Welsh UB40. Level Vibes members also included rap poet Leon Charles

http://www.walesonline.co.uk/news/wales-news/1970s-butetown-in-photos-2075339

http://www.literaturewales.org/writers-of-wales/i/129552/desc/charles-leon/

Digital didn’t really take off and when I was about 30 I was offered the chance to access some adult education courses and went to the Friary and Coleg Glen Hafren in Cardiff I learnt during the adult education courses that I was dyslexic. I think dyslexia wasn’t as widely known then. My tutors informed me I should have had an A grades but because of my dyslexia I got a C’s, which made me really angry and frustrated. I continued to want to learn and managed to get to university and studied a combined studies course on Media, History and Cultural studies. Much of my studies were based on subcultures and Rude Boy culture. During the course I learnt about scriptwriting. Again my tutor informed me that they thought I had dyslexia. I had a test and was diagnosed with severe dyslexia. I realised I if I had have been diagnosed earlier I would have received support but I didn’t and still don’t let my dyslexia hold me back.

Whilst on the course I wrote my first full-length script called ‘Climbing Out’ about a mixed race guy from Splott who was given the chance to move down to Cardiff Bay. I thought it was good and I just had to do something with it. So I went to Splott with no money just my script and spoke to people on the street and asked them if they wanted to be in my film! John Allen who worked at Chapter supported me; he very kindly gave us a space to work in. We booked the YMCA in Splott for 4 nights and it was one of the best things I have ever done. It was hard and a struggle we funded the performances ourselves with some in-kind support. At that time there wasn’t many mixed race black actors seen acting in Wales. The audience loved it, they where mainly the community and friends. For lots of the audience it was the first time they had seen a play with people in it that they could identify with and they said, “We want to see more!”

To do that yourself takes a lot of drive and ambition Tony, did you approach the Arts Council of Wales or similar organisations for funding or support?

Yes I went to Arts Council Wales for funding but I was unsuccessful in my application at the time, as I didn’t have 2 years trading or bank accounts. This was a barrier for me but they were flexible and asked to see if I had some evidence of trading. From then on we started to develop a relationship and discuss how they could support me. Since then I have had lots of support from ACW officers Jennifer Stoves, Melanie Hawthorn and Nick Davies. They know my work and me.

So with the success of your first play I wonder if you then wanted to develop your play writing skills?

Well they say to write about what you know so… my next project developed out of my knowledge of Reggae sound systems and Rude Boy culture, music was and is the thing that brings lots of my friends together. ‘Rude’ is became a Ska musical about a mixed race guy in Cardiff called Roddy, the play focus’ on him looking back at his teenage rude boy-self and the characters, culture and music that informed his youth.

The cast of Rude

The project developed when I met with a guy called Dave Norton and James Williams. I met Dave in a bar and we got talking and I found out that Dave was an actor and producer with his own theatre company called ‘Give it a Name.’ We started working on it together in 2009 it was produced twice in 2009 and 2012, the second time as part of Black History Month. The play featured Shekira Johnson, Brent Morgan, John Norton, Dean Rehman, Joe Shire, and Olly Wood. James Williams who is a Musical Director was also the plays director. We performed it in the Rockin’ Chair Bar and Grill, in Riverside, Cardiff which was a Caribbean restaurant.

Performing it there meant we took theatre into a place it’s not normally shown. It was all staged in the restaurant. There were people sitting eating and the play was happening around them. The actors improvised with the audience it was excellent. There was one part of the show where the cast pretend to fight and one of the local bouncers jumped in to stop the fight thinking it was real! We had to say, “No Dave mate it’s a play!” James also got the excellent band together. They were Jenny Bradley, Fran Dimech, Chay Lockyer, Eric Martin Jr, and Gregg Price.

I love the fact that the production was performed in a restaurant and not a traditional theatre space and really involved the audience. So to bring us up to date what have you been up to recently?

Well I am 53 I have been thinking to myself no more Art stuff. All my mates are retiring and I am thinking about getting a job! I started doing some voluntary work at Butetown History and Arts Centre and enjoyed meeting the different people that use the building. Whilst volunteering there I supported a project with MIND and a campaign called ‘Time to Change’ I was approached to work one project called Mental Notes – Beyond Words. I developed a piece of drama called ‘The Prisons Within’ I personally know a lot of people who have gone to prison with mental health problems and the importance of getting help. The play is set in a prison with two men in the same cell. In turns out one has OCD and one has depression. Del Lusion is one character and he is a symptom of mental health problems. He winds up the other character in the play. During the play the two characters get to know each other and talk about how they ended up in prison.

The Prison Withins cast members Paddy Faulkner and Jason Camilleri

The play ends on a positive note and shows that you need to talk if you have mental health issues. The play was performed by actors Paddy Faulkner, Robert Marrable and Jason Camilleri and directed by Jemma Llewellyn

With the play I don’t offer any solutions to mental health problems I just offer a space for people to be aware of these issues in society, which I think, is one of the roles of writers and artists.

Sounds great I believe the production is going to be staged again soon? When will we be able to see the production Tony?

The play will be performed at The Wales Millennium Centre on Thursday the 30^th June at 7.30 pm. The cast for this performance will include Jonny Hollywood/Robert Marrable and Paddy Faulkner. It will be directed by Jason Camilleri.

The play will also be performed at Parc Prison, Bridgend as part of their staff training next month.

If you would like a free ticket go to my website and send me a message. http://www.barddgriot-productions.com/#!lets_talk/con8

One of the reasons I formed my company Barddgriot- Productios was to maintain working with a talented multi-cultural team of people living in and working in Wales. As I have mentioned I have had the pleasure of working with a wealth of talented people in my career. I have also been supported by people like Director Greg Cullen who directed a short play I wrote at the Royal Welsh College of Music and Drama. I hope to continue to work with more of the brilliant artists and writers in Wales in the future!

http://www.barddgriot-productions.com

Thanks for your time Tony

Circus

Interview Ellie Kate Edwards and Penarth Circus

June 12, 2016 Guy O'Donnell Leave a comment

Our project coordinator recently spoke to Ellie Kate Edwards about her background in Circus and her plans for a new Circus School and festival events in Penarth.

Hi Ellie you have a background in training with Circomedia and No Fit State Circus. Is it possible to give our readers some background information on yourself?

Yes, I am from a little village In Caerphilly. I spent most of my childhood around horses and adventuring in the mountains. I loved dance and music. I was inspired by circus when I saw NoFit State’s ‘Immortal’ in Barry. It was the start of my obsession with circus. At the time I was studying social work and left the course to follow my passion. I started training in the South of Spain with a beautiful travelling community. They had an aerial rig in the most idyllic setting. I would train all day long getting blinded by the sun . I used to love looking at the sky line of the mountains while I was upside down. It was there that I decided to follow circus as a career and returned to study in Bristol.

Photographic Credit Paul Ripley

Thanks, was there a moment when you thought, “this is the career for me?”

Absolutely, it’s an incredibly demanding and competitive career. I sometimes I think it must be very nice to have a fixed contract, paid holidays and some security in your work. Having said that I love circus and I would feel totally at a loss without it. I have put countless hours into my passion and when you put so much love and work into something it becomes part of you. I wouldn’t want to change that.

Are there any individuals or organisations that helped support you once you realised a career in circus was for you?

I have had a huge support from Nofit State all the way through my career. From helping with audition pieces, a traineeship and guidance with new circus ventures. There has always been someone from NoFit State with the right bit of support at exactly the right moment.

Awareness of circus as an art form is growing, organisations like No Fit State are leading the way in circus across the world. In your opinion what is need to help the art form develop?

Circus is at a very exciting time in its development, It will be very interesting to see which directions it will take. When we train in circus schools we are allowed a period of time where we can be very creative and inquisitive with circus as a new art form, we can develop our skills as individuals find the material which is unique to each circus performer within their discipline and so prevent ever trapeze artist from performing the same routine.

Once we leave circus schools we very quickly learn that the opportunity for this creative exploration is limited and to make a career in circus we very quickly have to produce the work which is in demand. If we could access funding we could return to this with time to collaborations with other circus performers and artists from different art forms. We could again explore the opportunities to make circus political and find the possibilities for progression. There are a lot of possibilities and avenues to be explored still but circus performers and directors need to time and resources to research. I have recently started to put on circus events in my local area. I am finding that there are many venues who want to have circus shows in there venue as it reaches a large and diverse audience. The problem is it costs a lot of money to bring circus shows to venues and so it can only happen if the venue, company or a combination are prepared to take big financial risks. Opportunities to find match funding or funding to help venues set us as a circus venue could help this to happen.

Photographic Credit Ineptgravity Photography.

You frequently support workshop activity with members of the public, do you think this type of activity is important and why?

Circus has always been a temporary moment of magic which would bring communities together to share the experience. Although the tent would get packed away and the circus would leave it would leave behind a mark and memories on a landscape. I think that re engaging with this shared creative energy which brings communities together can only be a positive thing. I love how accessible circus is. There is something for everyone. It is a joy full activity to learn with constant challenges but also many small victories along the way. To begin with it is subtly physical and great for our physical and mental wellbeing. It teaches children to support and look after each other and allows adults to connect and get stronger and fitter but through a creative medium.

What are the opportunities for those interested in circus in Wales?

You are lucky to live in Wales! The opportunities are vast. No Fit state run a full program of classes for adults and young people in Cardiff the community there is vibrant supportive and addictive. You can also check out the opportunities for circus in other areas of Wales. There are many established community circuses offering training in different areas around Wales.

Photographic Credit Thomas Madhavan.

Elaine Bennett Co-founder of Penarth Circus and myself are so passionate about circus we would like to bring it to our doors steps. So we have started Circus Penarth. Over the summer we will be putting on workshops at many events and also we will be bringing some spectacular performances to Penarth Pier and other Vale of Glamorgan venues. We are hoping to start classes in Penarth over the winter.

That sounds great! If you were in charge of funding the arts in Wales what would be your priorities?

I would priorities bringing arts to vulnerable communities who could benefit from creativity. I think art can be used as a tool for empowerment and progress so why not channel it to communities who need this. Having gained so much from the support of NoFit State Circus I would love to see the community in Cardiff continue to develop so they can keep giving this support to other people. I would definitely prioritise keeping this community in Cardiff and finding them a permanent community space. I would make the opportunities for funding more transparent and accessible to artists who are starting out and I would put a lot of energy in to keeping artists working as artists.

When you aren’t performing what do you like to do in your spare time?

I like to climb mountains, paddle in the sea and watch my little boy grow up very quickly. I love playing the piano accordion and currently I enjoy spending lots of my free time on Penarth Pier.

You are involved in some summer events at Penarth Pier can we know more?

Yes. We are organising and event called Y Môr – Bygones of Penarth, It will be performed in and around Penarth Pavilion on the 30^th of July. The event will involve local creative communities who will be supported by a professional cast and directed by Olga Ina Morati. We hope to bring the pier and pavilion to life in an immersive promenade performance recreating memories from Penarth pier through different points in history.

Over the summer we will also be performing and facilitating workshops at different Penarth events and festivals. Every Saturday in August we will be organising different circus and theatre acts as well as street shows to perform on the pier. We will keep you updated with our performances and visiting acts on our Penarth Circus Facebook page.

https://www.facebook.com/groups/231548013900190/

How do we get involved in your circus projects?

We are looking for community members who are interested in sharing their memories of Penarth Pier for Y Mor – Bygones of Penarth and also any creative individuals or groups who would like to get involved in the evenings events. If you are interested please contact us on; cardiffsplatch@gmail.com or through our Facebook page.

Sounds great, many thanks for your time

Literature

Ennillodd Gwynfor Dafydd o Rhondda Cynnon Taf Y Gadair yn yr Eisteddfod 2016 am ei gerdd, sydd am y Cymoedd yn Ne Cymru cyn yr oes diwydiannol/Gwynfor Dafydd from Rhondda Cynnon Taf wins The Chair at The Eisteddfod 2016 for his poem about the post-industry valleys of South Wales.

June 7, 2016 Guy O'Donnell Leave a comment

Ennillodd Gwynfor Dafydd o Rhondda Cynnon Taf Y Gadair yn yr Eisteddfod 2016 am ei gerdd, sydd am y Cymoedd yn Ne Cymru cyn yr oes diwydiannol/Gwynfor Dafydd from Rhondda Cynnon Taf wins The Chair at The Eisteddfod 2016 for his poem about the post-industry valleys of South Wales.

Bywgraffiad

Bachgen deunaw oed o Donyrefail ydw i, sydd ar hyn o bryd yn ddisgybl yn Ysgol Llanhari, a chyn hynny fe fûm yn ddisgybl yn Ysgol Gynradd Gymraeg Tonyrefail. Yr wyf wrth fy modd yn astudio ieithoedd, ac felly os caf y graddau gofynnol, gobeithiaf fynd i Goleg yr Iesu yng Nghaegrawnt y flwyddyn nesaf er mwyn astudio Sbaeneg ac Almaeneg ab initio.

Cerdd am fro fy mebyd ydyw’r gerdd hon sy’n ymateb i erthygl a ddarllenais i â’r pennawd ‘The unbearable sadness of the Welsh valleys.’ Felly, mae hi’n trafod themâu megis ‘anghyfiawnder cymdeithasol’, ‘tlodi’ a ‘diweithdra’ a’r problemau anochel a ddaw law y llaw â hyn. Er hyn, fe geir y teimlad bod cymuned yn mynd i gamu ymlaen erbyn y gerdd olaf, a herio’r sefydliad er mwyn creu cymuned decach a sosialaidd.

I am an eighteen-year-old boy from Tonyrefail, and am currently a student at Ysgol Llanhari, and before that I attended Ysgol Gynradd Gymraeg Tonyrefail. I enjoy studying languages, and am hoping to go to Cambridge next year to study Spanish and German ab initio, if I obtain the necessary grades.

This is a poem about the unjust treatment of the place in which I was born, responding to a poignant article that I had read with the headline ‘The unbearable sadness of the Welsh valleys.’ Therefore, it discusses themes such as ‘social inequality’, ‘poverty’, ‘unemployment’ and the inevitable consequences of this. However, there is hope in the last poem that the community will challenge the establishment and fight to build an egalitarian and socialist society.

‘The unbearable sadness of the Welsh valleys’ – Mark Easton, BBC.
‘”Why don’t you leave?” I ask an unemployed man in his 50s. “Because I’m a valleys boy,” comes the reply. “This is home.”’
Yn datŵ damweiniol
ar noson feddwol, creithiwyd
y lle hwn
yn ddwfn i’r croen
ac i’r cnawd. Nid
fy ffawd, nid fy newis i
oedd deffro i ddyffryn
graffiti a gwm cnoi
lle mae brain yn toi’r
tafarndai a’r capeli a’r siopau.

Ond felly y bu.

Mae’r graffiti a’r gwm yn glynu,
y tatŵ yn gwrthod crychu,
ac eto,
rwy’n gofyn yn gyson:

Ai ni yw dy bobl
ynteu dy wystlon?

II
‘Many parts of the UK have suffered from the decline of heavy industry, and the Welsh valleys are a grim emblem of this.’

Cerdd Tad-cu beunydd fynyddoedd ei fro,
fel y gwnaeth ganwaith gynt â’i dad-cu e –
yn dilyn ei lwybr at y pyllau glo
a’i mowldiodd yn dalp o bentrefi’r de:
Ceibiwyd ei gefn i frwydro’r gwynt a’r glaw,
weldiwyd ei draed i’r pridd yn gusan hir,
siapiwyd ei ddwylo’n llyw i’w reddfol raw,
a thynnodd ef ddau blentyn bach o’r tir.
Ond heddiw, ar gyfeiliorn, mae ar daith
yn chwilio am fyd sy’n gorwedd fel rhith
dan y bryniau mud a’r twmpathau maith,
a neb i olrhain ei gam ond y gwlith.
Mewn tanchwa drachwantus, daeth gwifrau du
a pheilonau haearn i ardd Tad-cu.

III
‘There are no shops around here and the bus to town stops at 6pm. There are children who’ve never been more than a mile or two from their front door.’

Mae hi yno’n aros
bob nos yn yr orsaf fysiau.

Ni ŵyr pam.
Ni ŵyr i ble mae’r bysiau’n mynd.
Ond gŵyr mai bws yw’r ateb.

Rwyt ti wedi ei gweld.

Ffroenaist y patrymau
coch
ar hyd ei breichiau.

Baglaist dros y caniau gwag
oedd yn ei gwarchae
gan guchio’r minlliw
a staeniodd dy jîns.

Cuddiaist glustiau dy blant rhag ei rhegfeydd
(Sh*t. F*ck it. C*nt.)
a gwarafun gweld bod merch fel hon
yn griddfan mewn cynghanedd.

A phregethaist dan dy wynt
fod bysiau’n gorffwys
ar ôl chwech.

IV
‘Tonight, the place feels abandoned, and many people appear to have given up on God.’

Mae’r lle, heno, mor llonydd
â Duw (fel y mae bob dydd),
ei dreigl ar stop, a’i siopau
i gyd â’u shutters ar gau –
rhesi clòs o ddrysau clo
yn hisian … lle bu croeso.

Ac mae, heno, gymuned
yn y dump yn chwarae dead –
hen le llwyd sy’n casglu llwch,
hen aelwyd mewn anialwch
unig, gwag, cans daeth i’r cwm
hualau … lle bu cwlwm.

A heno’n ein cyfannu,
nid oes ond gwe’r gwifrau du –
yn ddi-hid, cyfalaf ddaeth
i hawlio bro brawdoliaeth,
ac mewn ’stâd ddigymen, stêl,
mae’r hen dŷ ’n marw’n dawel.

V
‘”Politicians kick us and then they kick us again,” a local despairs.’

Mae tlodi’n halogi’n heolydd ni
a’i flas dros weflau’r mynyddoedd tost.
Treiddia ei rym drwy gracs y tai
am nad ydyw’n licio’u cod post.

Ymhell, bell dros y dŵr bas
mae ’sgidiau glân a syber-glyd
a droediant yn drwm ar ein strydoedd ni
o bell, bell â’u gwadnau di-hid.

Yno, ym mêr y muriau mawrion
mae rhagfarn eu cloc haearnaidd yn byw.
Yma, fe gosbir pawb ’r un fath:
pob hil, pob oed, pob rhyw.

Yr un yw’r gri o’r fynwent draw
yn y rhesi hir o feini rhad
a brynodd i’r pellfuddugwyr gynt
eu rhyfel drud ar faes y gad.

Ond clywch y drwm yn curo’n rymus
rhwng y cyrff a fwydodd y gweryd â’u gwaed
sy’ heddiw’n had i’r to iau
a dyf o’r dicter dan eu traed.

Daw’r curiadau anochel yn amlach,
eu cnulio’n atseinio’n uwch bob tro.
Llyfa’r tir ei wefusau’n wancus
wrth gyfarch eneidiau ‘glanach’ i’r gro.

Mae tlodi’n halogi’n heolydd ni,
tlodi sy’n dilyn cod post.
A’r un yw’r ffawd bob ochr i’r ffin –
’dyn ni i gyd yn cyfri’r gost…
Cwm Cnoi
http://www.s4c.cymru/urdd/e_index.php

Museums & heritage

Dyma’ch Cyfle yn cydweithio gyda staff Amgueddfa Genedlaethol Cymru yn Eisteddfod yr Urdd 2016.Get the Chance is collaborating with staff from National Museum Wales at the Urdd Eisteddfod 2016

June 2, 2016 Guy O'Donnell Leave a comment

Mae Dyma’ch Cyfle/Get the Chance yn cydweithio gyda staff o’r Amgueddfa Genedlaethol Cymru yn Eisteddfod yr Urdd 2016 yn Sir Fflint.
Dyma’ch Cyfle /Get the Chance is collaborating with staff from National Museum Wales at this years Urdd Eisteddfod in Flintshire.

Rydym yn cefnogi aelodau o’r cyhoedd i rhoi adborth ar y perthnasau gyda Amgueddfa Genedlaethol Cymru a traddodiadau diwylliannol.
We are supporting members of the public give us feedback on the relationships with Wales National Museums and Cultural traditions.

Owain Rhys yn siarad bach am @AmgueddfaCymru ag @Urdd #urdd2016 pic.twitter.com/luavOZmb6A

— GetTheChance (@GetTheChance4U) June 2, 2016

Rydym hefyd yn rhannu adborth ar yr Eisteddfod ei hun.
We are also sharing feedback on the Eisteddfod itself.

Menter gymdeithasol wedi’i leoli yn Ne Cymru yw Dyma’ch Cyfle, yn gweithio tuag at greu cyfleoedd i amrywiaeth o bobl sydd am brofi ac ymateb i chwaraeon, celfyddyd, diwylliant a digwyddiadau byw

Mae Dyma’ch Cyfle’n arddangos gweithgaredd ar wefan cylchgrawn ar-lein getthechance.wales/
Mae’r wefan yn cynnwys gweithgreddau gweithdy, adolygiadau, erthyglau golygyddol a llawer mwy
Mae’r wefan yn blatfform i’n haelodau i rannu, trafod a gwerthuso eu hymatebion personol gyda’u rhwydweithiau a’r byd ben baladr
Dyma’ch Cyfle yw’r gymdeithas sy’n cynrychioli aelodau Beirniaid Ifanc Cymru, Beirniaid Cymunedol Cymru a 3ydd Act

Digwyddiadau ar stondin Amgueddfa Cymru, Eisteddfod yr Urdd Fflint 2016

Dydd Mercher, 1 Mehefin 11:00 – Gweithdy Beirniadu gydag Aneirin Karadog
Dydd Iau, 2 Mehefin 10:30, 12:00, 14:00, 15:00 – Gweithdai Beirniadu Dyma’ch Cyfle

Get The Chance is a social enterprise based in South Wales, working to create opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events

Get The Chance uses its online magazine website getthechance.wales/ to showcase its activity
The website content will feature workshop activity and outcomes, reviews, editorial features and much more
Our website is a platform for our members to share, discuss and evaluate their personal responses with their networks and the wider world
Get the Chance is the host organisation for members of Young Critics Wales, Community Critics Wales and 3rd Act Critics

Activities on Amgueddfa Cymru-National Museum Wales’s stall, Urdd Eisteddfod 2016

Wednesday, 1 June 11:00 – Critic Workshop with Aneirin Karadog (Welsh language)
Thursday, 2 June 10:30, 12:00, 14:00, 15:00 – Get a Chance Critic Workshops (Bilingual)

Art, Literature, Museums & heritage, Theatre

Digwyddiadau ar stondin Amgueddfa Cymru, Eisteddfod yr Urdd Fflint 2016/Activities on Amgueddfa Cymru-National Museum Wales’s stall, Urdd Eisteddfod 2016

June 1, 2016 Guy O'Donnell Leave a comment

Menter gymdeithasol wedi’i leoli yn Ne Cymru yw Dyma’ch Cyfle, yn gweithio tuag at greu cyfleoedd i amrywiaeth o bobl sydd am brofi ac ymateb i chwaraeon, celfyddyd, diwylliant a digwyddiadau byw

Mae Dyma’ch Cyfle’n arddangos gweithgaredd ar wefan cylchgrawn ar-lein getthechance.wales/
Mae’r wefan yn cynnwys gweithgreddau gweithdy, adolygiadau, erthyglau golygyddol a llawer mwy
Mae’r wefan yn blatfform i’n haelodau i rannu, trafod a gwerthuso eu hymatebion personol gyda’u rhwydweithiau a’r byd ben baladr
Dyma’ch Cyfle yw’r gymdeithas sy’n cynrychioli aelodau Beirniaid Ifanc Cymru, Beirniaid Cymunedol Cymru a 3ydd Act

Digwyddiadau ar stondin Amgueddfa Cymru, Eisteddfod yr Urdd Fflint 2016
Dydd Mercher, 1 Mehefin 11:00 – Gweithdy Beirniadu gydag Aneirin Karadog
Dydd Iau, 2 Mehefin 10:30, 12:00, 14:00, 15:00 – Gweithdai Beirniadu Dyma’ch Cyfle

Get The Chance is a social enterprise based in South Wales, working to create opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events

Get The Chance uses its online magazine website getthechance.wales/ to showcase its activity
The website content will feature workshop activity and outcomes, reviews, editorial features and much more
Our website is a platform for our members to share, discuss and evaluate their personal responses with their networks and the wider world
Get the Chance is the host organisation for members of Young Critics Wales, Community Critics Wales and 3rd Act Critics

Activities on Amgueddfa Cymru-National Museum Wales’s stall, Urdd Eisteddfod 2016
Wednesday, 1 June 11:00 – Critic Workshop with Aneirin Karadog (Welsh language)
Thursday, 2 June 10:30, 12:00, 14:00, 15:00 – Get a Chance Critic Workshops (Bilingual)

Art, Literature

Preview Milieu with Rhys Milsom

May 25, 2016 Guy O'Donnell Leave a comment

Our project coordinator recently spoke to Get the Chance Creative Associate Rhys Milsom about the multi-disciplinary arts event he curates ,Milieu.

Hi Rhys, can you tell us about Milieu?

Sure, Milieu is a quarterly night of literature, art and photography. Always held at Little Man Coffee Co, and always free entry, the events so far have been jam-packed, with barely any standing room left. Milieu is French for ‘middle’ but also stands for ‘social environment’. This is key, as the art exhibitions are held downstairs in Little Man and the literature is held upstairs. Therefore, people meet in the middle as they go from the exhibitions to the readings and create a social environment for themselves doing so! Milieu is all about promoting up-and-coming, and established, writers and artists.

Sounds great! What are your aims with the event?

The aim is to give these writers and artists the chance to showcase their work in an environment that is creative, fun and inclusive to everyone who appreciates the arts. So far, Milieu has seen writers such as Rhian Elizabeth, Dan Tyte, Matthew David Scott and Rhys Milsom read and artists such as Liam Barrett, Pip Barrett and Jaydon Martin exhibiting their work.

Thats a great list of Wales based writers and artists, when is the next event planned?

The next event is June 10th at Little Man and we have Adam Jenkins, Renn, Gary Raymond and David Lllewellyn reading from their work with Liam Barrett exhibiting his art.

Come down and immerse yourself into a creative nucleus of Cardiff!

Thanks for your time Rhys.

https://www.facebook.com/events/1604132006545049/

Theatre

Review (BSL) A Sunny Disposition The Other Room by Heather Patterson and Gareth Freeman

May 24, 2016 Guy O'Donnell Leave a comment

This is a BSL review of A Sunny Disposition, written and directed by Nicola Reynolds, performed at The Other Room, Cardiff. A written transcription is available below the video.

Hello, my name is Heather Patterson and this is Gareth Freeman.

We recently went to see a performance in Porters which had a small theatre inside a pub! Gareth felt the pub had a relaxing and welcoming atmosphere. The BSL interpreter was on hand to give information before the performance started.

We watched a performance called ‘A Sunny Disposition’ which was performed by a single actor throughout for approximately an hour. The story was about the effects of alcoholism and it’s knock on effects on others.

Heather asked Gareth how he felt watching the performance and he said that the story hit home as he has personal experiences of this in the family. Gareth felt that the story was realistic and he could connect with it. Heather mentioned the impact, the memories and how it can affect you as a person.

Heather asked Gareth how he managed to watch the performance using a BSL interpreter? It was generally felt by Gareth that the story was not lost in translation, he possibly missed the understanding of some signs used due to the regional dialects used in BSL but this did not affect the overall enjoyment. The venue was perfect for this type of performance as you are so close to the acting to be able to read all the emotions in the actors face and body language.

In the Q&A session Gareth wanted to asked questions but felt he did not have the confidence to do so. He wanted to say how much this performance related to his own experiences. The Q&A session was interesting and we both enjoyed that part.

We felt that that the story was realistic, emotional and understood the issues that it had a powerful impact on us. We both agreed having addiction issues were not easy for the person and others living with it.

Heather asked Gareth if this performance should be seen by more deaf people and he felt that everyone was different but encourages them to see it. Gareth will definitely be going to see more performances in Porters as it gives him an avenue to relate to his feelings/personal issues through theatre. Having theatre in BSL enables Gareth to have a social life, to enjoy watching things on an equal par to others (those who can hear) and generally feel less isolated.

We were most impressed that the writer wrote the story based on her own personal experiences, this helped us to really absorb the story and the performance. We will certainly look forward to another story by the same writer.

Thank you for watching us.

Dance

Interview Gwen Davies A young dancer with Ballet Cymru.

May 15, 2016 Guy O'Donnell Leave a comment

Our project coordinator recently spoke to Gwen Davies, a young Welsh dancer with Ballet Cymru.

Hi Gwen, can you tell me how you got involved in your area in the arts?

I started dancing after a nursery teacher suggested to my parents to take me to ballet classes, because I was always active and loved dancing to music. At the age of four I took up classes locally in Cardiff at Chapter Arts Centre and then at 11 received a scholarship to attend Elmhurst School for Dance in Association with Birmingham Royal Ballet where i spent a further 7 and a half years training. I suppose I was immersed from a very young age in the arts and was lucky that my parents would take me to go and see various performances of all styles of art, from this I had an avid interest at a very young age.

You are currently working with Ballet Cymru, can you please tell us more about your relationship with the company?

I first got involved with Ballet Cymru after taking part in their Riverfront Summer Dance at the age of 8. After that I haven’t missed a single one of their summer school to date! I also took part in the workshops in Abergavenny which the company hold. Once I was training professionally the company were also really supportive in letting me partake in company class during the school holidays. I found it really helpful to be able to have access to professional standard classes from the age of 15. Something which is quite rare and it has definitely been invaluable to me in my development as a professional dancer.

Was there a moment when you thought this is the career for me?

I don’t think I have had one single definitive moment which made me decide it was the career path for me, but more the unfolding of events and opportunities I was given. I have always loved to dance but I don’t think I seriously considered it as a career until after I started vocational school in Birmingham where you then begin to have an understanding of the training and hard work required to make it professionally. Even then I think there is always an element of doubt as to whether you are actually good enough to make it after all the training. I think my mind was totally made up after getting more professional performing opportunities with Birmingham Royal Ballet. After getting a taste of working with the company when I was 17, in La Fille Mal Gardee and later Romeo and Juliet, there was no going back really. I don’t think I could find anything that could replace the feeling of performing to an audience especially when it’s with a live orchestra.

When you aren’t dancing or watching dance what do you like to do in your spare time?

I love to watch rugby in my spare time and have been an avid supporter of Newport Gwent Dragons, and I make it down to Rodney Parade as often as I can to watch matches! I also enjoy going to watch live music and any other kind of performance art to be honest.

Are their any individuals or organisations that helped support you once you realised a career in dance was for you?

In Wales my biggest support came from Ballet Cymru. They were really helpful in giving me advice when I was auditioning for schools and companies and really valued the opportunities, and improved in their classes. I’ve also been really lucky to have some inspirational and supportive teachers in Birmingham which I definitely wouldn’t have succeeded this far without. I have also been very lucky in receiving funding from the Elizabeth Evans Trust towards my training and also Cardiff Council who also funded an invaluable trip for Ballet Masterclasses in Prague for a fortnight which I learnt incredible amounts from and was an amazing experience to work with so many other professional dancers from all over the world.

What are the opportunities for those interested in dance as a career in Wales?

There are many companies across Wales which offer workshops and have associate classes. Ballet Cymru being one of them for classical dancers, and also National Dance Company Wales offer associates which focus on contemporary dance.

How do we get involved in your dance projects?

We are touring Roald Dahl’s Red Riding Hood and The Three Little Pigs across Wales this season, opening on May the 20th in the Riverfront, Newport and continue to perform until early July. It will be a really fun performance to watch and is great for all ages! The company will also be teaching workshops in some of the venues we are touring to so there are plenty of opportunities to get involved! We are also performing Romeo and Juliet for a small section of the tour in Portsmouth, Llanelli and Stevenage which will be a contrasting production to the more lighthearted Red Riding Hood.

Do you have any advice for anyone interested in following your career path?

To work as hard as you can but also to enjoy every moment of the process. It’s a career which requires a lot of determination and you will always encounter a lot of setbacks but the rewards always make every moment of perseverance worth it. I would also say to take every opportunity given to you, even if you think it might be relevant to what you’re interested in, but you would be surprised! I would try as many different styles of dance as possible but also to experience other art-forms to broaden your mind and experience something new. It’s always invaluable to have as much experience in anything you can, as you never know what will be thrown at you either in choreography or as a character in a production!

Thanks for your time Gwen

https://www.instagram.com/p/BEba85Bo2lq/?hl=en
http://welshballet.co.uk

Music, Theatre

Interview Liz May A personal introduction to BSL for live performance

May 7, 2016 Guy O'Donnell Leave a comment

Here is a short BSL video from BSL Interpreter Liz May.
A written version is available below.

Hi my name is Liz May
I am a Sign Language Interpreter. What I love most is Theatre interpreting.
What we do and the process of this work is, we watch the rehearsals, their characters, what they are like and get a grip on what makes them their character. And what I am doing will then match the characters on stage.
At the moment tonight and today I am in Chapter in Cardiff interpreting a play called Belonging
It’s really interesting, its lovely to see that there is more access coming in now.
I regularly interpret in different theatres some in Newport some in Cardiff. That’s what we do!
http://southwalesinterpreters.co.uk/interpreters-rsli.html

Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw