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

Interview Alastair Sill A personal introduction to Audio Description for Theatre

May 7, 2016 Guy O'Donnell Leave a comment

Our project coordinator recently spoke to Alastair Sill who provides Audio Description for a range of theatre companies in Wales.

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

After finishing my degree in English, I wasn’t really sure what I wanted to do but I knew I wanted to be involved in drama. I started writing to a few theatres across the country and the Belgrade Theatre in Coventry was one of the theatres I contacted. It just so happened they were looking for a marketing assistant to train up, so I went along and was lucky enough to get the role. I was a general marketing assistant so distributing posters, general office support etc, which was fine. Whilst there I was chatting to a colleague about other roles available in the theatre. She mentioned that she was involved in Audio Description and would I like to come and have a listen to it and see what I thought? I said yes and went along. At the time Audio Description was a voluntary service so there would have been about 6 audience members who were interested, this must have been about 15 years ago, things have changed since then. After meeting everyone I was keen to get involved, in-house training was provided by a member of the Audio Description Association. I enjoyed the training but was really interested in acting and applied and managed to get a place on the drama degree at the Royal Welsh College of Music and Drama in Cardiff and completed this course in 2003.

http://audiodescription.co.uk

After qualifying I saw an advert for a training course in Audio Description at the Soho Theatre in London. Which I applied for and got accepted. The final exam was to AD a Christmas show at the Soho Theatre, which was the Big Bad Book by Lauren Child, which as you can imagine was very nerve wracking. The production was brilliant with lots of animation and live performance. It was difficult to capture in AD the style of the animation in the show but it went well and I passed the course. I continued to develop my acting career but the AD started to drip-feed into my work, mainly through friends based in Cardiff. who had their own theatre companies. I think one of the first productions I provided AD for in Cardiff did was at The Sherman Theatre called The Minotaur in Me by Paul Whittaker. The Sherman then asked if I could do the Christmas shows and then a few more shows a Sherman.

So how did you employment as an Audio Describer develop from there?

I then went to work at the Torch Theatre. Peter Doran the Artistic Director said they had accessed some additional funding to provide moreAD for their productions so I spent an autumn season there, which was really nice. I provided AD for a Christmas show and a play called Accidental Death of an Anarchist, by Dario Fo the play is a farce. That was a challenging piece for me to AD as it was difficult to keep up with the timings. When you are describing different types of theatre you have to change the AD to fit appropriately.

I wonder if you would mind explaining your actual process when you are asked to Audio Describe a production?

I spend quite a long time with the work; firstly I go and watch the play, with the audience. Then I come back again and read the script and often watch it from the audio description booth, which is the space I am usually in when providing AD for a production. I make notes on the script, pauses in the dialogue and perhaps the facial gestures of the cast. It’s important to note relationships between the characters and how lighting helps to tell the story. Then I come back again and watch it for a third time and will often have been given a video recording by the theatre or production company. This helps to really focus on what I need to be prioritising when providing AD. I can pause and rewind, which you can’t, do in real life! In total this process can take about 5 days to a week.

Could talk a little about your actual approach to live AD during a production?

OK so most importantly you cant talk over what’s happening on stage! This means you might create a sentence that you think describes perfectly what’s happening on but then when the actors are performing you might not be able to find the gap. This means you have to condense everything down to tell the story. This can be difficult as there are often lots of different things happening at the same time. You have to try and focus the AD down to the essential elements that convey what’s happening on stage and are most important for the audience.

There are moments when there might be a pause or a silence and the AD disrupting this can spoil this silence and the drama of the moment. Essentially AD is about choosing when to talk and not to talk! The AD audience and non-AD audience share the same space and the same moment in time, you have to feel what’s happening on stage. When it works, you feel connected to the world on stage; it’s a strange sensation as though you are on stage with actors.

Then there are also moments which frustrate me and I am not alive to the situation and I speak over what the actors are saying and that annoys me as I want it to be as good as it can be. Sometimes I get a bit carried away and get too descriptive. There is only so much information the audience can assimilate in their heads. It’s really important to get to know your audience.

So what companies in Wales have you been working with most recently?

I have worked with new writing company Dirty Protest on the play Parallel Lines written by Katherine Chandler and directed by Catherine Paskell. Catherine and the team were very helpful. Everyone was interested in the AD provision, I was aware it was a piece of new writing and felt a responsibility to describe it correctly. I spent quite a long time in rehearsals which was beneficial to the final AD for the production and also provided AD in a variety of venues when the show went on tour.

Alastair providing AD for Taking Flights production of A Winters Tale

I have also worked with Taking Fight Inclusive Theatre Company as a cast member and provided AD. Taking Flight often perform outside for their production of ‘A Winters Tale’ I played a character who was sort of the court audio describer and I was referenced during the play by the cast and was visible to the audience, which I am usually not. There were moments during the production when I would provide live AD with a microphone to an audience who are using headsets and then moments when I would speak directly to the entire audience That was really great to be able to integrate AD in this way.

I have recently just started to AD dance, for a production called Jem and Ella. I am developing my dance vocabulary and getting working on getting the emotional feeling across as much as the technical vocabulary. I had a lot of support from Jem Treays and his daughter Ella who are the performers in the piece. They helped me develop my vocabulary to AD the movement in the show, I found Rudolf Laban’s quality of descriptive movement helpful as well.

As you mentioned AD provision is becoming increasingly common, more creative use is being made of artists working in this field. What do you personally think the future might hold?

Well in Wales there are more companies and venues supporting the provision, which is great. Some venues really support AD well but I think it needs to start from the top down. Awareness of audiences need to start from that initial entrance to the venue and meeting the Front of House staff right through to the actual performance, inclusion should be the norm. Venues often don’t know when someone blind is attending so if possible they should aim to have an inclusive attitude for every show.

Personally I am interested in creating my work with AD at the heart. Also I am not aware of anyone that provides AD in the Welsh Language in Wales and wonder if that is something that could be supported in the future?

Next up I am providing AD for Theatr Fynnon for a production called Pupa, which will be performed at Chapter Arts Centre on Friday 20 May – Saturday 21 May. Then National Theatre Wales and a production called Before I Leave at the Sherman Theatre. I think the AD for that production is on Saturday the 11^th of June at 2.30 pm. I am also working with Hijnx Theatre Company and their Unity Festival. And of course Taking Flight who are performing Romeo and Juliet this summer.

Many thanks for your time Alastair.

Alastair recently took part in a charity bike ride to raise funds for Taking Flights summer performance of Romeo and Juliet.
You can catch Alastair providing AD at the following performances below.
http://www.chapter.org/theatr-ffynnon-present-pupa
http://www.shermancymru.co.uk/performance/music/before-i-leave/
http://www.hijinx.org.uk/unity/
http://www.takingflighttheatre.co.uk/romeo-juliet/

Dance

Interview Emma Mallam Director at E-Motion Dance and CEO at MCD – Motion Control Dance

March 3, 2016 Guy O'Donnell Leave a comment

Emma (second left jumping) with Motion Control Dance members

Our project coordinator Guy O’Donnell recently spoke to Emma Mallam Director E-Motion Dance and CEO at MCD – Motion Control Dance

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

I have been dancing since the age of 3 and loved performing on stage so I always knew I would make a career in the dance world. When I began to look for jobs during my BA Hons degree, I was devastated to find out that I would not become a performer as I was too small being only 4ft11″ when the average height for a professional dancer at the time was at least 5ft4″!!!!!! I was lucky to be accepted onto a PGCE Dance at Secondary School degree – there were only 2 universities that were delivering the course back then in 1996 and mine was one of them. After graduation I got a job at a high school in Ashford, Surrey teaching dance and drama then moved to a school in Birmingham when they changed my job role to that of a PE teacher. A year later I found my dream job in Stantonbury Campus in Milton Keynes teaching dance across all levels of KS 3 & 4, GCSE and BTEC Dance. I moved back to Wales in 2000 when my husband fell terminally ill and I began to develop community dance classes in the Vale of Glamorgan as a freelance teacher who saw a niche in the market – my first street dance class held in a small community hall had 74 girls turn up for it! From there I was employed by a voluntary youth organisation in 2005 as a dance co-ordinator and my programme has since grown from there.

You describe yourself as Director at E-Motion Dance and CEO at MCD – Motion Control Dance Can you explain what this means?

After being made redundant in 2014, I had a choice to either have a complete career change or take on the dance programme that I had been developing as my own independent venture – I decided to take the leap on my own as we had over 200 young people dancing with us each week. I created E-Motion Dance as a sole trading dance school but had my mind made up that I wanted to create Motion Control Dance into a charitable organisation rather than just another dance school as I wanted to leave a legacy of the great work that we had produced over the years in the community. We were successful in May 2015 to be registered as a CIO so E-Motion Dance is now part of the Motion Control Dance charity. Being a small charity there is only me and a handful of wonderful and dedicated freelance staff who produce outstanding results with all whom we work with and our reputation is highly thought of in our area. As the director and CEO, I wear a lot of different hats every day to keep the organisation thriving – teaching, co-ordinating, monitoring, developing, admin, funding, marketing, film making etc – its hard work but I love it! I am hoping to create a bigger team in the near future so the organisation can continue to grow from strength to strength.

Motion Control Dance Members

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

I always knew I wanted to have a career in dance but I think the turning point was when I went for an interview to be a medical secretary in college at the age of 15 because the career’s advisor said it paid good money! It was then I realised that I didn’t want to be stuck behind a desk all day doing a job that I didn’t have any passion for!! So I went back to school to do my A levels and got a place in Laban College in London and I thought my life as a dancer was beginning. But my dream was cut very short as that year the government stopped all discretionary grants I was told I couldn’t go to Laban. I was heart broken and then had to wait for clearing day to apply to all other dance colleges only to find they were all full! I found a place for a BA Hons dance degree at Bedford College which turned into De Montfort University while I was there – I graduated in 1996 with a 2:1 – so my dream to work in the field of dance was still alive. I have been very privileged to have created my own career path teaching dance and becoming my own boss, enjoying every day in work – something that not many people can say!

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

My mentor in university was the person who inspired me to pursue a career in teaching dance in education. Her name was Jacqueline Smith-Autard, the acknowledged world-leading exponent in dance education, Chief Examiner for the dance GCSE and was a founder member of the National Dance Teachers Association and a pioneer in the use of technology to extend and enhance dance pedagogy. From her I developed my passion for teaching dance to children and young people and also the realisation that I was good at it!

I also owe a lot to the youth voluntary organisation Vibe Experience who believed in me when I told them that I would develop a successful dance project when no-one would hire me on a full time basis after my husband died. I couldn’t support myself and my young son as a freelancer – I needed the security of a salary and if they hadn’t taken me on I expect I would have gone to work in a dead end job that I hated just to make ends meet.

Can you tell us more about the two dance projects your run?

E-Motion Dance runs weekly dance sessions at the Barry YMCA in street dance, break dance, hip hop and creative dance for ages 3-30yrs. Groups perform at local community events throughout the year and our street dance team compete at local & regional competitions and have achieved great things! We bring guest tutors down occasionally such as Carlos Neto and Xavi from Pineapple Dance Studios to work with our dancers but the sessions are mainly taught by our A Team freelance faculty who are very passionate and highly motivated to produce great results through dance.

Motion Control Dance aims to ‘advance the education of people all ages, living in the Vale of Glamorgan and the surrounding areas, in the performing arts, particularly the art of dance, for the benefit of the public’. Through provision of classes, workshops, training and performance opportunities, we have created many memorable experiences for over a decade, working closely with schools and agencies in the Vale of Glamorgan with disadvantaged groups. Our mission is to give the community ‘A Chance 2 Dance’ – we are very proud of our award winning group of disability dancers the Local Motion Dance Company who started with us in 2008 that was funded by Children in Need for over 6 years. We also run training courses for Dance Leaders and provide volunteering opportunities with the MV Awards. Motion Control Dance also provides holiday schemes and organises trips and workshops with professional dancers such as Candoco and National Dance Company Wales.

Motion Control Dance Members

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

Follow your dream and don’t let anyone tell you that you can’t – it takes a lot of hard work and a lot of passion with a relatively low income but it is worth it as each day is never the same! I would suggest they train in all forms of dance to understand the many techniques so you can break down the styles correctly to teach. I am a great believer that you can never stop learning – there are always new methods of teaching to discover and new trends to understand. I advise anyone wanting to get into teaching dance to volunteer to help out with classes in their local area to gain valuable experience of behind the scenes of the dance studio as too many young people think that teaching is easy and that they can just grab a stereo, play some hype music and show off a few dance moves but it takes a deep understanding that everyone learns in different ways and you have to accommodate for all abilities to ensure everyone gets an enjoyable and high quality dance tuition. I would also advise them to take part in performances for themselves so they understand what it takes to get up on stage and have the confidence to perform in front of others like they will expect their students to do. I would also advise anyone interested in following a career in dance teaching to ensure they have studied at University level and undertaken one of the many teacher examinations with a credible board, this will give you good reputation of being skilled and knowledgeable in your subject. There are so many more opportunities nowadays for those wishing to dance as a career than back in my day! They also must be a people person and love kids!!!!!

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

I always tell any students who want to pursue a career in dance to study with a variety of teachers of different styles to give them a broad range of teaching methods. I also advise them to get involved with extra dance projects such as the National Youth Dance Wales or AdVance Dance. I understand Bridgend College has a wonderful dance and musical theatre programme that they can study at for 2 years and then I would strongly recommend Rubicon’s Full Time One Year Dance Course before going on to either the BA Hons Dance degree at Cardiff Met or University of Wales St Davids. Of course most dancers choose to focus on finding a place in England such as London or Manchester as that is where there are more opportunities for dancers but over the years we have lost a lot of talented young dancers who have never come back to Wales, which is a shame.

How do we get involved in your dance projects?

We offer a range of services in the Vale of Glamorgan for those wishing to take weekly sessions, those who want to pursue a career in dance, those who are looking to gain work experience or a university professional placement or organisations wishing work in partnership with our organisation.

If anyone would like to get involved with our dance projects please visit our websites
www.e-motiondance.co.uk/ www.motioncontroldance.com

Please contact Emma Mallam by sending an email to info@motioncontroldance.com or emma@e-motiondance.co.uk

Thanks for your time Emma.

Emma Mallam with company members

Theatre

Interview Zakk Hein

February 22, 2016 Guy O'Donnell Leave a comment

Three Night Blitz
Photograph Kirsten McTernan Photography and Design
Our project coordinator Guy O’Donnell recently spoke to multidisciplinary designer Zakk Hein. Zakk has recently worked on A Good Clean Heart, Saturday Night Forever and Three Night Blitz
Hi Zakk, can you tell me how you got involved in your area in the arts?
I didn’t have the clearest route in. I want(ed) to be an actor, but I have a very keen interest in design. I graduated with a performance degree and worked as a technician. I got my first paid design from a connection made as a technician at The Other Room in Cardiff and I am now rapidly finding my route into becoming a full time designer. All in the space of two years. I think it’s healthy not to have such a clear defined path – no career in theatre should feel disciplinarily exclusive.
You describe yourself as Multidisciplinary Designer – specialising in video, set & lighting design for Theatre, Opera & Dance. Can you explain what this means?
I understand how this sounds, I do; triple threat times two. It isn’t that at all. I have always been utterly inquisitive about all forms of design and the freedoms having an understanding and interest in a broad range of disciplines has for a designer. I started as an LX designer, moved into video and later found set. It is so incredibly freeing designing a set and knowing exactly how you would light it, or you have a particular piece of content that would work if a set piece did this. You have such an insight and autonomy to create work that is bespoke and fit for purpose. In terms of collaborative process, you know not to put a set of legs there as LX will have a boom there, small things like that. Jan Versweyveld’s work is a perfect example of lighting and set design stemming from one creative impulse to beautiful, forensic effect.

Lazarus
by Enda Walsh, New York Theatre Workshop. Scenographer and lighting designer Jan Versweyveld

A View From the Bridge, Arthur Miller, Wyndham’s Theatre. Scenographer and lighting designer Jan Versweyveld
It is something that comes from my degree at Middlesex University; this idea of collaborative, multidisciplinary practise; I actually graduated with a performance degree and didn’t enrol on a single design module…
I design video one month for ETO in London, set, video and lighting in Aberystwyth the next, video and set the month after; I am very appreciative and lucky to be able to work on productions that have such different briefs and rhythms.
Was there a moment when you thought this is the career for me?
It was only in my third year of university that I began to get that sense of future. I knew that I wanted to pursue a career in theatre for a while, but I didn’t quite know how that was going to map out. I still don’t, and that’s ok. I take every opportunity I can, whether it is offered or sort out, to remain wholly inside the industry. It often means 100+ hour weeks to uphold a full time technician role and design simultaneously. It sounds excessive, but when you love what you do, it isn’t tiresome at all. Coffee becomes a dear friend, however!
Are their any individuals or organisations that helped support you once you realised a career in the Arts was for you?
My parents, Robyn and David, have always been there to help no matter what; Thrust Theatre Company, two of whom I live with. It’s important to have family and friends that understand how different a world a career in theatre is. I’m very lucky to have them. Middlesex University; in particular Rory McAlister and Nicola Stammers. They sparked a fire to want to pursue a career in design. They have been so incredibly supportive during my degree and after. The university isn’t in Wales, but they are THE reason to consider training in London!
Would you have any advice for anyone interested in following your career path?
Be inquisitive; try not to say, think or believe in “that’ll do.” Also, don’t ever be afraid to approach people you want to work with or learn from. I was very lucky to meet and shadow, even just sometimes for a few days, Bruno Poet, Finn Ross, Paule Constable, Luke Halls – which stemmed onto meeting James Bonas, associate to Rufus Norris, and has led onto a great portfolio of working in opera with some truly incredible designers that I never would have dreamed of working with. They have all been in our shoes, wanting an in – they are more than happy to pass experience along if you just ask.
You have worked with a range of companies and Wales, does working in Wales differ to England?
It’s colder! And it takes 8 hours on a bad day to get to Aberystwyth… What always strikes me about working in Wales is how incredibly close knit the arts scene is and how much more so you are willing to take risks. Everyone knows everyone, but in that comes a sense of a dependable network. A Good Clean Heart could not have happened without the links to Theatr Clwyd and Nicola, Theatr Genedlaethol provided the projector; I would not have been involved with Saturday Night Forever without my link to Kate Wasserberg and The Other Room; Three Night Blitz would not have happened without meeting Roger Williams on Saturday Night Forever. I am very grateful to be working with such important designers, directors and producers in Wales.
Is it possible to tell us more about some of the productions you have worked on in Wales
Sky Hawk Clwyd Theatr Cymru | Theatre for Young People
I didn’t design for Sky Hawk, I actually toured as LX and AV technician with it on it’s second outing. It was my first job in Wales, however and it did put me in touch with Nicola Ireland who became very important in my move over to design in Wales.
A Good Clean Heart Neonotopia The Other Room

AGCH is bi-lingual and this was something that is very special and successful in Alun’s Saunders (playwright) text. We needed to make it accessible, but Mared Swain (director) and Alun were very keen for the surtitling to be a bit different. I wanted to create animated surtitles that made accessibility FUN, rather than staring at a dot matrix side of stage. Processes developed into finding a transformative and fun language for transporting the character of Hefin back into tumultuous London to find his estranged brother, Jay. The design focuses on language: texts, Facebook messages, emails, departure boards, handwritten letters, karaoke lyrics, thought bubbles and the concept of communication itself. Words can’t describe how happy we are with the result, support and commendation received for it.

Saturday Night Forever Aberystwyth Arts Centre
The design process was simple. SNF is about night life, music, lights and loss; and is in part named after a Pet Shop Boys song. I wanted to take that sense of a night out and make it slick and distinctly modern-80s. There was a concern flagged, understandably so, early on about the screens being very similar to the incredible design of Iphigenia in Splott playing at the Sherman, but difference by their very definition made the screens an installation worth pursuing. Kate, Roger and Gareth had such belief in the concept and gave me such freedom and support throughout. At one moment we can have this beautiful fluorescent backdrop and then in one swoop we can push content through them. Dance floor arrows, star-scapes, fireworks, etc. It became about light and texture, but only as an elucidation to the sound. Beats were mapped to Benjie Talbott and Tic Ashfield’s utterly beautiful scoring of the piece, a design which ensured that we didn’t ever veer into a cheesy Saturday Night FEVER.

Photographic credit Keith Morris

Your work ranges from large scale production such as Everyman at National Theatre England to a Good Clean Heart for the Other Room in their pub theatre could you tell us how these different areas of your work compare?
I am incredibly fortunate to have been able to work in the Olivier LX and S/V departments at the NT for around 13 months now. Just being involved in the day-to-day running and maintenance of such large scale productions puts you in touch with the equipment and the designs on a very informed, hands on level. Creative impulse and intent become very clear. It is something that I am always so thankful for when working, designing from a mindset of knowing how to use the equipment and processes to their fullest degree.
Whilst the scale of NT work is large, yes, and whilst the design of Three Night Blitz utilises a similar scale, I think it is absolutely important not to view a design based on the merits of scale. I always try to incorporate technologies and processes that are at home on the largest of stages wherever I work. A Good Clean Heart at The Other Room and Saturday Night Forever at Aberystwyth Arts Centre are case in point. AGCH was my first design in Wales. (Thank you Nicola Ireland eternally for bringing me to the attention of Kate and Mared!). There was such a belief in the utilisation of video in such a unique and important space which culminated in such a poignant piece of theatre… and the Wales Theatre Award nomination with Katy Morrison was a nice surprise. SNF utilised utterly cutting edge pixel mapped LED battens to create a video wall for a Cardiff night out. This was an utterly bespoke commission for AAC of five screens that utilise the same technology, but on a much larger scale, of that used in ‘The Hard Problem’ at NT’s Dorfman Theatre. It shouldn’t matter what size the production or the venue is, upholding that level of innovation and technique on whatever I work on is something that is very important to me.
Most recently you have been working on “Three Night Blitz” at Swansea Grand Theatre. Your design if you don’t mind us saying is wonderful and one of the highlights of the production. Is it possible to give us more information on your design process?

It has certainly been a hectic one! Offer on 21st December, rehearsals started 1st February, Opening Night 17th, all over on 20th. Ideas and concepts had to very quickly edit, distill and mould to such a tight schedule for all. But what seemed apparent to me from Manon’s Eames (playwright) archival and precise text was how there is such a distinct lack of awareness. Everyone has an idea of the destruction caused in the London Blitz, that scale, but I was absolutely clueless to the sheer level of bombardment and destruction in, what is in essence, such a small area. Over 80,000 incendiaries sent to torch the town, and you wouldn’t know it walking down the high street.

Photograph Kirsten McTernan Photography and Design
The play is about commemoration and remembrance; I wanted to burst that archive open. The original concept was to have a narration booth DSR with a panoramic window, from which a flurry of archive papers would flutter and burst out of a draw, increasing in scale as they blew out into the wings. These would provide the projection surfaces for the archive content. It became apparent, however, that the text is so fast paced and the interlocking lives of the characters is so meticulously mapped out – that to take a character out of that space and into their own booth only acted as a disjuncture. Let’s open this out more. The structure needs to feel kinetic, it needs to feel like it has that ebb and flow of the bay and the lives of the characters – which is why we have this beautiful abstract curve of the Swansea Bay; a reference so redolent in the text. But I wanted the feeling of the archive paper, and I wanted to stay true to that sense of files upon files filled with paper holding information that needed to see the light of day. As for the planes, there is nothing more symbolic, more nostalgic, more kinetic than the look of a paper plane.

This became the perfect catalyst for creating this forced perspective, swooping structure that can transform into fire bracken, shrapnel and embers. That can at one and the same time look fluid and sharp. The video design always felt like it needed to bring that picture to life, it needed to feel transportive and immersive. I wanted to do justice to the archive and I wanted to create that sense of an all encompassing fire blaze. The use of the gauze is something that I don’t get to utilise often and it works perfectly here to give that sense of scale and immersion. Transforming the entire stage at once from a calm starry night into a bombardment of thousands of parachute flares, incendiaries, phosphorus with embers blazing all around them. It feels like a special event and I am very proud to have been given the opportunity.

I used CAD to visualise the 9M x 7M (W x H) space available. I wanted to create something forced perspective and this meant using the international paper scale from A4 up to A1. But with such tight schedules, the planning had to be meticulous. This image of 600 planes was later broken up into its 4 sections mapping each individual plane placement, height and angle.

Zakk’s CAD design images for the production.

I need to thank: Cadi Lane, Ruby Spencer Pugh, Joe Johnson, Rhianna McGregor, Sophie McLean & Lizzie French, I am so incredibly thankful and blown away by how much work and effort went into creating the structure from a CAD image to sitting there proudly onstage. 600 individual planes. Incredible. Thank you.

Photograph Kirsten McTernan Photography and Design
Do you have any future work planned in Wales?
After the successes of A Good Clean Heart’s opening run, I believe the plan is to take it up to Edinburgh over the summer. Similarly with Saturday Night Forever, I believe the plan is to take it as a triple bill rep. alongside two fantastic Welsh productions. Further collaboration with designers met on STNB at Theatr Genedlaethol, a trip to Theatr Clwyd in the summer and a return to The Other Room in the new season are on the cards. All of this is TBC and subject to funding.
Thanks for your time Zakk, its been a fascinating insight into you and your work.

Film & TV, Literature, Music, Theatre

2015 Personal highlights from the Young Critics & 3rd Act Critics

December 31, 2015 Guy O'Donnell Leave a comment

Members of the Young Critics and 3^rd Act Critics have selected their own personal highlights of 2015. Their first choice is that a cultural event they have reviewed or attended. Their second is something they have personally experienced which has resonance for them as an individual.
Young Critic Lois Arcari
2015 is, like all other years, impossible to forget for many reasons. One such reason was an amazing blur, both individually and for the Young Critics as a whole – the celebration of Welsh talent and its abilities at the annual BAFTA Cymru awards. For a review and as a day, what was daunting turned easily to something wonderful, truly hopeful and encouraging for a defiantly blossoming industry in the face of cuts to the arts and critics of its worth. An event that continues developing to give Wales international renown. This day was both an honour, and a joy to be part of.
https://theyoungcritics.wordpress.com/2015/09/30/bafta-cymru-awards-2015-by-lois-arcari/
My personal pick of this year is something as much as a cultural event, platform for debate, national icon and builder of careers and friendships alike as it is a show – the incomparable Doctor Who. In light of criticisms thrown at showrunner Steven Moffat for a number of years now, this season has episodes widely regarded as some of the most experimental, diverse and emotional at least post revival. Whilst I was worried at the apparent superficiality of this choice – Doctor Who is iconic for a reason. Not least this past season because of the sensational acting masterclass in acting from Peter Capaldi, and Jeanna Coleman. Coleman has laid claim to being a divisive character, but personally I think her performance is one of the most raw, layered and deftly handled in the show’s history, especially when coupled with Moffat’s no holds barred approach. Though missteps were made, they were made in interesting ways. The Doctor, expertly handled, has always been a personal character – an icon of unflinching hope and possibility that even helped through uncertainty and anxieties through eager viewing last year following a serious car accident. Seeing the characters, writing and ambition grow in tandem has been moving and joyous, and the many layers encouraging fans to analyse, speculate, and always, always hope. As the show-runners (as a brilliant personal meeting at the aforementioned BAFTA Cymru awards with Russel T Davies showed) did with the same love.

3rd Act Critic Barbara Michaels
My first choice would have to be Mack and Mabel at WMC. The production was brilliant on all fronts, Barbara reviewed this production for The Reviews Hub
http://www.thereviewshub.com/mack-and-mabel-wales-millennium-centre-cardiff/
Secondly my personal choice is Matthew Bourne’s Swan Lake with male dancers as the swans. A new take in one of the most popular classical ballets and spine tingling.

Young Critic James Briggs
For my choice of 2015 I would like to say Jersey Boys at the Wales Millennium Centre because this was the first production that I reviewed for Young Critics and so if I had not chosen to attend that show I would not have been so involved with Young Critics this year.

Review Jersey Boys, WMC by James Briggs

For my second choice of 2015 I would like to say the Doctor Who Symphonic Spectacular that was at Cardiff Motorpoint Arena back in May this year.
This is a review by Wales Online about the show
http://www.walesonline.co.uk/whats-on/music-nightlife-news/doctor-who-symphonic-spectacular-shows-9328752.

Young Critic Kiera Sikora
I would definitely say my favourite production which I reviewed in 2015 was Alix in Wundergarten- Difficult Stage/Other Room
https://theyoungcritics.wordpress.com/2015/12/05/review-alix-in-wundergarten-the-other-room-by-kiera-sikora/
My second choice would be A Doll’s House- Sherman Cymru a relevant retelling of a theatrical classic!

Young Critic Amina Ali
My first choice would be the TV series Agent Carter
https://theyoungcritics.wordpress.com/?s=Agent+Carter+&submit=Search
My second choice would be the Black Lives matter movement. I feel it’s important because as a black person the miscarriages of justice are almost personal. It is important to know that there are people standing up for people like me.
http://blacklivesmatter.com/about/
Young Critic Sian Thomas
My first choice would be the book Unspeakable by Abbie Rushton, I feel I wrote my review well and there was to my surprise online interaction with the author and her publisher on Twitter. I know someone also bought it as a consequence of my review which I thought was amazing!
https://theyoungcritics.wordpress.com/2015/08/15/review-unspeakable-abbie-rushton-by-sian-thomas/

My second would be the release of the World of Professor Layton which is a big art book about my favourite ever game that came out around November 5th and I really enjoyed and felt the closure of the series ending personally.

Young Critic Bethan Hooton
My number one event of the year would have to be the One Direction concert – seeing your favourite band live is something you will never forget!
https://theyoungcritics.wordpress.com/2015/06/26/review-one-direction-cardiff-millennium-stadium-by-bethan-hooton/
My second choice would be getting my GCSE results – 2 Cs, 7Bs, A, A* . I was so proud of myself for these grades, and I got into college with them to study subjects that I now really enjoy and love.

We are all looking forward to what 2016 will bring!

Dance, Theatre

Interview Jukebox Collective

November 24, 2015 Guy O'Donnell Leave a comment

With the exciting news that Jukebox Collective have recently become a new Regularly Funded Organisation funded by Arts Council Wales. As well as supporting their young dancers to perform in Groove on Down the Road at the Wales Millennium Centre. Young Critics Wales project coordinator Guy O’Donnell caught up with Liara Barussi, Company Director and Zoe Munn, Development Manager to discuss the companies past present and future plans.
Hi both, thanks for taking the time to chat, firstly can you tell me about the background of Jukebox Collective?
Jukebox Collective is a creative company based in Cardiff, focused on the delivery of the highest quality street dance education, performance and consultancy. The creation of Jukebox in 2004 was a reflection of the increase in demand, as well as the need to provide an outlet for some of the most talented young dancers in the UK. Over 10 years since its creation, we still keep the core emphasis on nurturing fresh young talent up to professional level, as well as producing high-class work for stage and screen.
The Jukebox mission statement is – “Founded on the principle of excellence in street dance being a right for all, our mission is to inspire, create and educate through street dance and hip hop culture”.

Thanks I wonder if you can tell us how you apply this in practice?
We apply this through the development of a multi-strand approach: Participate, Theatre, Creative Services and The Academy. The approach developed is based on a deep knowledge of the dance forms taught with a growing understanding of the different avenues for dance. By bridging the gap between community and professional work, we provide the platform to support talent from grassroots through to professional. We continue to work with respected industry artists to inspire dancers and support our vision of excellence and education being accessed by all.

The company has its own premises and has held events like the Social Saturday’s can you tell us more about the intention behind these events?
Jukebox is all about sharing and exchanging dance, and these events are needed to create a sense of community within what we do. It’s important to keep an open door and have free public events so that anyone can access what we do. We want to get people together, to enjoy and exchange, to have fun and to explore something different. We want people to leave with memorable experiences and a taste of what dance can bring to them. These events allow us to reach out to new people, introduce dance styles that may be unfamiliar, and to showcase that street dance forms are a vibrant and vital part of the cultural narrative and to local communities. The get together’s are also a chance to encourage collaboration between dancers as well as with other art forms.

Liara you and Jukebox Collective have been very involved in the annual Breakin’ the Bay Weekend at the Wales Millennium Centre. It appears the WMC have been very supportive of Hip Hop culture. I wonder could you tell us more about your relationship with the WMC and involvement in this event?
Yes, I have been involved in curating the festival since its creation, over 10 years ago. We support Breakin’ the Bay to enable the Welsh dance community to become internationally recognised, as well as educating, inspiring and connecting them with other dancers across the world. This year we focused on sourcing some of the freshest national & international talent in Europe including dancers from France, Switzerland, Germany, Holland & Sweden. Jukebox’s reach on the International Hip Hop scene has attracted dancers from around the world to spectate and participate in the annual event. It’s the perfect opportunity to celebrate Hip Hop culture and all its diversity and bring it to the center of Wales. This year we also introduced a new “Experimental’ category, not only specific to this event but to the local dance community. This was very exciting and showcased a dynamic approach to street dance fusion.

Arts Council England have invested funding in Breakin Convention which takes place at Sadler’s Wells and companies such as Zoo Nation to support their touring. We note that Jukebox company members have just been involved in Zoo Nations ‘Groove on Down the Road’ (which also forms part of Cardiff Dance Festival) at the WMC 13-22 Nov. Could you tell us more about your involvement in this performance?
It’s great to see not only Arts Council England but also the theatre venues across the UK welcoming street dance and making it available to mainstream audiences. The involvement gives further opportunities to local youth to develop professionally and consider a career in street dance theatre. The Groove on Down the Road production features Jukebox Collective dancers – Jo-el Bertram, Shakira Ifill playing ‘Little Wiz’, and Renee Brito playing ‘Wicked Witch of the West’. We are delighted to participate and work in collaboration with Zoo Nation.
Arts Council Wales have recently named Jukebox as a Regularly Funded Organisation, congratulations! Can you tell us what led the company to apply?
Thank you! We applied as we felt with the support of ACW we could collaboratively grow the organisation to its full potential. Becoming a Regularly Funded Organisation provides us with more opportunity to produce creative work and to realise initiatives that support and celebrate talented creatives. We will also be able to plan further ahead and work more strategically. We are looking forward to developing this partnership and creating some fresh new work.
Your work supports a wide demographic of participants, I wonder if you think your organisation works with young creatives who wouldn’t otherwise be engaged in mainstream arts in Wales?
Yes, absolutely, we attract a diverse group of participants with our programs, and continue to have a point of view that talks to all people, regardless of location, gender, race and income. We are able to relate to a diverse group of people and cultures through their shared common interests. This commitment to equality and diversity is at the heart of all the work we do.
Welsh Assembly Government culture minister Ken Skates has been supportive of your company, Liara could you tell us more about your relationship?
The progressive discussion that the Minister is encouraging is very exciting, and the support really highlights the progression of our arts community in Wales. We are seeing the Senedd opening up to hear younger voices in the arts, and I’m very excited to be a newly appointed member of the Welsh Government’s Arts and Creativity Forum.
What are the long term plans for Jukebox?
We will focus on creating and expanding our dance Academy as well as continuing to produce compelling high quality dance productions. We want to keep creating opportunities and working closely with the local community, as well as touring professional work, and creating bespoke work for special events and campaigns. We are keen to support the development of young creatives in all aspects of performing arts. We want to work with local businesses and form partnerships to support all the strands of our work, aiming to build a healthy, sustainable company.
My aim with the creative work is to build a collective of dancers who develop a language that can be pushed to the very edges of expressive, aesthetic and visual possibility. I want to make collaborative work that pushes the language of dance to new, deeper levels – exploring the edges of possibility through movement and expression.

And finally how do I find out more if I want to get involved?
To get involved in any strand of the company, from professional development and performance or just for fun, if you have collaboration in mind or would just like to hear more about our work, you can contact zoe@jukeboxcollective.com.
https://youtu.be/QNuzTH8pAsc
Keep a look out for our new website, which will be launching in January 2016.
www.jukeboxcollective.com

Museums & heritage

Exciting new project with Young Critics/3rd Act Critics and Amgueddfa Cymru – National Museum Wales

November 14, 2015 Guy O'Donnell Leave a comment

Young Critics and 3^rd Act critics are working in partnership with Amgueddfa Cymru – National Museum Wales (ACNMW) http://www.museumwales.ac.uk/ on a new free project focusing on the quality and standards of exhibitions and programming at their sites across Wales.
ACNMW are keen to generate feedback and data from interested visitors regarding what makes a good exhibition and programme. The project aims to make the work of museums more accessible to the general public and increase the reach of culture and heritage. The project may also focus on Cadw sites and local museums and galleries.
The project is expected to last for 6 months initially, before being reviewed, and participants will be expected to commit to the lifetime of the project. Staff at National Museum Wales will provide training and workshops, and exclusive expert guidance on their roles. All participants will be supported in critical response methods and use of digital technologies to develop critical thinking skills.
The first workshop will take place on Saturday the 5^th of December 10-1pm at National Museum Cardiff, Cathays Park, Cardiff CF10 3NP.
If you aged between 12-25 or 50+ and would like to be involved please contact project coordinator Guy O’Donnell on odonnell.guy@gmail.com

Music, Theatre

Review Dirty Rotten Scoundrels, WMC by Barbara Michaels

August 19, 2015 Guy O'Donnell Leave a comment

Dirty Rotten Scoundrels at Wales Millennium Centre, Cardiff
Book by Jeffrey Lane
Music and lyrics: David Yazbek
Director and Choreographer: Jerry Mitchell
Reviewer: Barbara Michaels, Third Act Critic
Rating: ***
Based on the iconic film starring Michael Caine and Steve Martin, classified as “the funniest film of all time,” Dirty Rotten Scoundrels first hit the London stage as a musical a year ago. Telling the tale of a mega scam pulled by a couple of conmen on the French Riviera who pull out all the stops in a no holds barred contest in order to win the affections (and thus access to the money!) of a millionaire soap heiress, it’s harmless fun in today’s world beset by drug offences and more. Nothing is as it appears – reflected in an atmospheric and skilfully lit set where even the palm trees are manifestly fake!
There is no doubt whatsoever that as a comedy film starring Michael Caine and the wonderful comic actor Steve Martin Dirty Rotten Scoundrels worked wonderfully well; the question is, does it work as a musical?
The answer is yes – but only up to a point. A stage production has advantages and disadvantages over a film – two very different art forms cannot, and do not profess to be, identical. The snap, crackle and pop that characterised the 1988 film does not really get going in the stage version until the second half, when it suddenly finds it feet.
This is due in part to one of the major additions which writer Jeffrey Lane has made to the original film script i.e. the romance between Andre, the hapless and reluctant aide to camp of conman Lawrence Jameson, the conman responsible for laying the trap – or rather traps – to catch an heiress. As Lawrence, Michael Praed is suitably debonair and suave, but could at times be sharper off the mark, but as Andre old-timer Mark Benton has a masterly control of the comedic, delivering his lines with an inherent chuckle. As the object of his attentions, the ‘lady of a certain age’ Muriel – British as opposed to American as in the film – Geraldine Fitzgerald is a delight. The musical number ‘Like Zis/Like Zat’ which she sings with Benton is a gem, and fully justifies adding an additional element which, although it would have been superfluous in the film, greatly enhances the stage version.
Noel Sullivan, as the ‘innocent’ conman the susceptible and lovelorn Freddy whose misadventures are at the centre of the mayhem, performs with gusto. As Christine Colgate, the blonde- with- the- dosh , who is targeted by the conmen, Phoebe Coupe responded magnificently to the challenge , due to Carley Stenson being unwell in the first night at this venue, coming into her own in the hilariously funny ‘Love is My Legs’ in Act II.
A great ensemble performs the dance numbers with verve and expertise and showcases some wonderful costumes, reflecting the era in which the story is set. Overall a show to be enjoyed for what it is – entertainment, and not to be taken too seriously.
Runs until Saturday August 22nd at the Wales Millennium Centre.

Circus, Theatre

Review Barnum at Wales Millennium Centre, Cardiff by Barbara Michaels

August 13, 2015 Guy O'Donnell Leave a comment

Barnum at Wales Millennium Centre, Cardiff
Book by Mark Bramble
Lyrics: Michael Stewart
Music: Cy Coleman
Reviewer: Barbara Michaels
Rating: 4.5
Jugglers, acrobats, gymnasts et al entertain as the audience takes their seats – latecomers miss a treat. Spectacle and excitement with dazzling displays of circus expertise – Barnum has them all. Based on the life of American showman Phineas Taylor (PT) Barnum who took his team of trapeze artists clowns, jugglers plus talented performers such as the singer Jenny Lind all over America and the major cities of the world, this is musical theatre traditional style given a new fillip by Cameron Mackintosh in this Chichester Festival Theatre production.
All the elements of the original Broadway production are here, but for those who were fortunate (or are old enough!) to have seen the production starring Michael Crawford which ran for a record-breaking 655 performances at the London Palladium after it opened in 1981, the big question must be: Does Brian Conley who is playing the demanding and exhausting role of showman PT Barnum live up to the almost-impossibly-high standard created by Crawford?
The answer has to be: Yes! Yes! And Yes! Conley’s Barnum is a likeable con man who could charm monkeys off trees – and does. Though when he forsakes his long-suffering wife Chairy, whose views differ radically from his as to what is right and what is not, siding with him becomes momentarily difficult. Even here, how can you feel anything but gut-wrenching suspense for a man who walks a tightrope to get to the temptation awaiting him on the other side in the shape of a delectable Swedish opera singer?? Metaphorically speaking, you say? No – in a daring act which took weeks to perfect, Conley actually does walk the tightrope. Indeed, throughout the show, along with the rest of the cast, he runs the gamut of acrobatic and dance skills with aplomb and style.
The bubbly Linzi Hateley more than holds her own as Chairy, the wife who despite brooking none of her circus-loving hubby’s nonsense, remains true to him till the end. The story of their marriage, with all its ups and downs, runs in perfect tandem with the on-going razzmatazz of the show, peppered with songs such as the foot-tapping ‘Come Follow the Band’ which opens Act I and Barnum’s theme song of ‘There Is A Sucker Born Ev’ry Minute’ plus the poignancy of ‘The Colors of My Life’ sung with feeling by Conley and Hateley, as is ‘So Little Time’ later, in Act II. If there is a criticism to be made – and in such a polished production it seems almost invidious to do so – it is that Kimberly Blake as opera star Jenny Lind, while looking stunning and ethereal in an ice blue creation that would not look out of place at the Oscars, is a tad too ethereal. The lack of chemistry between her and Barnum renders their love affair not entirely believable – a minor hiccup in an otherwise five star production.
A considerable chunk of credit for the fizzing excitement that characterises this high-energy show must go to the ensemble. On stage for most of the time, the acrobats, trapeze artistes, high wire experts and dancers never flag. Some neat cameo roles, too, from David Birch as an anxiety-ridden Wilton, while Edward Wade’s Julius Goldschmidt is a gem.
With great costumes and breath-taking staging – including a mock-up of the nether limbs of an elephant – this show is a firecracker.
Runs until Saturday August 15th
https://www.wmc.org.uk/Productions/2015-2016/DonaldGordonTheatre/Barnum/

Music, Opera & classical, Uncategorized

Review NYOW St David’s Hall, 2015 Tour

August 3, 2015 Guy O'Donnell Leave a comment

Returning once again to the Welsh capital, the 115 strong National Youth Orchestra of Wales took to the stage at St David’s Hall for the final performance of their 2015 tour. Performing an equally exciting and exhausting compilation of early twentieth-century Parisian ballet works, the orchestra was in the capable hands of internationally acclaimed conductor Paul Daniel (CBE) whose ambitious second half of the programme pushed the orchestra to their limits.
Easing in with Paul Dukas’ lesser known La Péri, this was an apt work to sit alongside Stravinsky’s The Rite of Spring as the two pieces premièred in the same year. Daniel’s was a subtle interpretation; the introductory rousing brass fanfare moved into a contrasting web of gorgeous full bodied melodies in the strings and ethereal orchestral pianissimos that captured the mysticism of the Persian legend of Alexander the Great that the work is inspired by. This was followed by Florent Schmitt`s La Tragedie de Salome, another atmospheric piece during which the impressionistic oboe and cor anglais passages were particularly enticing. Set in two, the second part was characterised particularly well. Full of suspense and percussive pathetic fallacy, the thunderclaps added colour and maintained the momentum of the storm.
It was a well thought out programme. The first half of the concert passed quickly with beautiful melodies and subtlety that was set up to be utterly shattered in the second half by Stravinsky’s savage The Rite of Spring. When I discovered that the NYOW were braving Stravinsky’s finest work, I felt a pang that I was no longer sitting in the violin section. This is a work that every musician wants to experience on stage.
Prefaced by a harp fanfare written during the NYOW residency by two young composers, the intricate introduction was confidently conducted by co-writer Daniel Soley. Immediately following this, Paul Daniel waited for complete silence before handing over to Llewelyn Edwards to initiate the singing bassoon opening to The Rite of Spring during which the orchestra’s capability was showcased.
For the most part, the relentless rhythmic frenzy was precisely executed and the tumultuous full orchestral sound during the sacrifice was attacked with sheer force and commitment; it is clear that Paul Daniel has worked tirelessly with the responsive orchestra to pull off such a monumentally challenging work. Many would be sceptical about whether a programme this ambitious could be effectively performed by a youth orchestra but, as always, the National Youth Orchestra of Wales stepped up to the challenge. Incorporating The Rite of Spring into the programme gave soloists particularly in the woodwind section, the opportunity to demonstrate their maturity as players.
After a two week intense rehearsal and concert schedule, the professionalism and commitment from these talented young performers will come at the usual price. Today the famous Nash Crash begins for them all!

Film & TV, Theatre

Review The Ladykillers, Chapter Arts Centre, Cardiff by Barbara Michaels

May 20, 2015 Guy O'Donnell Leave a comment

The Ladykillers at Chapter Arts Centre, Cardiff
Original screenplay by William Rose
Adapted by Graham Linehan
Production by Everyman Theatre
Director: Marie-Claire Costly
Reviewer: Barbara Michaels, Third Act Critic
Rating: [3.00]
Murder and mayhem are the buzzwords for William Rose’s comedy-thriller The Ladykillers. For those fortunate enough to have caught a screening of the Ealing Studios 1954 motion picture, Everyman Theatre’s production of the adaptation by Grahan Linehan will bring back fond memories. Who could forget the iconic performance by theatrical icon Alec Guinness as the crafty (and dotty) Professor Marcus?
Take an eccentric old lady living on her own with her parrot and add a gang of crooks masquerading as musicians who rent a room in which to plan a robbery and the scene is set for a series of mishaps. When the old girl, Mrs Wilberforce, discovers what they are up to there is only one solution – to bump her off before she turns them in. But that is not as simple a matter as it might seem – and neither, as it transpires, is the elderly widow who despite her old fashioned appearance might be more than a match for the bumbling ineptitude of the amateur criminals.
Characterisation and pace play a major part in putting on a play of this genre, where a great script full of humour should raise delicious giggles among the audience from start to finish. On opening night this sadly was not the case. It was not until a second half with increased momentum that the performance really got going and we were given a heartening glimpse of what the cast are capable of achieving. It is reasonable to expect things to improve later in the run, for Everyman Theatre has a good track record – their Oh What A Lovely War last year was tops.
As the “master criminal” Professor, Paul Fanning is believable although relying overmuch on twiddling his overlong scarf. Not quite dotty enough for this critic, although the Prof’s darker side is well presented in Act II. As for the rest of the gang, Steve Smith’s sharp suited Mafia-type Louis is spot-on and Arnold Phillips suitably military as Major Courtney. As Harry, the youngest of the crooks, Sion Owen settles into the role nicely in the second half.
Now we come to Mrs Wilberforce, played by Ruth Rees who admirably displays both the mobility problems of increasing age, limping around the stage as is suitable for one later described as Mrs Lopsided, and the finickiest of advancing age in another era. Nevertheless, Rees’s portrayal is still a tad too lively for the part – a few more wrinkles added in make-up might help. Loved the costume, though, particularly in the tea party scene and the posse of old ladies is fun – Lynn Hoare gets it just right as the gushing Mrs Tromleyton.
Full credit to the set designers for their clever use of every area of the stage and for props for some wonderful touches – wonky picture, grandfather clock et al, not to mention the interesting musical instruments.
Runs until Saturday May 23rd.

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