As someone who is scared of flying and therefore takes
sleeping pills to get through, this is probably not the best production to see.
Rightfully nervous, with knowledge of Darkfield, experiencing ‘Séance’ at the beginning of the year, my flight fear has gotten better after travelling, but the nerves are still there for this next experience.
I particularly liked how the Steward was very much into the
process of Flight – before entering the container, his language was all
reminiscent of a host on a flight, stating ‘We are a full flight today so please
sit in your allocated seating’
Like any flight, the inside is highly reminiscent of modern
planes, but with a hint of the past – small flip down screens above, which are
little know these days, playing a video of a hostess, which seems dated. From
the beginning, with out headphones on, things are already going wrong – the video
flickers, saying chopped and changed, and frightening phrases – we hear the
pilot and his conversation we should not hear.
Into the darkness, we hear through our headphones, cleverly
positioned to give the sense of encroaching hostess up the aisle. We give into our
imagination, and this unordinary flight feels calming, yet we anticipate what
As any Darkfield show, there are moments of shock, of fear,
elements of the set change, even now, with me thinking whether I dreamed seeing
that or not. They play on our minds; the experience feeling like a dream state,
when something disastrous happens, everything becomes normal again – did that
If you have a fear of flying like me, you are in safe hands with Darkfield, and will come away having such a unique and unordinary experience. If you don’t, well… needless to say you will have equally an interesting and unusual immersive experience. These containers are for all.
What happens when three thieves break into a gallery, the
same night, to steal the same painting? A hilarious series of events full of
comedy, gasps of close calls and complete chaos.
Art Heist by the company Poltergeist, in partnership with
Underbelly and New Diorama Theatre, bring us a high energised and full of
calamity production featuring three thieves and a gallery guard. All have
different motives, different personalities and bring their own humour and likeability.
At some point the characters are all bound to bump into each other, but there
is a sense of a tense atmosphere while waiting for this, along with near
misses. Once they do, the interaction is surprising, well thought out and full
There’s hardly a break in this production for anyone – reminiscent
of Monty Python, come Mischief Theatre’s ‘Comedy about a Bank Robbery’ with a
hint of alternative reality/game culture, the narrative and actions are both
fast paced and with quick thinking, yet perfectly accomplished with every
comical intent hit.
Each character narrates their actions, sometimes with
interaction from the guard who throws spanners in the works. This reminds me of
watching a video game, with planned out thoughts that not always come to
The staging and lighting is simple – characters are always
on stage but always engaged. We get different levels away from the main action,
without a single person breaking character.
Multimedia is used with cameras, sound effects, lights e.t.c. to give
the emphasis of a gallery but also to layer the action.
The performers themselves are hysterical – fully involved in
their characters, there is freedom to ad lib and go with the chaos, especially
when the audience are encouraged to interact. The simple ‘guard training’ that
the audience undertake is hilarious in itself; again, it is simple but well put
Art Heist will steal your heart and rob your laughter – coming away, there is admiration of the energy of these performers and great smiles at how much fun we have in just an hour.
‘If I Can Shoot Rabbits, I Can Shoot Fascists,’ is the strapline of the first play by PowderHouse in association with the Sherman Theatre and Theatr Genedlaethol Cymru. It comes from the Manic Street Preachers’ song ‘If You Tolerate This Your Children Will Be Next,’
This in turn is inspired by the involvement of Welsh volunteers in the Spanish Civil War. The play Shooting Rabbits seeks to evoke the experience of a young Welshman travelling to Spain to fight against fascism in the 1930s while seemingly hinting at a similarity between fighting the authoritarian oppressor in Spain and the strife of Irish, Welsh, and Basque nationalism, given a new life by Brexit. Such an unwieldy subject matter could only fail on stage, especially when it is conveyed through a stream of consciousness dramaturgy that leaves the audience confused. Nonetheless the play succeeds in capturing the ambiguity of any proclamation in the name of ‘the people.’
Shooting Rabbits co-directed by Jac Ifan Moore and Chelsey Gillard begins with a Northern Irish actor auditioning for a role in Wales. The casting director asks him to do a ‘more Irish’ accent, meaning one that is from the Republic of Ireland. The director expresses sympathy with the Irish, ‘Solidarity with you,’‘Wales stands with you,’ ‘Your people.’ The ‘solidarity’ is borne of the alleged ‘shared struggle’ against the ‘neighbours across the borders.’ The actor, played by Neil McWilliams, launches into a tirade questioning the very premise of ‘the people.’ Who are his people? Republicans, Nationalists, the IRA, Unionists, the DUP? The reduction of the heterogeneous reality of a country to one group betrays not just an ignorant and condescending attitude, but one that delegitimises whoever does not fit the image of the country, a country that is always an ideal, never a complex reality. This is nowhere more evident than in the impassioned and seductive speech of Francisco Franco performed by Alejandra Barcelar Pereira in Spanish. It appeals to the defence of the country and faith in the country, but it is a country that repudiates all those who do not abide by the script.
The appeal to ‘the people’ is a dangerous weapon that is wielded against the very people it professes to protect. ‘The people’ erases people as a heterogeneous empirical reality, disregards and delegitimises theirs diversity, their different perspectives, lifestyles, values, customs, and, above all, their overlapping identities. This is what the European Union aims to promote: unity in diversity. That is why Catalan, Basque, Scottish, and Welsh nationalist movements, to name a few, are often supportive of the EU. Thus, the EU does indeed undermine the nation state, conceived as a unitary and homogeneous entity, by giving voice to communities inside nations and across them. Today, the EU is embattled, but the crisis is not a battle between fascism and liberal democracy; rather it is more the result of established structures and politics being out of step with contemporary society and economics. That is why it is risky to draw any comparisons between today’s crises and the 1930s, as Shooting Rabbits seeks to do.
Shooting Rabbits is at its best when it exposes the naivete of the romantic ideal of fighting against fascism and of claiming to represent a ‘people.’ The young Welshman in 1930s Spain does not know what to do and begs to be told what to do. In front of the horror of the civil war, the volunteers of the International Brigade repeat that it was not meant to be this way. The play makes fun of political divisions and polarisations that create enemies. It is evocative and exhilarating. It is acted beautifully in Spanish, Basque, Welsh, and English by Alejandra Barcelar Pereira, Gwenllian Higginson, and Neil McWilliams, and it is supported by the music performed live by Sam Humphreys. It is also a missed opportunity. Shooting Rabbits flounders due to a superficial historical analysis and a stream of consciousness structure that disorients the spectator instead of bringing clarity.
Laika likes to be grand, go ambitious and portray the unconventional. They latch onto stories about characters that don’t quite fit in and meet other such outsides and plots that take them to unique places. They also are not content with doing what they know they can do, each time they want to be challenged with their craft and artistry in some way. So here is their next feature, Missing Link, a story about an odd pairing if ever there was one and all the other trails and characters they meet along to way for them to reach their goal.
opening, we get a firm understanding of who the main character is and
what kind of adventure we are in for. We open on a footprint of a large
creature, then it wipes to a skinny boot print then the camera glides
above the water of a lake to a little boat, it rises up to a fancy tea
set being poured and then up to the man having it, he complains that
it’s gotten a bit cold. His assistant apologizes but sets things up for
capturing evidence of the Loch Ness Monster. The creature does appear,
with the encouragement of bagpipes, and proceeds to eat the assistant
and dive down, but through some bold adventuring by the gentleman, he
saves his assistant, however, the camera which would have captured proof
of the monster gets smashed.
This gentleman is Sir
Lionel Frost (Hugh Jackman), an explorer of the strange, unique and
often dangerous. Which leads to his latest assistant quitting. While
browsing through his pile of mail he finds one crudely written letter
saying that if they follow their directions then he will find proof of
the legendary Sasquatch.
He goes to the Gentlemen
Explorers Club that is filled with stuffy, pompous, thickly mustached,
or bearded or sideburned old men in black and white suits that gather
around a fireplace and a reminisce about how they shot an animal or
killed some foreign people. They have no interest in granting Frist
membership because he is unconventional and he always failed to bring
back proof of his oddities. So a wager is made, if he can bring back
proof this time then he will be granted membership,
this scene, you can see Laikas talent for not just animation but
comedy. This scene serves as pure exposition, needed to spell out his
motivation and what will be the goals going forward. These scenes are
usually the dullest and slowest parts of any movie unless they are done
right. While these men are standing around talking they really on unique
character movement, visuals and fun inserts of comedy that keep us
looking and listening. This is something essential yet you’d be
surprised at how many movies have these scenes and put nothing unique or
even fun in it to keep you interested.
When he arrives
at the specified location and does indeed find the Sasquatch (Zach
Galifianakis), however, he is most surprised to find out that he is able
to speak, English! Rather well and also that he was the one who wrote
him the letter. The Sasquatch is all alone in the forest, which is being
diminished by trees being cut down, and believes that he has relatives
in the snowy mountains, the yetis! Frost agrees to help him reach his
relatives if he gives him proof of his existence so he can join the
Gentelmens Explorers Club. However the sasquatch needs a name, Frost
suggests Mr. Link which is also humorous because it’s like missing link, the sasquatch doesn’t get it.
Link has very little experience with people or interactions of any
kind. He takes things at face value and is very literal so he needs
tuirns of frazes explained to him and if asked to do something he
literally does it. Take one scene when he is passes a rope and a
grappling hook and asked to “Throw this over the wall” he does, all of
it in one go. This is the main type of jokes we get from him and you
eventually get wise to it and they become the weakenst part of the
While traveling they realize they’ll need a map
of the Himalayas, luckily Frost knows where to find one. Adelina
Fortnight (Zoe Saldana) has it, her and Frost were a couple years ago
but he was more interested in his adventures and so she married his best
friend. As you would expect his just showing up after not being in
contact after years and only doing so to get a map that her late husband
died for does not go over well. But they desperately need it so they
come back in the night to steal it, she isn’t happy of course but she
also realizes she hasn’t been living her life, so this duo becomes a
It seems like they went for sheer impressive spectacle with Kubo of the Two Strings and here they want to try out some more subtle things. Not to say that this movie is devoiud of a grand ambition or has scope,
far from it, but they want to get smaller details down. Take one scene
that takes place on a boat, theres a conversation between Frost and
Adelina, it’s goining through some harsh waves so it rocks, while the
conversation unfolds the room itsef is swaying ever so gracefully, so
the characters have to adjust their footing to balance and furniture
slides around, sometimes very slowly others abrubtly. Other times when
they have a camera that moves along with the character and shifts angles
when they change direction. All of this must be discussed, planned,
built, painted and then finally animated, one frame at a time. Or other
times when Mr. Link is standing with the wind hitting him and every
chunk of his fur blows in the wind.
Laika operates as Disney did in the old days. Art challenges the technology, technology informs the art. They constantly embrace and seek out the odd and fascinating. Like Mr. Link himself there is nothing else like this movie, flaws yes, but why be safe if you can be bold and beautiful.
Up the ramps of steep metal stairs, in a room in the Loft, outside of the main building of Chaptert Arts Centre, the theatrical company August012 are rehearsing for their unique take on Les Misérables by Victor Hugo. The music begins. It’s a military tune. It’s 1815, the battle of Waterloo. The fighting, the casualties, the hollow victory. Then, at a stroke, it’s 2016, in Cardiff, the night of the EU Referendum. The battle of Waterloo and the battle of Brexit come together through a meeting and clashing of sounds, words, music, and dance making for an immersive sensory experience.
The tragedy and horror of Waterloo is juxtaposed with the carefree and indulgent pleasure of holiday-makers in 2016 ahead of the Referendum and the comic coming to terms with the result. It is a kind of estrangement that seeks to bring awareness of the historical implications of Brexit through rhythm and fun. All the pieces, the description of the battle, the drums, the music, a man chocking on a Dorito, Farage, and soldier-dancers, come together with perfect timing. The creativity fuelling Les Mis comes from the collaboration of Director Mathilde Lopez, Choreographer Matteo Marfoglia, and Composers John Norton and Branwen Munn, the latter working from West Wales.
The coming together of French-Spanish, Italian, and Welsh talent with diverse national and cultural backgrounds makes gives an extra dimension to the careful multi-layered assembling of sound, words, and movement. It is the collaborative and supportive nature of these relationships that stands out as I watch the rehearsals. There is no hierarchy, no instructions, no neat division of labour, but a coming together to harness the talents and creativity of one another. Mathilde says, ‘We can do that,’ not ‘Can you do that?’ She is not imparting instructions, she listens to others and makes suggestions. The work emerges from this shared effort and fun. They’re working hard but they’re also having fun.
The atmosphere is so relaxed and friendly that I wonder how a comment from me might be received. I comment and I’m struck by Carwyn, one of the actors, turning to me and nodding. It is a listening environment, where each member of the company can make suggestions and is listened to. John Norton, the composer/DJ, is surprised I’m surprised. ‘This is theatre,’ he tells me, ‘If you want control, don’t do it.’ Unpredictable, brittle, never finished, theatre is always in the making. Precision is impossible, flexibility is key.
Mathilde likes the challenge that music and movement present to her as a theatrical director. She needs to limit herself to give space to John and Matteo. Her listening and collaborative frame of mind includes listening to actors and non-actors who participate in the production. When auditioning for the play, Mathilde asked them what they were doing on the night of the Referendum. The piecing together of different perspectives and experiences reinforces the nature of this production of Les Mis where different worlds coexist.
Choreographer Matteo Marfoglia tells me that the idea is to have two
worlds side by side in the same space: the world of the actors and the world of
the dancers. The two worlds do not interact. The dancers and the actors are on
different journeys. The dancers, as soldiers, evoke with their movements and
sounds the tragic sense of the historical dimension of both Waterloo and
Brexit. Actors and dancers come in and out of the space interweaving the
present with the past, connecting and disconnecting history with our daily
Les Mis speaks to our own
reality. It is this sense of the real and dance as a way to communicate real
life that brought Matteo to Wales. Classically
trained, Matteo first moved to Amsterdam and Rotterdam to become a contemporary
dancer and, six years ago, he came to Wales to be part of the National Company
Wales. He left classical ballet because it did not meet his thirst for
something more authentic to human experience. He believes that contemporary dance
allows the individual expression of emotions to come to the fore.
Matteo is training to become a ‘Gaga’ dance teacher.
Gaga dance has been developed by Israeli dancer and choreographer Ohad Naharin.
At its core, Gaga dance is about embodying the inward emotions of the dancer
and how they connect with other dancers. The individuality of the dancer is
expressed outward flowing into the shared consciousness of the group. ‘We feel the same
emotions but we do so differently,’ Matteo explains, ‘We’re all connected
through an emotion but this emotion is expressed in one’s unique and individual
The emotional dimension of Les Mis is a pervasive sense of loss and futility contrasted with seductive pleasure and a hangovered awakening to the aftermath of the Referendum. As European nationals, Matteo and Mathilde experienced a deep sense of loss after the Referendum. They felt ‘under attack,’ as Matteo puts it. All of a sudden, they became foreigners, their presence questioned. Mathilde, who has been living in Britain for 20 years, is married to John and has British children who speak Welsh, felt the pain of exclusion, of being told to ‘go back home.’ She never needed to be formally British, she was part of British society, then Brexit struck.
Brexit has shown that being foreign is an identity that stays with you
no matter how long you live in your ‘adoptive’ country, no matter of many
changes you make, no matter how much you absorb of the local culture. The
‘in-betweeness’ that has characterised Mathilde’s life became problematic with
Brexit. Europe allowed overlapping identities that don’t stop at national
borders. Europe, for Mathilde, is the wider project of togetherness. It is
complicated and Europe often does not live up to the dream. The way the EU
functions right now doesn’t work for many countries, she tells me, but they
don’t question being part of it. ‘It’s like moaning at your parents,’ Mathilde
says, ‘you moan, you don’t kill them.’
The vote brought sadness to Mathilde and also anger. She found that
anger was more ‘socially acceptable’ than sadness because it makes one look
strong, but she found it tiring. She needed compassion. She plunged into
reading classics, such as Steinbeck, Camus, and Hugo. Classics were her way to
get her head around what had just happened and avoid a reductive perspective.
‘When you’re angry at the Americans, you read Steinbeck, when you’re angry at
Italians, you read Dante,’ Mathilde explains. Literary classics allow her to go
beyond the narrow contingencies of today’s events, put things in perspective,
and nourish compassion.
For Mathilde, Les Mis is a personal journey from sadness and
anger to compassion. Compassion is in the ability to listen to one another,
work together, and produce a work that is accessible to all.‘Will my grandmother get it?’
Mathilde asks herself when writing. She wants something accessible, not limited
to regular theatre-goers. She wants to be open to others, wherever they come
from culturally, socially, and, of course, politically. Some members of the
production voted Leave.
‘It is our duty to be compassionate,’ says Mathilde, ‘to find strength in accepting defeat, not despair.’ It is compassion that allows to overcome division, to appreciate human complexity, and find strength in togetherness. Mathilde finds compassion in being supported by Chapter Arts Centre, in working together with actors, non-actors, and dance students, getting inspiration from all.
Mathilde, Matteo, and John tell me working together requires humility, respect, and trust. As John tells me, ‘you need to sense the time when to follow someone else’s lead, when to defend one’s position, and when to let go of it.’ You need to abandon the need to take control. This deeply collaborative and inclusive production of Les Mis is fruit of mutual trust and compassion. It is what the UK needs now.
Re- Live’s new theatre show ‘The Return/Y Dychweliad’ is a moving, courageous composition of sadness, truth, celebration and sacrifice.
It begins at St Fagan’s Museum entrance where we are taken on a welcoming walk to Oakdale Workmen’s Institute, listening to various accounts of the thoughts and memories of the people connected to Oakdale. They tell us of the beauty of ‘devouring books’ from the library which was a rarity then, the joy of choc-ice treats and how Oakdale invited a ‘thirst for knowledge’ in the Institute.
We then reach the Oakdale’s Workmen’s Institute where (after a lovely cuppa tea) we are thrown into a World War I Victory Ball in 1919. The bunting is up, the tea is flowing, the Bara Brith is out and we are entertained with song, story and striking truths of what it was to be a soldier, a friend, a woman and a mother during The First World War. We are shown the thrill of the beginning of war, and the heartache it created during a time when so much was unknown medically about the after affects of battle and sacrifice.
The piece moves through dialogue, solo performance, touching physical imagery and choral singing with a nod for the audience to join in on a few wartime tunes. And there’s the beauty of Re-Live right there. Yes, it’s a show, a performance, but it’s a cwtch too. A really important, poignant, ‘so glad to be home’ kind of cwtch. The cast open their arms to you, smile at you, pour their hearts out to you and allow you to feel something about how they feel and have felt. Re- Live’s mission is to work with communities and to tell stories and truths from their lives and ‘Y Dychweliad’ is a beautiful shower of these things. These stories, this history, the effect war has on people around us and still has to this day are subjects that we must talk about. If we don’t talk about these things, if we don’t remember the history of our times, and the affects it has on us still- will they be lost? Will we learn? Will future generations know these wonderful, war time songs, even?
Karin Diamond and the team have created a gorgeous concoction of story, song, music and poetry and a beautiful memory for all that see the show. The production ends as fuelled as it begins, with a personal poem ‘Mother Wales’ written by one of the cast- which makes your heart beam. The thankful, heartfelt, emotional response at the post show discussion is unforgettable. Talks from the cast about their own experiences, and how much support we must continue to provide for our Veterans is integral.
One of the cast said ‘ Once you leave for war, and go over there, coming back is.. alien. You’re petrified. You come home. But you’re never the same.’ Reading through the Oakdale information book, one Veteran writes (of working with Re-Live) ‘The project has saved me because it’s given me something to look forward to, it’s given me a purpose again. It helps me control my anxiety too. This is the one place I can come where I know I won’t be judged.’
And that’s Re-Live. Sharing words and feelings from people, to people and for people. With the utmost care, gratitude and heart. ‘Keep the Homes Fires Burning’, indeed.
‘The Return/Y Dychweliad’ runs from 14-16 March/Mawrth,
Oakdale Workmen’s Institute, St Fagan’s National Museum of History/ Sefydliad Y Gweithwyr Oakdale, Sain Ffagan Amgueddfa Werin Cymru
Hi Adele, great to meet you, can you give our readers some background information on yourself please?
I am a theatre and opera director. I am from Port Talbot originally and live in Cardiff now. I’m about to make my Royal Opera House debut with Handel’s Berenice.
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I am obsessively listening to Berenice as I’m about to direct it! So my iPod is pretty much given over to that and to some of Handel’s other operas. It’s good to get a sense of where this piece fits into his wider body of work.
But the latest thing that I saw and was blown away by was a gig by Hen Ogledd. Their album, Mogic, has just come out and it’s just sensational. I’m a vinyl lover, so I’ll be listening to it on the record player!
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 1
Magical Mystery Tour – The Beatles
I’m going to immediately preface this by saying that this is by no means The Beatles’ best album (for me, that’s Revolver) but it is the one that changed my life. I was struggling to fit in in my teens in a world of grey concrete and everyone in head to toe adidas block colour tracksuit and gangster rap. After one very late night of underage drinking, a friend took me back to his house and said “check this out”. He put the film of Magical Mystery Tour on and immediately my entire world opened up. The colour, the surreality, the clothes and, of course, the music! I became obsessed with the backwards tapeloops, the kaleidoscope camera, the technicolour kaftans. I binned the tracksuit and immediately became a 60s throwback. That one encounter opened up everything to me: art, counter culture, the music scene, a whole world of new friends. And I can still quote that film word for word.
His ‘N’ Hers – Pulp
When my school mates did all start listening to Oasis and Blur I was firmly in the 3rd camp: I was a massive Pulp fan. Different Class is the album that cemented them as working class hero for the wierdo amongst us, and This is Hardcore saw them reach the pinnacle of their orchestral ambition, but His ‘N’ Hers is my favourite. It captures something very real about being an outsider in the 90s: when charity shops were packed full of incredible 60s clothing for pennies, the seedy glamour of the beachside dirty weekend B n Bs along Mumbles road, sticky indie clubs and lager and lime. It’s an album that celebrates the trashy, sexy, the working class. Jarvis Cocker is still my hero and nothing makes me dance and cry at the same time like “Do you Remember the First time”.
Work and Non-Work – Broadcast
I wrestled between this and Dots and Loops by Stereolab (which is a masterpiece) but Broadcast just pips them for me. Warp records seemed to be the coolest thing on the planet, and Broadcast’s music touched a nostalgic nerve for a period I didn’t even know. Their music seemed to be the subconscious by product of an alternative past: the mulch creepiness of Dario Argento’s fits, the sun saturated photography, the trippy wierdness of Public Information films. This album is incredibly beautiful and cinematic: every song on it lends itself to a film that has never been made. And perhaps the thing that pushes Broadcast’s work up the list for me is the tragic death of their singer and heart of the group Trish Keenan. She was a fashion icon and a poetic mind who went too soon.
The Hissing of Summer Lawns – Joni Mitchell
One night my boyfriend and I were driving very late down a pitch Black Country lane and we were listening to a radio show of Prince’s favourite songs. Suddenly this piece came on and it was so overwhelmingly beautiful, so totally perfect that we had to stop the car and just sit there in the dark listening. That song was Edith and the Kingpin from this strange and haunting album by the one and only Joni Mitchell. Poetically, every listen glistens with new meaning and her use of language is so incredible. “The helicopter lands on the Pan Am roof/ Like a dragonfly on a tomb”. Exquisite. Especially coming at you through that pure voice.
Wozzeck – Berg
I discovered that I wanted to direct for stage when I sat down and watched Richard Jones’s production of Berg’s complex and terrifyingly hard opera based on the Buchner play. That production tore away any concepts I had of what theatre could be. The world on stage was so strange, so complete, and the performers were incredible musicians and amazing actors (Christopher Purves’ performance in that was one of immense human detail. All while singing some of the hardest music you’ve every heard over a full orchestra). Now I’m finally directing opera, this production is still the benchmark for me of what can be achieved. It’s really worth listening to: yes the music’s complex, but the tragedy of the story is brilliantly served here. Please note the version Adele describes is not available online. Instead we present The Hamburg Philharmonic State Orchestra, The Chorus of the Hamburg State Opera, Conducted by Bruno Maderna, Directed for television by Joachim Hess. Set design: Herbert Kirchhoff Costumes: Helmut Jürgens Recorded 1970, Hamburg State Opera.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
I’m going to chose Babies from His N’ Hers because I think it shows how complex pop music can be. Melancholic, strangely profound: it captures the sense of teenage boredom on a rainy Tuesday evening between school and… But it also never fails to get everyone on the dance floor, and it builds into a euphoric, semi-spiritual exorcism of raw sexuality and kitchen sink drama. I can’t listen to this without dancing!
Hi Lleucu great to meet you, can you give our readers some background information on yourself please?
I was raised in Talgarreg, Ceredigion and went to Ysgol Dyffryn Teifi in Llandysul. While still at school my friends and I set up the Welsh-language rock festival, Roc y Cnapan, in Ffostrasol. We had amazing bands such as Y Cyrff (who later became Catatonia), Ffa Coffi Pawb (later, Super Furry Animals), Crumblowers, Cerrig Melys and Datblygu playing in front of thousands of young people who came to the festival from all over Wales. After school I travelled around South America for a while and studied English literature at New College, Oxford. After working at various media and arts companies I ended up where I am now in Literature Wales. Poetry, spoken word and hip-hop have always inspired me, and I love the way these genres have developed and intersected over the years.
This chat is
specifically about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening to?
These days I’m enjoying listening to Kendrick Lamar, Cardi B, Stormzy, Dave (the young political rapper from London. Check out his song Question Time) – exciting music with a message and an edge.
There’s also a lot of great music coming from Wales, such as Los Blancos, Adwaith, Y Pencadlys. And Olion by Mr has been playing endlessly in our house for the last couple of months.
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
1 Velvet Underground & Nico – a funny, louche and weird album with surprisingly catchy songs. I listened to it a lot as a teenager (and still do), and it made me fantasise about moving to New York, wear black and live in a loft.
2 Ride On by Christy Moore – my friends and family can vouch that this gets played a lot in our house and I know every single word to every song. His voice is hauntingly beautiful.
3 It Takes a Nation of Millions to Hold Us Back by Public Enemy – extremely influential album when I was younger and the band still sounds as fresh and urgent now. I saw them play at the Tramshed a couple of years ago and they were amazing.
4 Libertino by Datblygu – without a doubt the most influential and exciting band ever in the Welsh-language, if not in any language. The combination of the musical genius of Patricia Morgan and the poetic desolation of Dave R Edwards makes any of Datblygu’s albums worthy of intense listening.
5 Gold: Greatest Hits by ABBA – dancing round the kitchen to ABBA songs is a tradition I’ve proudly passed on to my children. Fun, classy, catchy, genius pop disco tunes which should be part of everybody’s lives.
Just to put you on the spot could you choose
one track from the five listed above and tell us why you have chosen this?
A toss-up between Cân i Gymru from Libertino by Datblygu and Dancing Queen by ABBA. Or perhaps Ride On by Christy Moore, or Don’t Believe the Hype by Public Enemy. I really can’t choose!L
In the article below a range of Welsh and Wales based creatives share with us a selection of cultural events they are looking forward to this year. Thanks to all of our contributors.
Connor Allen, Writer and Actor.
My cultural highlights for 2019 would have to include Betrayal at the Harold Pinter Theatre starring Tom Hiddleston and Charlie Cox. One of my favourite Pinter plays and one hell of a cast, so it should be great!
Another one I’m ecstatic for is Tree by Idris Elba and Kwame Kwei-Armah at the Manchester International Festival. The vision of both those artists is nothing short of superb so we are in for a treat whatever they create.
And speaking of the Manchester International Festival Skepta is doing an immersive experience called Dystopia987 and even if you’re not a lover of grime I can bet that it’ll be worth the watch.
Closer to home in Wales I’m looking forward to Mathew Bourne’s Romeo & Juliet coming to the Wales Millennium Centre as previous productions from Mr Bourne have been astounding in terms of choreography and storytelling so I am very much looking forward to his take on Romeo & Juliet.
Also I’m very eager to watch Tigerface by Justin Cliffe at The OtherRoom in Cardiff. I’ve no doubt that it will be an awesome piece and being that I missed previous sharing’s of it I am excited to see the piece in its entirety.
A personal hope of mine for 2019 is that more people and companies are taking risks, especially with minority groups. We’ve played it safe for many years now. Let’s shake it up. And also accepting other people’s views even if they are different from our own. We all come from different walks of life and with that we bring different views and opinions. Let’s show compassion and accept or at least acknowledge other people’s views. We can all learn and grow from each other.
Meredydd Barker, Playwright.
From the 14thof June to the 10thof November, Tate Liverpool is hosting the first, major UK exhibition of artist and activist Keith Haring. Because his work decorates T-shirts and tea towels it tends to be forgotten how subversive he was. This is a superb opportunity to be reminded of how urgent his response was to issues such political dictatorship, racism, homophobia, drug addiction, capitalism and the environment. He died 28 years ago but is as relevant as he’s ever been.
It didn’t happen last year but I will get to see The Idles live this year; I will, I will, I will…
If I make it, I will be 50 in September and hope to be in Chicago to celebrate. There’ll be a World Music Festival on at the time – think Llangollen International Musical Eisteddfod, but in Chicago – so I’ll dip in and out of that while going to as many shows, plays, bars as I can. Nothing planned for definite, but I think just going to Chicago – and New York beforehand – counts as a cultural event.
I’ve just bought tickets to see Ruby Wax – How to be Human: The Show, “answers every question you’ve ever had about evolution, thoughts, emotions, the body, addictions, relationships, sex, kids, the future and compassion.” I think she’s astonishing, one of the great documentary makers of our time and times.
I always promise myself that I’ll go the Machynlleth Comedy Festival and it never happens, but I am going to make a super-human effort to get there this year.
As for me I’m writing a play called The Huntsman for the brilliant Torch Theatre in Milford Haven. It’s pencilled in for perfomances this Autumn. I’m piecing together the first draft as I write. I have to remind myself to breathe as I do so. It’s about Pembrokeshire when serial killer John Cooper was at large. And along with a brilliant film-maker called Nick Swannell I’ve just begun the process of starting a film company called The Holding Cell. I’m very excited about that indeed.
Be Excited. Be Bold. Be Kind. That, I hope, will be the themes for this year, and these horribly uncertain times.
Mawgaine Tarrant-Cornish, Casting Associate, National Theatre Wales.
First up I’m excited about BLUE, a new play by Rhys Warrington which has a stellar cast. It’s at Chapter from next week.
At NTW, I’ve been working with Mike Brookes to cast STORM 3: TOGETHER AND ALONE and I can’t wait to see these performers together on stage in March. They’ll be taking over a venue in Newport with this experimental show about how we figure out our place in the world.
Also in March, NEW, from Royal Welsh College of Music and Drama, will hit the Sherman Theatre. It’s your chance to catch this year’s graduating actors collaborating on four brand new plays by up and coming British playwrights. For Wales’ offering, Hannah Noone will direct Jacob Hodgkinson’s BETWEEN ETERNITY AND TIME.
As part of Diffusion 2019, in April, Matt Wright and Janire Najera will create an immersive visual score for JUNIPER, Slowly Rolling Camera’s latest album, which they’ll play live.
At National Museum Wales, the Women in Focus exhibition
continues into June. Part One introduced me to Charlotte James and her Ffasiwn Project with Clémentine
Schneidermann so I’m looking forward to discovering many a new girl crush
in Part Two: Women in Front of the Lens.
I’d love to see DYSTOPIA987 by Skepta at MIF this summer and there’ll be loads more to get excited about in that programme, I’m sure.
Artes Mundi Tour with John Wilson. I have been campaigning for many years to try and get John Wilson to curate and lead a BSL tour at one of our brilliant museums/galleries. John is one of the most experienced Deaf curators in the UK and for him to come to Wales to led the Artes Mundi exhibition at the National Museum, Cardiff was fantastic!
The event took place two weeks ago and sold out pretty quickly. My background and passion is visual arts and to see this happening in Wales was a personal dream for me. I have been to hundreds of exhibition tours and I usually only understand about 20/30% of what is spoken, for this tour I understood 100%.
I think having a Deaf curator makes a bigger impact because of the language they use and it resonated with a Deaf audience. There was a real mixture of people in attendance; some have never been to a museum before, some attending liked Art but have limited opportunities to see an accessible tour, some just wanted to see John. The feedback was really positive and I hope to bring John back more for more BSL tours in other museums around Wales. You can read and exclusive interview with John and Jonny about this event here.
Mr and Mrs Clark ‘Louder Is Not Always Clearer’. I might be biased because I am involved in this but it is going on another tour from May to June then will be heading for a month at the Edinburgh Fringe at the Summerhall. Louder Is Not Always Clearer has also been selected for the national rural touring and will be visiting rural communities in the UK. Exciting times and we are looking forward seeing wider and more diverse audiences!
Cardiff Deaf Centre Arts Festival – After it’s success 5 years ago for young deaf people, it is back again in April at the WMC with a range of exciting Deaf artists running workshops.
Hijinx and Frantic Assembly ‘Into the Light” at Sherman Theatre. Always exciting to watch both organisations but to see the two combined… wow!- I am looking forward to see more disabled-led events in 2019. Kaite O’Rieily’s ‘Peeling’ directed by Taking Flight looks interesting as well as the brilliant Graeae’s new production of Sarah Kane’s ‘Blasted’. I am very excited to hear Deafinitely Theatre are creating their version of ‘Horrible Histories’ called ‘Dreadful Deaf’ which is going to be touring later in the year. I am really excited to see what Paula Garfield (Director of Deafinitaly Theatre) is going to do with this. I am sure it will be fun, visual, accessible and mad!
I am also hoping to see Extraordinary Bodies new fully inclusive outdoor touring show ‘What I am Worth’. British Paraorchestra’s ‘Nature Of Why’ is touring and will be coming to WMC. They are the world’s only large-scale ensemble for professional disabled musicians so I am very excited they are coming to Wales.- I have been looking at festivals where we can take our 2 year old daughter along so we are going to head back to the Blue Lagoon Festival in West Wales which we have been many times and its brilliant. We are also thinking (if i can get tickets) of going to the Just So Festival because it looks amazing. I have never been to the Machynlleth Festival so I have made sure it is on my list to visit this year.
Branwen Davies, Writer.
My cultural delights or highlights for 2019? I’m still recovering from the cultural smorgasbord of 2018! The end of the year in particular was a whirlwind of exciting and engaging work that inspired and moved me. I’m still discussing and thinking about some of my favourites – Clean Break’s ‘Thick as Thieves’ at Theatr Clwyd, John Rea’s ‘Atgyfodi’ at Sain Ffagan, the Sherman’s production of Meic Povey’s ‘Fel Anifail,’ good cop, bad cop’s ‘Phantom Rides Again’ at Chapter and Theatr Genedlaethol Cymru’s verbatim musical ‘Nyrsys.’
Other theatre productions I don’t want to miss this year are Fran Wen’s powerful one woman show ‘Anweledig.’ Be Aware’s Turkish/Welsh production ‘Y Brain/Kargalar.’Cwmni Pluen’s ‘Woof’ and Ed Thomas’s new play ‘On Bear Ridge’ (a co-production between NTW and the Royal Court). As one of the Dirty Protest gang I’m excited that we have a new production touring in the spring. Sian Owen’s one woman show ‘How To Be Brave’ is set in Newport and is a love story to the city. On the art front I’m intrigued to see the work on show and the work being developed at Shift and Rugart/Celfryg and the possibilities of these contemporary art spaces at the Capitol Shopping Centre on Queen Street. Another highlight I’m looking forward to is London Sinfonietta Synergy Vocals at St David’s Hall (Steve Reich being hailed as one of ‘the most original music thinkers of our time’)
I want to enjoy more live music this year. I just hope there will still be vibrant and individual venues left to be able to do so. I’m heartbroken that Buffalo and Gwdihw in Cardiff have been forced to close down.
I recently saw Cate Le Bon at The Gate, Lleuwen is performing a series of acoustic gigs in chapels across Wales following the release of her new album ‘Gwn Glân Beibl Budr,’ and Mr (Mark Roberts + Band) is also touring. I love his first solo album, Oesoedd.
My personal hope is to collaborate more with different artists who work differently to me and to have more creative discussions. I’m keen to work more with music and sound and challenge the way I write and create. I’m also keen to explore the possibilities of political plays in Wales. Where are our political plays especially in the current political turmoil we’re facing in Wales and beyond?
Peter Doran, Artistic Director, Torch Theatre.
2019 will start with a theatrical explosion for me, I’ve booked for Wise Children, the first production of Emma Rice’s new company at Bristol Old Vic. Emma Rice is one of the most exciting directors in the UK, her work with Kneehigh was phenomenal. I directed Brief Encounter at the Torch a couple of years ago, unashamedly based on her production with Kneehigh and was probably one of the highlights of my career as a director. Wise Children, I’m told has all the hallmarks of a knee-high production and with two fantastic Welsh actors in the cast, Katy Owen and Gareth Snook and no bridge tolls to pay, this will be a cracking start to the year.
Laura Penneycard and Liam Tobin in Torch Theatre production of Brief Encounter by Emma Rice.
From a Torch perspective, we have Grav back for it’s fifth tour, it’s now like welcoming an old friend back to the theatre; staff, audiences, they all love Grav, it creates such a great atmosphere in the theatre; it’ll be great having him back at the Torch and to take him to London for a short run at the Hope Theatre in Islington! Who would’ve thought that a play about a boy from Mynedd y Garreg would perform in New York, Washington DC and London all in the space of twelve months.
Gareth Ford Elliot, Get the Chance critic and playwright.
My personal highlights of what I’m looking forward to are the Cardiff Fringe Theatre Festival and The Other Room’s Spring Fringe. It will be excellent to see so much work in the first half of the year in Cardiff.
As for specific projects, Spilt Milk’s ‘Five Green Bottles’ by Joe Wiltshire-Smith looks to be an absolute hit. It was a brilliant show at last year’s Cardiff Fringe and to see it with a few extra months work and some changes is a very exciting prospect. Wiltshire-Smith is one of the upcoming Cardiff-based writers and working with Spilt Milk who have contributed so much to Cardiff’s arts scene in the last two years is a combination not to be missed.
David Evans, Head of Production, National Theatre Wales.
I am intrigued to see the The Mirror Crack’d – the WMC’s Co-Production with Wiltshire Creative that will be on at The New Theatre, Cardiff. Agatha Christie shows have been the staple of mid scale touring for years, populated by people “off the telly” in the twilight of their careers. But this is apparently a completely new take on the hoary old country house murders and I am fascinated to see what they have done.
After “Now the Hero” I am eager to see anything that Marc Rees is up to, I don’t know what his plans for 2019 are but whatever they are I will be there.
Matthew Gough, Faculty of Creative Industries, USW, Senior Lecturer Dance
I’ve been looking forward to 2019 for some time, it will bring the first graduates from BA Hons Dance, at the University of South Wales. Some 20 years after my own graduation I will be watching our students with pride as they present their dissertations (March), Perform at MAP festival, and Agor Drysau (March), a repertoire night with work from Wales based choreographers (April), and our end of semester performances at Dance House Cardiff (April, & May). National Dance Company of Wales, and Groundwork Pro are both in a period of new leadership and their plans for future delivery are exciting and progressive. A number of dance artists have (re)established themselves in Wales and, the sector will benefit from the diverse perspectives, and experience they bring. Cardiff Dance Festival always brings a richly curated, international focus to the sector, and I anticipate the next edition will bring more dance delights (November). Overall I look forwards to the Welsh dance sector, adapting, reimagining, and revitalising itself depicts the challenges, and uncertainty that we know 2019 will bring.
Rebecca Jane Hammond, Artistic Director Chippy Lane.
I think topping ‘2018’ will be difficult as there was so much work of great quality being developed and produced. New companies thriving, venues reaching wider audiences and winning awards and most importantly the community rallying together to ensure our work is met with joy and love and great support for one another.
My cultural highlight for 2019: NEW: 2019, Between Eternity and Time Written by our Jacob Hodgkinson, directed by Hannah Noone, commissioned by Royal Welsh College of Music & Drama and Sherman Theatre “I am beyond excited to see this team of collaborators working together and Jacob’s writing getting the recognition it so deeply deserves in Cardiff and London.”
19 – 21 Mar, Royal Welsh College of Music and Drama 2 – 5 Apr, The Gate Theatre, Notting Hill, London
As for our own cultural highlight it’s important I mention BLUE, Chippy Lane’s second production and first foray into new writing. Boasting an authentic Welsh and Wales-based creative team and published by Methuen Drama (Bloomsbury Publishing). This is an enormous achievement for a company not yet three years old. We will also continue our other projects and initiatives by producing more of Chippy Lane’s Podcast and running our Welsh Female Writers Group. We hope you can continue to support us as we continue to create great theatre and provide opportunity.
Paul Jenkins, Theatre Director/Dramaturg/Writer.
I’m looking forward to new plays from Elgan Rhys & Ed Thomas. Woof, directed by Gethin Evans, is first up at The Sherman and is sure to be a theatrical force from the creative force from the creative team behind Mags last year. Then the brilliant Ed Thomas, whose gritty surrealism defined Welsh theatre in the 90s makes a welcome return with NTW. On a personal note I’ve been inspired by the locals of Taibach while recording responses to the Banksy that appeared over Xmas. This street art asks difficult questions about the economic foundations of Port Talbot and yet has been embraced by the entire community. Freelance theatre-makers like myself rely on the big producing theatres to pick up exciting ideas & support emerging talent, so I’m very much hoping the Banksy story will find a good home and become an essential highlight of 2019.
Zosia Jo, Dance Artist.
Most of the things I am looking forward to in 2019 are still awaiting their funding! Cardiff Dance Festival for example, and my own production- Songs for the Body- which will be a promenade live action concept album with dance, music and spoken word taking over Chapter in October half term.
However one thing that is confirmed is Groundwork Pro’s funding and they will be offering workshops, events, classes and residencies for dance and movement artists throughout 2019. There will be so much opportunity for discussion, training, sharing and professional development. I am really excited to be part of it.
Angharad Lee, Director.
Firstly, I am looking forward to seeing Hadestow which tells a version of the ancient Greek myth of Orpheus and Eurydice, a musical adaptation of the folk Opera concept album by Anais Mitchell.
I am silly excited about attending an intimate evening with Stephen Schwarts in Manchester. It’s the first he has done in the UK. I am thrilled to see Wales Millennium Centre devote their Curious Season to mental health later in the year and can’t wait to see what’s in store there. Draw Me Close at the Young Vic looks fascinating also.
Having had a frantic year last year, most of my own creative enegrgies this year are being ploughed into the new BA (Hons) in Musical Theatre Course which will be up and running this September. It’s the first ever undergraduate course in Musical Theatre in Wales and am delighted to be a part of it. Details here,get in touch if you think you would like to apply and come and chat .
In the meantime I am directing Pippin by Stephen Schwartz and The World Goes ‘Round, both with the fabulous students at Canolfan Berfformio Cymru, UWTSD. Leeway Productons’ 10 Minute Musicals will be rolled out again a little later in the year with some fabulous partners including RCT Theatres who work so hard as a team. We are also thrilled to be working on a lovely Welsh Language production with some young people from Merthyr in the Summer. Hopefully, this year will feel a little more relaxed than last year!
David Mercatali, Director.
My highlight of the year ahead is to see the continued development of the 15-18 year olds in my Introduction to Playwriting group at the Sherman Theatre. Mentored by 3 brilliant writers, Matt Hartley, Branwen Davies and Brad Birch, their work is already showing so much talent and I can’t wait to see what they do this year. My personal hope is to see more new plays produced for longer runs in Wales. There’s many exciting voices with stories to tell.
Rachel Pedley Millar, Artistic Director, Avant Cymru.
Happy 2019 everyone. Avant have an important year lined up, where we have a focus on mental health and well-being. Our Hip Hop theatre piece has a focus on mental health and we hope to head to New York to attend the Hip Hop for metal health conference held by Doug E Fresh and partners. We aim to undertake research on ‘how art can aid those living with mental health conditions?’ Working with other artists (including Sadlers Wells) and our community in RCT.
The Valleys have a celebrity year with it being 80 years since Llewellyn wrote ‘How Green Is My Valley’, we want to find out ‘How Green is Our Valley Now? We are always interested in what everyone in our community has to say. Including other artist and we hear Motherlode have exciting plans this year and we can’t wait to hear more about them.
Have a happy, healthy New year everyone. “For all sad words of mouth or pen, the saddest are these: it might have been.” – John Whittier.
Fearghus Ó Conchúir, Artistic Director, National Dance Company Wales.
As a newcomer to Wales, there’s a lot for me to learn about, lots to see. Starting closest to home, some of the events I already know I’m looking forward are in our varied activity at NDCWales: our Awakeningprogramme that tours Wales and England in the Spring with magical new work by Brazilian choreographer, Fernando Melo and by our resident choreographer, Caroline Finn, as well as the Roots programme that will tour across Wales in the Autumn with pieces by new choreographic talent.
As a recently-arrived Artistic Director, I’m mostly at a stage where I get to be an excited cheerleader for other people’s work in our programmes, but I’m also happy that in 2019, I’ll get to make work myself, with the company’s professional dancers, with other artists and with different groups across Wales who will all inform the new piece. I knew about Cardiff Dance Festival before I came here, and I’m looking forward to seeing what’s in this year’s programme. And one more dance highlight for me will be the BBC’s #DancePassion on 5th April when the BBC’s social media channels will showcase dance in the UK, with livestreaming (including from NDCWales) and the chance for audiences to interact. I’m looking forward to seeing the diversity of dance that this event will bring to the BBC’s wide public.
Because I’m interested in what bodies get to be visible and to fulfil their potential, I’m inspired by work that shows me what’s possible and pushes me to expand my vision. For that reason, Mission Control, NTW’s collaboration with Hijinx that will be performed in November is something for me to look forward to with its cast of professional neurodivergent and learning-disabled actors as well as members of the Only Boys Aloud choirs. I won’t get to see Splish Splash, the NTW collaboration with Oily Cart that’s made exclusively for children in special schools across Wales and England, but I love that it’s going on and that it’s going to be a cultural highlight for people who mightn’t be included in other events.
Jasmine Okai, Assistant Producer, Fio.
Fio: Futures’ production of Bertolt Brecht’s ‘Fear and Misery of the Third Reich’ showcasing in RawFfest April 2019. This timeless story of the rise of fascism is unfortunately still as pertinent today as it was in the 1940s. Brecht’s play presents a series of vignettes on the everyday lives of German citizens, including Jewish people, living under this oppressive regime of Nazi fascism during World War II. After the success of ‘The Island’ UK tour in October 2018, Fio have since established Fio’s Young Company, Fio: Futures, who will be bringing these important stories to the stage.
William Shakespeare’s ‘The Taming of the Shrew’, as reimagined by Jo Clifford. Shakespeare productions are a classic and, some would argue, integral faction of theatre. What makes this production so exciting is that while keeping the main story of ‘The Taming of the Shrew’, Jo Clifford uses gender reversal within the main characters to switch up the dynamics of the play. How refreshing!
Catherine Paskell, Theatre Director.
Believe. If I Could Turn Back Time. Just Like Jesse James. Gypsies Tramps and Thieves. Bang Bang. I can’t wait to see Cher’s concert. Her tour in October 2019 will be her first live UK dates in 14 years. Her songs, her films, her outfits, her political activism, her Twitter feed. Her music video for If I Could Turn Back Time was too much even for MTV because we could see her tattooed bum cheeks either side of her thong as she straddled that cannon and strutted in front of the navy – so it was the first video to be banned by the channel. Cher’s career and musical evolution embodies the transitions of American cultural forms. She is outspoken, honest and authentic as an older woman in a male-dominated field. It’s going to be an ambitious, theatrical and entertaining show – Cher is my cultural highlight of 2019.
Films – Toy Story 4, and Star Wars IX. I mean, do I need to justify those? Reuben Ostlund’s Triangle of Sadness starts shooting 2019 but I’m not sure it’ll be released.
Theatre – Richard III by Headlong will be brilliant. And it’s great that Ed Thomas has taken a break from counting money to write another play so I’m excited about ‘On Bear Ridge’ by National Theatre Wales. Berberian Sound Studio created by designer Tom Scutt and playwright Joel Horwood at the Donmar warehouse. Home, I’m Darling at Theatre Clwyd, I missed it first time around. The Funeral Director by Imam Qureshi won the Papatango Competition this year and is being toured by ETC. Nos Sadwrn O Hyd by Roger Williams is a brilliant monologue revived in Welsh for the first time by Theatr Gen.
TV – What We Do In The Shadows has been turned into a TV show released in 2019. I’m also super excited about Jordan Peele’s Twilight Zone, and a new True Detective series. Channel 4 have produced a new 4 parter from Lucy Kirkwood about the porn industry called Adult Material, fellow Cynon Valley boy Gareth Evans has his first TV series out Gangs of London on HBO and Sky Atlantic.
Event – Blue Dot at Joddrell is a brilliant mix of science, astronomy big ideas and music – Gruff Rhys and Hot Chip play this year under the mighty Lovell Telescope. It looks amazing.
Catrin Rogers, Press and PR Manager, National Theatre Wales.
I’ve booked tickets to see WNO’s The Magic Flute, and I have high hopes for that. They’ve just announced their next season, including the return of Bryn Terfel, which is great.
I’ll try to catch at least one of Theatr Genedlaethol Cymru’s touring plays, by Catrin Dafydd and Roger Williams – two writers I admire very much – in the Spring.
I’ve also booked tickets to see National Dance Company Wales’ Spring tour, Awakening. It includes Tundra, which I’ve seen many times but never, ever tire of – honestly, it takes my breath away every time I see it.
In the coming weeks I’ll go with my family to catch the Artes Mundi Exhibition, which I’ve been reading a lot about.
2019 is set to be another fantastic year for the arts. Even though the production won’t be until 2020 I’m excited to see what project will be chosen from National Theatre Wales’ Radical Creatures callout, I think it’s a great initiative and a great choice for female identifying and non binary artists to take more of centre stage in the current arts scene.
From a more selfish point of view my theatre company, CB4 Theatre, will be presenting our inaugural production 10,316, a new devised piece marking the 30th anniversary of the fall of the Berlin Wall. We’re all so excited to get stuck in to the already thriving grassroots arts scene here in Cardiff, so watch this space for dates!
Aside from the arts, 2019 is definitely going to be a bumpy year. With Brexit looming and pressing social issues plaguing the country I really hope that art can do what it does best; listen, respond, discuss, create, inspire, protest. At a time where it’s easy to give into divisions I think it’s more important than ever for the arts world to take a strong stand against hatred and fascism.
Music-wise, I’ll keep my usual eye on Warp, Hyperdub, and Heavenly. Nubya Garcia is playing Clwb in May, so I’ll try to get down to see her. Mostly though I’ll still be dreaming of SFA making another album and hoping Doves get their arses in gear after the dates they’re playing.
In art, I’m looking forward to seeing how John Abell’s new place, RUG develops over the coming year. 2019 also looks like it’s going to be a brilliant year for new fiction, and the novel I’m most excited about is Niven Govinden’s ‘This Brutal House’, which has been described as a queer protest novel set in the drag ball community of New York City and, therefore, fierce as all fuck.
As far as theatre goes, How To Be Brave by Sîan Owen is coming via Dirty Protest and I am doubly excited to see this full scale show, especially as it is set in my adopted home of Newport and pitches up in the one and only Le Pub. As for my personal hopes: I just hope there is a miracle of some sort that puts a halt to the madness we can see coming our way, and Liverpool and Manchester City lose every game they play between now and the end of the season.
Abdul Shayek, Artistic Director Fio.
So for me, 2019 has started off with a bang- one of my cultural highlights has already happened, Sri Lanka and the Galle Literature Festival, where the amazing spoken word artist Nicole May performed! It also featured writers such as Sir David Hare, Mohammed Hanif and Vahni Capildeo amongst others who I had the pleasure of meeting. I was also lucky enough to find out about the amazing arts and cultural activities taking place across the South Asia region, supported or directly delivered by the British Council, as I joined their bi-annual Arts regional meeting, in my capacity as an Arts Advisor.
Personally, the next cultural highlight will be my trip to Australia as part of the British Council Australia Intersect Programme. It was brilliant when my counterparts came over to the UK, which included a visit to Cardiff in 2018. Now it’s the turn of the UK participants to visit Australia, learn and understand what the diversity and inclusion picture looks like. We will be visiting Sydney and Melbourne and meeting with a range of cultural leaders. We will also be part of the Fair Play Symposium
Other than that I have a number of other projects and ideas that are currently in motion, all very exciting and some have international elements to them, however, quite a few are funding dependent, so fingers and toes crossed. Other cultural highlights for me include: Manchester International Festival in general, but really looking forward to Trees by Idris Elba and Kwame Kwei-Armah and the collaboration between Flexn and Young Identity will be very exciting.
I am really looking forward to seeing King Hedley II at Theatre Royal Stratford East with Lenny Henry. In Wales, I am really looking forward to Rawffest and in Cardiff at the WMC, I am sure it will do what it was initially set up to do and really engage young people from a diverse range of backgrounds. I am also really looking forward to Mission Control the NTW and Hijinx – collaboration. In terms of non-theatre highlights, I can’t wait to see the final season of Game of Thrones, also looking forward to Star Wars IX and the remake of the Lion King. In terms of gigs, I am hoping to catch Tank and the Bangas on their European tour, Anderson Paak when he visits London and Skepta at Manchester International Festival. I’m sure there will be loads more cultural offers which will entertain, inspire and most importantly keep me nourished during 2019!!!!!
George Soave, Producer, He/Him/They/Them, The Other Room.
We are kicking off 2019 with an almighty bang. Spring Fringe is the latest addition to our programme here at The Other Room. February and March, traditionally the home to our self-produced work, will now be occupied by eight weeks of imaginative and bold Fringe Theatre. Spring Fringe will champion home-grown companies and provide a platform for non-native touring companies to perform their breakthrough work here in Cardiff. Presenting work from Edinburgh Fringe Festival, Cardiff Fringe and others from across the UK and internationally! Our diverse programme will present eight productions over eight weeks that capture the essence of the fringe – telling imaginative stories in ingenious ways.
What about our self about our self-produced work? The Other Room will remain champions of well-made, daring modern drama and are as committed as ever to producing our own work – if anything we’re pushing the artistic envelope even further in 2019 and this Autumn will see our self- produced work return so watch this space.
And that’s not all! In the spirit of the fringe, this Spring we are embracing our Cardiffian cultural cousins… the rugby. There’s no avoiding that each spring Cardiff is ignited by the Six Nations Championship, so we thought, if you can’t beat them join them! All five of the Welsh rugby matches will be screened in both Porter’s bar and in the theatre as a part of our Spring Fringe programme. So come on in and enjoy a play, a pint and a match.
Kully Thiarai, Artistic Director, National Theatre Wales.
I’m biased I know, but I’m looking forward to Ed Thomas’ new play ‘On Bear Ridge’ that will open at The Sherman in September. He has written a beautiful, poetic and poignant work.
Taking Flight Theatre Company’s production of Peeling by Kaite O’Reilly is touring Wales so I planning to catch that on the road somewhere. I missed it when it was first produced by Graeae Theatre Company many years ago.
More immediately Artes Mundi 8 has had another great year and finishes soon so catch it while you can! National Museum, Cardiff is also showing the rarely displayed drawings of Leonardo Da Vinci as part of a UK wide simultaneous exhibition.
I’m very excited by Yoko Ono’s Bells for Peace that will be opening event for Manchester International Festival in July. Thousands of diverse voices and an orchestra of bells sending a message of peace to the World seems like a very apt thing to be doing in 2019. In the same festival Idris Elba and Kwami Kwei-Armah will be making a new work called TREE – sounds like a great collaboration to me, combining music, dance and film.
Rachel Trezise, Novelist and Playwright.
Finally this year I get to road test a piece of my own work that’s been on my table for seven years, a play about the Pontypridd boxer Freddie Welsh, said to be one of the inspirations behind F. Scott Fitzgerald’s ‘The Great Gatsby’. I’m going to be working with RCT Theatres and Motherlode Theatre to determine if the work is suitable for public consumption.
Also I’m really looking forward to travelling to Northern Ireland where my monologue ‘Cotton Fingers’, commissioned by NTW for the NHS70 Festival last year, will open in May. The monologue is set in Belfast and concerns abortion laws in Northern Ireland but I haven’t been to Belfast for twenty years.
Most of all I’m looking forward to the publication of short story-master Amy Hempel’s new collection ‘Sing To It’ in late March, her first new work in over a decade. My personal hope for the year is that the UK, and Wales in particular, manages to get through the Brexit withdrawal process without much more trauma. We should know by the end of the year whether the tunnel that connects the Rhondda to the Afan Valley will be able to open as a cycling and walking track. I think that would be a great thing for both valleys.
Get the Chance critic, Sian Thomas
I’m awfully excited for the third How To Train Your Dragon movie. I really enjoyed the films through my teens and have actually managed to make that enjoyment infect others, too. It’ll be nice to see a cushy family film with the family this year.
Personal hopes are to read at least 20 books this year – and review the ones that take my fancy (not the ones I have to read for uni, haha). I’m looking forward to this because it means I’ll easily work on two new year’s resolutions: read more, and review more!
Jonny Cotsen– I have been campaigning for many years to try and get John Wilson, Deaf arts practitioner and consultant to curate and lead a BSL tour at one of our brilliant museums/galleries. John is one of the most experienced Deaf curators in the UK and for him to come to Wales to led the Artes Mundi exhibition at the National Museum, Cardiff was fantastic!
John Wilson– I was really pleased to be given this opportunity to come to Cardiff for the Artes Mundi 8 tour. Getting out of London and being able to share such an important and fascinating cultural event with deaf people in a different part of the UK was a privilege and a delight! I really believe that Deaf-led events with British Sign Language (BSL) the native language of Deaf people as the only medium of communication. They deliver such a lot for deaf people who feel confident that they are coming to something which they will understand and, what is more, has been organised specially for them. As a result some will come to a museum for the first time ever.
John Wilson– This event felt even more special for two reasons. Firstly the exhibition was for the largest art prize in the UK – I am not aware that any tour of such an important event for contemporary art in the UK has ever been organised for deaf people. It also provided an opportunity to open up contemporary and more abstract art to deaf people which, to be honest, is not a subject many will have felt able to approach before. I congratulate National Museum, Cardiff for organising this. What is more, I would like to thank Melissa Hinkin, Exhibitions Officer, Artes Mundi for doing such a wonderful job of setting up and organising the BSL tour.
Jonny Cotsen– The event took place two weeks ago and sold out pretty quickly. My background and passion is visual arts and to see this happening in Wales was a personal dream for me. I have been to hundreds of exhibition tours and I usually only understand about 20-30% of what is spoken, for this tour I understood 100%. I think having a Deaf curator makes a bigger impact because of the language they use and it resonated with a Deaf audience. There was a real mixture of people in attendance; some have never been to a museum before, some attending liked Art but have limited opportunities to see an accessible tour, some just wanted to see John. The feedback was really positive and I hope to bring John back more for more BSL tours in other museums around Wales.
John Wilson– Being profoundly deaf I am always well prepared for problems when getting involved in projects like this, only because people do not understand my communication needs or how best to make events accessible to deaf people. Of course, I had none of these problems with Melissa, and it was real pleasure to work with her. Thanks are due too to Jonny Cotsen who I know has put so much effort personally into campaigning for deaf access to museums and galleries in Wales. He sowed the seed of this and we need to say thank you to him. On top of that I was able to be part of such an important cultural event and a wonderful exhibition. It has been a cultural highlight for me and I am not sure it will be surpassed in 2019!
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