Category Archives: Literature

Literature, Theatre

An interview with Mathilde Lopéz, Artistic Director, August 012.

2 Comments

Mathilde with the Of Mice and Men Company. Photographic credit Studio Cano.

The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to with Mathilde Lopéz, Artistic Director, August 012. We discussed her career to date, her new production Of Mice and Men at Chapter Arts Centre this October and her thoughts on theatre in Wales today.

Hi Mathilde great to meet you, can you give our readers some background information on yourself please?
Hi, I am a theatre director and the artistic director of August 012.  I was a founding member of National Theatre Wales, used to be Literary manager at Theatre Royal Stratford East and before directing, I worked as a scenographer. I trained at Central St Martins and Birkbeck College. I am French, I am of  Spanish origin and grew up in Morrocco and the West Indies.
 So what got you interested in theatre and the arts?
Drawing, painting and sculpting were first, then theatre happened. I don’t remember a particular moment so I either forgot or it was always there.

August 012 Yuri, Credit Studio Cano.

 Your company August 012 describes itself as “developed, shaped and questioned by the way we live here and now, and therefore profoundly and structurally relevant to the nation today.” Is it possible to explain how you approach this methodology when creating work for the stage?
I am interested in how we live today and where we make the work. Everything I do is profoundly anchored in our times, our current technical equipment, our politics and the space and people we make it with. I often work with new participants along with trained actors and set tangible challenges- either through space or casting- in the rehearsal room so that we all wrestle not only with the ideas of the play today, but its embodiment.

August 012 Caligula, Credit Studio Cano


 In October, August 012 is performing Of Mice and Men by John Steinbeck at Chapter Arts Centre. I wonder if you can discuss why you choose to direct this play?
I love Steinbeck. Particularly Tortilla Flat and Cannery Row. I read them in a loop for a couple of years when I was a teenager. In French and in Casablanca and it felt very close, I sometimes think that the combination of poverty with the sea and the sun-like Steinbeck Californian characters- must have had something to do with it. I also read Of Mice and Men which felt then and still feels now, like the essence of the United States of America in all its grandeur and catastrophe. Ultimately, I always wanted to do Steinbeck, and I might carry on, his novels are so generous and compassionate that they do help to breath.

Wil Young who will play the role of Lennie

The role of Lennie will be performed by Wil Young. Wil is a company member from Hijinx North Academy, one of 5 Academies in Wales that trains learning disabled and/or autistic adults to become professional actors. Hijinx have pioneered supporting the work of disabled and/or autistic actors on our stages, how did this new collaboration develop?
I’ve reread the novel trying to establish a contemporary view on Lennie’s character with Cardiff School of Psychology researchers. We concluded that Lennie would potentially be on the autism spectrum and it felt right to work with an actor who would understand and confront himself with these difficulties on a daily basis. We contacted Hijinx  for advice and they quickly became collaborators. They were thrilled by the idea of casting one of their actor in a main role and were very helpful and supportive.
Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists/creatives? 
I am aware that you only realise that there are barriers when you are different yourself or know and share time with people who are. August 012 tries to minimise barriers in the way we make and produce theatre like many companies do –I see more and more theatre companies that invest in making work accessible-but I am sure we could all do more and are largely unaware. What has become apparent and is now crucial is that we keep organising regular opportunities for consultation with people with different disabilities, from varied age groups and from different social backgrounds. This is the only way to get things right.

Mathilde with the Of Mice and Men company,  credit Studio Cano.

There are a range of organisation supporting Welsh and Wales based theatre companies, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
There are not enough opportunities in theatre in Wales but I think it is steadily growing.
I wish more was done towards creating bridges with international festivals and networks in the European Union and elsewhere, most of the efforts in Wales are UK centric (or London and Edinburgh centric) and I believe artists and cultural organisations ought to reach out particularly in the current political climate.
If you were able to fund an area of the arts in Wales what would this be and why?
Fine Arts and Music. Because I think they inspire all the rest. Fine Arts definitely inspires me to create theatre. Always. I am not sure about the contrary.

Bedwyr Williams, Artes Mundi 2017

What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers? 
Some companies and artists in Wales embrace their cultural difference and celebrate their particularity which goes well beyond language and I like that freedom. There’s a lot of freedom in theatre making here and cross arts form widely happened in Wales before it was even a term! So I enjoy the work that manages to connect this specific originality with the world, like Bedwyr Williams piece for Artes Mundi 2017 or in a different vein, the choir in WNO’s Khovanshchina.
 Many thanks for your time Mathilde.

Literature, Theatre

An interview with actor Wil Young

Leave a comment

Wil in rehearsals for Of Mice and Men

The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to actor Wil Young. We discussed his career to date, his work with Hijinx Theatre, his role in a new production Of Mice and Men produced by August 012 and his thoughts on theatre in Wales today.
Hi Wil great to meet you, can you give our readers some background information on yourself please?
“Hi my name is Wil Young. I am 26 years old. I am based in Holyhead, North Wales. I’m a professional actor with autism. Through Hijinx Academy I have received professional training in acting, singing, dancing and mask work. My professional experience includes ‘Soup’ for the Hijinx Unity Festival. I can travel independently. I can learn and memorise scripts. I particularly enjoy my comedy acting.”

A performance of ‘Soup’ for Hijinx Unity Theatre Festival.

So what got you interested in theatre and the arts?
I’ve worked with Tim Baker on two productions. I’ve been with Hijinx for 3 years. I’ve been acting, if you can call it that, pretty much since I can remember.

Wil in rehearsals for Of Mice and Men

You are a member of Hijinx North Academy, one of 5 Academies in Wales. What activities do you get involved with in the Academy?
I do drama on Monday & Tuesday. I’ve done Unity in Cardiff & Caernarfon. The performances included ‘Soup’ which is a silent piece and ‘The Market’

You are playing the role of Lennie in Of Mice and Men by John Steinbeck, produced by August 012 at Chapter Arts Centre during October. Can you tell us how you came to be involved in this production?
I actually heard through Hijinx that they were auditioning for the part of Lenny and I tried out.

Wil in rehearsals for Of Mice and Men

Lennie is a very famous fictional character, Of Mice and Men is a set reading text at many schools across the world. How are you going to approach your portrayal of this character?
He’s basically like a big kid, so I thought of playing him younger than I would normally.
If you were able to fund an area of the arts in Wales what would this be and why?
I would invest in the Ucheldre Centre in North Wales, because it would also bring money to the island and the arts.

What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers? 
There’s plenty of choice in Wales in terms of theatre. I recently saw the first Columbian Circus to be shown in Pontio, Bangor, North Wales. This was called Acelere by Circolombia.
Thanks for your time Wil.

Art, Literature, Museums & heritage, Musical, Theatre

Review: King Cetshwayo, The Musical, Theatr Brycheiniog by Helen Joy

Leave a comment


out of 5 stars (4 / 5)
 
The opening night of any performance is usually pretty interesting This was something else. A royal visit, the hands of conciliation shaking across the decades, the welcome of the Welsh to the Zulus, the acknowledgement of the times past and present with no apology.
I cannot say that it was a comfortable feeling in the room when the British role in the taking of Zululand was portrayed. The massacre of British forces at Rorke’s Drift promptly followed by the razing of the villages and the kidnapping of the King. An unrecorded conversation between Queen Victoria and King Cetshwayo and his return to South Africa.
Some of us in the audience dared to laugh at what that conversation may have comprised, given the dear Queen’s proclivities! This lightened an otherwise confused response to a musical storytelling which did not portray our Empirical desires in a good light. But a portrayal generous enough to acknowledge the bravery of soldiers on either side. Bold enough to openly regard a mutual respect for the field of battle and conquest.
Beautiful in its dance scenes, fearsome in its warring, acute in its narration – comic in its mimicry of the gun-carrying redcoats. The skin-prickling returning cries of warriors in the audience. The poet. The costumes. The toe-tapping music. The beat. The heat.
This was a slightly chaotic, slightly shambolic, utterly brilliant rendering of a terrible business all round.
A theatre packed with dignitaries and artists; and the men stand for the Queen. A queen surrounded by family and protected by warriors. Splendid and significant, she spoke of their visit as an advance party whose report back would determine any subsequent visit by the King. I get that. This is not easy political fayre.
Dorcas Cresswell and her team should be applauded for their efforts in bringing these extraordinary and important events together in ways accessible to all of us. It was refreshing not to hear apology for events long past but acknowledgement; commemoration not dismissal. Art and theatre expressing easily subjects otherwise difficult to discuss openly.
I hope I shall never forget seeing Zulu warriors hop on a bus in central Brecon. I have a feeling I might not be alone in this. Never underestimate the impact of a well-placed assegai.
As part of this series of events you can still catch the event below
Now – end of October: Sibanye – Brecon Welcomes the Zulu’s!

Free, non-ticketed exhibition in the Andrew Lamont Gallery, top floor of Theatr Brycheiniog.
An exhibition of photographs that were taken during a visit in January 2017 to KwaZulu-Natal by five members of The Friends of The Regimental Museum of The Royal Welsh, Brecon.
The visit was by invitation of KwaCulture – an organisation based in Durban and the visit coincided with the annual commemoration of the battles of Isandlwana and Rorke’s Drift which took place in January 1879.
The exhibition is part of the King Cetshwayo 135th Celebrations in Wales, August 2017 that has been organised by The Friends of The Royal Welsh Regimental Museum in partnership with KwaCulture and Maluju Charity.
The Andrew Lamont Gallery is open during Theatr opening hours and is fully accesable via the lift.
 
 
 
 
 
 

Literature

Review: Wax by Gina Damico by Sian Thomas

Leave a comment


Even though I’ve read a lot of books this year (we’re into the 20s, I think), and even though I have a lot more books to read (I have 21 in my room, but reading all the books out there would be stellar, too), I think I’ve found the best one this year. My favourite one for this year. My favourite one, possibly overall? The first book that might have just overtaken all the others that I love. Wax by Gina Damico swept me off my feet, and I couldn’t be happier.
One of the most remarkable things about this book is that it’s so funny. There were so many times that I genuinely laughed at what was happening – and that was new for me. I’ve smirked or smiled while reading before, sure, but I’ve never had to take a step back, put the book down, and have a right giggle before building myself back up and carrying on. The main characters Poppy and Dud erupted the most laughter from me, but a close second being the character ‘Jesus’.
All the characters were remarkable. My favourites no doubt being the main, Poppy Palladino and Dud. I can’t get into the relationship or their dynamic too much without spoiling it, but I did love the outspoken female who acts sort of like a role model or confidant, and harmless boy whose loyal to her. They felt like best friends, and reading their interactions were always great.
I love stories lately where most (if not most, then all) of the characters end up okay, with a happy ending. I got so tired of studying Shakespeare plays and watching all the characters die in the last few scenes, I got so tired of tv shows that were “going there” and killing off main characters, I got tired of books with “twists” that just kind of stung, and didn’t impress. In truth, I got real sick of characters dying, and it isn’t like I can reach the authors I’ve read lately, shake their shoulders, and tell them there are other things that can happen in life, and I’m so glad I didn’t feel this way at all with this book. The ending reminded me a little of Big Hero 6. Bittersweet, but still ultimately happy. With and without death, I suppose. You have to read it, to know what I mean, and so I don’t spoil everything horrendously.
I remember looking at this book and thinking it was a horror. I don’t remember why, it was a long time ago, and it sat in my Amazon wish-list for a really long time before it came into my hands. I think I noted the idea of spooky wax figures and was sold, because at that time I was super interested in getting spooked by a book. Even if that was my initial reaction, and was not the outcome, I’m glad of both. I’m glad I (somehow, even if the memory of how is blurry) found the book, and that I read it. I read one chapter yesterday, and the rest of the book today. I blitzed through it immensely fast because it was just so immeasurably enjoyable.  I’ve read the last two chapters a couple more times, now. I just love it so much. I am not sure anything else I read will come as close to how highly I think of this book. Which is both good (I found a new really great book!) and bad (I have so many other books to read and I am worried that they will not be able to come as close to how good Wax was). But nonetheless I give it five stars and recommend it wholeheartedly. It was so good. I don’t even have the words. I want to read it all over again.

Literature

Irlen awareness at the Welsh Assembly and Houses of Parliament

Leave a comment

Irlen Ambassador Jennifer Owen, 27 from Merthyr Tydfil has taken her campaign to get Irlen Syndrome recognised in schools to a national level. Jennifer was invited to hold a Irlen Awareness’ event in Parliament after her successful event last year in the Welsh Assembly. Jennifer gives a personal response below to her advocacy activities.

Photo Credit by Up Coming

I had a meeting with my A.M. Dawn Bowden and my M.P. Gerald Jones, Dawn suggested ” We could hold an awareness day at The Welsh Assembly”  I was totally shock and excited about taking my campaign called the ‘Voice for people with Irlen Syndrome’ with my aim of those living with Irlen syndrome beckcoming recognised by the NHS and in schools.
I didn’t expect my event to so be successful, Hannah and I gave our speeches about living with Irlen Syndrome and the issues we  face on daily basis.

It was an amazing experience to hold an event at The Welsh Assembly and for Dawn to take forward Irlen Syndrome and the associated issues to. The Welsh Assembly holds a special place in my heart because it was the start of our campaign moving  forward and that the politicians started listening to us.

Jennifer and Hannah meet Gerald Jones M.P.

Photo credit Up & Coming

Jennifer was then invited to hold a Irlen Awareness’ event in Parliament after her successful event last year in the Welsh Assembly. On Tuesday 28 March she headed up a group of Irlen representatives and supporters for the event which was hosted by Gerald Jones MP for Merthyr and Rhymney.
Hanna Miller, Irlen campaigner said:
‘It was great opportunity to go to Westminster as Irlen ambassador to campaign for the condition due to no funding for the lenses and lack of awareness in schools to have Irlen screeners in every school.’
The event started with a warm welcome from Gerald Jones MP followed by speeches from Jennifer and Hannah Miller talking about their experiences with Irlen syndrome. After that there was a discussion about the issues people with the condition are facing on daily basis – like being refused coloured paper. MP’s Stephen Doughty (Penarth and South Cardiff), Carolyn Harris (Swansea) and Chris Elmore (Ogmore) were among the politicians who came to hear the views and engaged in debate.
Jennifer said of the day:
‘Getting our voices heard in Parliament is remarkable and one that will never be forgotten because of how important the condition is. It was so important to able to educating the people in power about the way they are treating people with Irlen syndrome – as at the moment it is so wrong! I am so gratefully to my own MP Gerald Jones for hosting this event and to other M.P.’s like Stephan Doughty for being interested in learning about Irlen Syndrome.”
The event helped to raise awareness of Irlen syndrome and to educate people about the implications it can have on a person’s whole life. The campaigners hope that Irlen will be officially recognised, especially in schools where it can have a huge impact on the learning outcomes for young people.

What is Irlen Syndrome?


Jennifer is a member of the Up and Coming project based in Merthyr Tydfil. Some of the information in Jennifer’s article first appeared on the  website below.
http://www.upandcomingsmt.org/about-the-project/
 
 
 
 
 
 

Literature

Review: Cardiff Fringe Theatre Festival Poetry Night by Sian Thomas

Leave a comment


I’m so glad I got the opportunity to go to this poetry night. I’m so glad that the Cardiff Fringe Theatre Festival exists, and is doing events like these. It actually makes me unimaginably happy far beyond belief.
I spent a whole night lost in words and poetry and prose and it was so, so wonderful. I was perfectly in my element – in a cute little cafe with fairy lights, a room full of people who all share my interest, watching the sky darken around us in a room, comfy chairs, supportive people. All of it was enthralling and it just made me so, so happy.
I love to hear other people’s writing. Something about it is so soothing and comforting and soft and just so easy to fall into and gladly lose myself in. Picturing the scenes behind story words and feeling the emotion behind poetry is just such a magnificent experience, and an irreplaceable one.
It was so much fun to watch other people prep themselves and share their own writing – which I know is something incredibly personal and sometimes hard to put out there into the world. But everyone was so supportive, and that was so amazing to see.
I, myself, had reservations about reading some of my own personal writing. I was sold that I wouldn’t be reading any up on the floor that I didn’t bring any with me. I saw other people do it, and a part of me started to feel okay -nervous, but okay – with the idea of actually getting up there and doing the same. I got the confidence to read aloud, and I did.
The wonderful hostess, Alice Downing, was comforting and supportive and the perfect person, I think, to host and guide this event. I don’t think I’d have read my own work out loud if I hadn’t seen how passionate and encouraging she was to everyone in attendance.
I had such a delightful time, and I’m so thankful that I heard about these events and went to them.
The Fringe Festival isn’t over yet, too! There are multitudinous other events happening, stretched up and down Cardiff, and each I’m sure is as incredible as the last. http://www.cardifffringetheatrefestival.co.uk/whats-on/

Literature

Review: Alien Rain by Ruth Morgan By Sian Thomas

1 Comment


This review contains spoilers.
I recall seeing this on the Twitter page of I Loves The Diff’, which is what got me intrigued to read it.
Alien Rain by Ruth Morgan pulled me in for two reasons. Firstly, it was more of a sci-fi novel, and as someone trying to widen my horizons when it comes to reading, this struck me as a good a place as any to go to try something new. Secondly, the book is set in Cardiff. It’s firstly set in Cardiff (but on Mars), so the names of well-loved streets and public places are used here and there, but later is set in real, Earth-Cardiff.
I enjoyed an incredible amount that the novel was set in Cardiff (both on Earth and on Mars). This is something I have not experienced before. The closest I’ve ever come has been the Welsh theme of The Raven Cycle by Maggie Stiefvater, or the occasional mention of a Welsh name in the webcomic, Homestuck. I’ve never seen something be based in Cardiff so heavily – and it was wonderful to see. However, I do worry that this was the only aspect of the book that I really liked.
While the sci-fi elements of it was good, I found it a little sad to hear the descriptions of a ruined and decrepit Cardiff. After all, I live here, and it’s still bustling and full, and I like that. To hear that Animal Wall was gone, or the Museum was falling apart, or that Cardiff Castle was more ruin than attraction, was a bit disheartening to envision.
The plot itself wasn’t too bad. I liked the message that intelligence can thrive in ways other than purely academic, and with that, the message that there is worth to be found in people outside of their academic achievement. As a student currently waiting for some exam results, this was pretty nice to hear, and eased my conscience up just a little.
However, my biggest bother with this book was the presentation of some of the characters. I usually consider myself easy to please, when it comes to literature. I usually find reasons to love characters anyways. I often welcome a love interest with open arms, and usually am able to trudge through a plot even if I find it particularly difficult to, or if it doesn’t sit well with me. This book was different to that, and I got more grateful that I was nearing the end with every page flip. I didn’t mind the flowering relationship between Bree (our female main character) and Halley (the male love interest), as it seemed a simple and innocent enough relationship that I could get behind. However, it was later found that Halley initiated the characters’ friendship and by extension, relationship, on being bribed to do so for the easiness of a science experiment – so it was fake. My biggest criticism of this is that when called out on this by Bree, Halley said:
(Halley): “Bree, you’ve got…”
“Don’t tell me I’ve got it wrong!” I (Bree) laughed.
“I was going to say, you’ve got to forgive me.”
(…)
“Why should I forgive you?”
“I’m the one who doesn’t deserve to be on this mission. I’m only here because I agreed to lie and cheat and spy on you for Carter. I am a liar, I’m despicable and I know I am. Still, you have to forgive me.”
“That makes no sense,” I said.
“Love makes no sense.”
And later,
(Halley): “I’ve fallen in love.”
“Will you stop using that word?” I (Bree) cried. “No one says that word! If you think for a moment that I could ever believe what you’re saying…”
“You have to,” he whispered. “Or I don’t know what I’m going to do.(…)”
There are so many things with this especially, which did shape the whole novel and the perception of it and other characters, that I found astoundingly bad.
This is a book in the YA genre. This is a genre that I continue to enjoy, because it was the one I experienced mostly as I started to really enjoy reading, and as of recent years, it’s becoming a wonderful and diverse genre, and one doing far better than it used to. This is a genre for people my age, and people younger. These scenes I have a problem with. While I was able to spot the problems, I’m not sure others would have, and it’s a dangerous line to blur for younger people.
Pushing forgiveness done out of love, when the relationship itself began on deceit is, firstly, not love. Expecting to be forgiven because you love someone, is not a reason alone to be forgiven. I do worry the author has made a mistake, consistently using “You’ve got to” or “You have to” as a way to make a male character feel far more forceful in wanting to be forgiven, and then using guilt to further this. A guilt trip into forgiveness when he was in the wrong just feels like poor writing, or even ignorant writing. People, especially recently, do not have the tolerance for this kind of characterisation and neither do I. I worry this would be behaviour people could attach themselves to and then look for – especially young girls who may enjoy the YA genre – and land themselves in a relationship where their feelings are not considered and their emotions are, effectively, abused.
This pushes the forcefulness of males which comes off very poorly. If a man was telling me I had to forgive him because he loved me I think I’d turn and run as fast as I could and for as long as I could go. This is a stereotype we need less of, as many, many people have coined on to its hindrance on men’s emotional well being, which needs to be addressed as much as hindrance of women’s chances in society, as this scene and beyond it only pushes the submissiveness of Bree, which goes against the rest of her character established through the rest of the novel. She is a character that went to great lengths and seemed perfectly capable of standing up for herself – until giving in and forgiving when Halley got hurt in a later scene, and then jumping straight back into action into her much stronger female role, which had already been established.
I’m angry. And I expected better of a book published so recently (2016), and a book written by a woman. A part of me feels let down, and I’m hoping the next book I read will bring my spirits back up.
I still give the book 2 stars. I did still enjoy that it was set in my hometown, which made it slightly more enjoyable, and on some level, I did enjoy the sci-fi story.

Literature

Review: One Was Lost by Natalie D. Richards by Sian Thomas

Leave a comment


One Was Lost was a book I picked up because I had decided I wanted to branch out a little further from my normal cheesy YA book, or my normal poetry book. I have a tendency to stick close to my comforts in a lot of areas, including reading, and this book was able to help me breach this constraint.
I had decided to stretch out further and try my hands at a story more centred on thrill, horror, mystery, suspense. For a while now, I’ve wanted to experience a book that made my chest constrict in a funny way, in a way that made me scared. I know we’ve all had our hand at murder mysteries and crime novels and even television crime dramas or horror movies, but none of those ever seemed to settle right with me, and none of them ever seemed to really be what I was searching for. One Was Lost managed to do something that a book had yet to do for me.
Most things that I read I can usually guarantee a happy ending, or at least ones where all the characters live, save for Shakespeare’s works. Most of the time, I’m pretty much certain that’s how things will go, and I usually hope for that, too (I am guilty of really, really loving a happy and pure ending). With One Was Lost, I was less sure of this, and in turn, I hoped for it much more fiercely. I wanted it to end well so desperately and was so torn that it was the a book that just might not do that, that I felt that little constraint in my chest that I had wanted to feel. As the characters got put in more and more danger, and the likelihood of a happy ending seemed to dwindle, I got more and more entrenched in the story and more and more hungry for answers and a good ending. When there was one, I felt relief and happiness so big and all-encompassing that I was sure I was a balloon that had been blown up to bursting. It was such a wonderful feeling, another I admit I am guilty of enjoying, to watch characters trudge through the unimaginable, and come out the other side. I hope my praise can reach out to the author, Natalie D. Richards, because I am brimming with it.  The feelings I had throughout my read were incredible, and something I’m glad to have experienced.
All the characters are interesting, with their own little stories that fade impact and shape the bigger, overall plot. Each of them (like our main character, Sera, and the others, Emily, Jude, Lucas) were all lovable and easy to attach oneself to in different ways. All of them had characteristics I loved, and attributes I admired, and in the midst of their heavy story, it was still wonderful to see them in my mind’s eye interacting and even laughing. A brief summary can be found on Natalie D. Richards’ website: http://nataliedrichards.com/books/onewaslost/  as this can supply an explanation and introduction to the book better than I can, as I do not wish to spoil anything.
To add to this even more, the writing made this feel even more real. It was clear and concise, and unbelievably detailed. There was a period in the text where Natalie D. Richards describe the feeling of thirst so well and so closely, that I found myself feeling thirsty and scrambling for bottles of water to get me through.
I give this 4 stars. It was a good introduction to the other aspects of my usual YA genre with a far more intriguing and mysterious core, and I did enjoy the story of it incredibly so. I very much loved it.

Literature

Review: The Thief Lord, Cornelia Funke by Sian Thomas

Leave a comment


out of 5 stars (5 / 5)
The Thief Lord by Cornelia Funke has been a long time favourite book of mine. I read it first about five years ago, and I remember reading it, loving it with my whole heart, finishing it, and instantly reading it again.
Once upon a time, I was recommended it. Someone that I knew once knew how much I loved the Professor Layton game, “Professor Layton and the Last Spectre”, as within this game there was a small gang of poor and homeless children who banded together to keep each other safe and warm who I took an overwhelming attachment to. The Thief Lord reminded them of these characters, and in turn, of me. And I could not be more grateful to have discovered a book that reminded me so much of characters I already loved, and created whole other characters who I loved just as much – perhaps more. Not only did these characters hold such a special place in my heart, they’ve stayed there undeterred for years. Even as I continue to consume new media and content and entertainment, there has yet to be something that knocks Cornelia Funke’s The Thief Lord from its #1 spot in my heart.
The plot is sweet, and something I loved all those years ago an equal amount as I still love it now. It is mysterious and alluring and downright fun – and to top it all off, the way it’s presented is unimaginably atmospheric, which is a factor I love an immeasurable amount. Being set in Venice, somewhere I have always wanted to go but have yet to find the opportunity to get there, it was like I got to go there for myself. And even better, it was like I got to go and I got to relive this story again and again in a place as beautiful in real life as it is in my mind’s eye.
The writing made this atmosphere even more incredible. The way Funke would describe the water and stone, the pathways and alleys, the boats and the famous buildings was mesmerising. The way it was written had a hand in shaping my own writing goals, as I also love at atmospheric touch in my own work. This has shaped me for so long and is so intrinsically a part of me that honestly I am so, so happy.
The characters are all lovely, each with their own unique personality and lovable traits. My favourites were always Prosper (our main character), Victor Getz, and Ida Spavento. I always thought, and continued to think of them, as lovable forces who would keep anyone safe – which they did. Prosper takes care of his younger brother, Bo. Victor Getz helps care for them (and the other runaway kids), as does Ida Spavento. They all just seemed like the sweetest  characters, who I feel unimaginably lucky to have discovered and cherished as much as I do.
I give the book 5 stars, as it holds such an important place on my bookshelf and in my heart. It remains my absolute favourite book, and I’m sure that will continue to be the truth in the foreseeable future, and probably also beyond that. I cannot recommend it enough, especially to those who love  heart-warming tale.

Dance, Literature, Music, Theatre

An Interview with Campbell Lawrie, Paul Hamlyn Club Coordinator and Drama Class Supervisor at the Citizens Theatre, Glasgow

Leave a comment


Hi Campbell Great to meet you, can you give our readers some background information on yourself please?
My name is Campbell Lawrie and I am the Paul Hamlyn Club Coordinator and Drama Class Supervisor at the Citizens Theatre in Glasgow. This is my ninth year with the company but have been working as the Paul Hamlyn Club Coordinator for the last three years.

The Citizens Theatre, Glasgow

http://www.citz.co.uk/about/paul_hamlyn_foundation/
So what got you interested in the arts ?
In first year of secondary school my English teacher thought drama and storytelling would help boost my confidence because at the time I was quite shy. Drama wasn’t a course that was offered at my school so my teacher helped me find courses across Ayrshire – where I’m originally from. As soon as I started performing I fell in love with bringing a story to life and witnessing the effect this can have on others. I was hooked after that and knew that I wanted to use theatre as a tool to change people’s lives.

You coordinate the Paul Hamlyn Club at The Citizens Theatre, Glasgow. Can you please tell us more about this initiative and your role?
The Citizens Theatre was very lucky to be one of five venues across Britain to be gifted a sum of money to identify and tackle the barriers that local, disadvantaged people may encounter when trying to access the arts.

Paul Hamlyn Clubs


My role is to coordinate the different strands of work we deliver in order to do this and also to create relationships with those affected. The role is very hands on. I regularly visit groups and their members in the local community and also welcome the individuals we engage with into the theatre and gain their feedback.

The Paul Hamlyn Foundation is funding the Paul Hamlyn Clubs to “Attract and build relationships with audiences from disadvantaged groups within their local communities.” How has your organisation approached this objective?
The Citizens Theatre was originally approached because of the amount of work we were already carrying out in the local community and across Glasgow. Using the gift we were able to refocus our efforts in attracting the local community to the theatre and there are currently four different strands of work under the Paul Hamlyn Club banner helping to achieve this objective. For those who live in Gorbals area of Glasgow, where the Citizens Theatre company has been based for the past 72 years, we offer heavily subsidised tickets to those who sign up to the Gorbals Card scheme.

http://www.citz.co.uk/about/gorbalscard/
The area is still one of the most heavily deprived areas of Scotland and ensuring our neighbours can attend our shows is our way of thanking those who have supported us over the years. We also run a Deaf Theatre Club working alongside Inkblot Collective to deliver an accessible programme for our Deaf audience and we work with two local schools to help engage a new generation of theatre goers.

http://www.citz.co.uk/Take_part/deaf_theatre_club/
The Paul Hamlyn Citizens is the fourth strand of work. This involves visiting local organisations and charities to discuss the barriers faced in accessing theatre and inviting them to join the PHCitizens to access tickets to shows throughout the year at 50p per ticket. Our PHCitizens ambassadors are always on hand during shows and events to answer any questions or queries those attending through the Paul Hamlyn Club may have.

Have your new audiences chosen to see any specific type of work at your venue?
We have learned that our new audiences are willing to engage with most types of work because they know they have nothing to lose through attending. Our new audiences see coming to the theatre as a social event more than anything and the shows, the free interval ice-creams, the post-show chats etc are all just added extras. There is an amazing atmosphere at Paul Hamlyn events as many stay behind to discuss the shows and this in turn helps create a larger community network. In saying this, comedies and musicals, especially if they are Scottish shows, prove to be more popular than most but Shakespeare, classics and new writing still appeal and have drawn in equally large numbers.

What impact has had this project in your venue had on the larger organisation?
The impact of the project can be seen across the organisation. Every department has been involved in its delivery in one way or another: backstage have provided talks and presentations, FOH ambassadors greet and welcome the wide range of new patrons who come through our doors and one of our box office assistants is even completing Level 3 BSL. Our community work which has been aided through Paul Hamlyn has also been recognised in helping secure some money for our Capital Project. Accessibility is always at the forefront of people’s minds and this has helped emphasise our stance that we are the Citizens Theatre – we exist for and because of Glasgow’s Citizens.

http://www.citz.co.uk/press/release/2.5_million_regeneration_capital_grant_fund_award_marks_new_milestone_in_ci/
In the current funding climate many venues and organisation have very limited budgets. Is it possible to share some of your learning that organisations could implement to support new audiences that doesn’t require large amounts of funding?
Funding obviously plays a huge part in making theatre accessible to all but small things like listening to your local community and sharing your resources/spaces with local organisations or individuals can help strengthen relationships. Finding out what your patrons want you to be and how else they would like to use the building is important in making the patrons feel comfortable in coming through the doors. An extension of this is having dedicated, friendly staff to welcome your new audience. We held an open day event, for example, to promote the theatre and our learning work to local, disadvantaged people.

We held workshops, talks and demonstrations throughout the building while outside a local band played and local organisations and businesses promoted their produce and work. The event cost very little because the local community were very generous in donating nearly everything we required and this in turn strengthened our network and individual relationships. I feel that a lot of the time people prefer putting names and faces to the organisation. Offering unsold tickets to your local contacts is also a good way to engage your new audience.

Get the Chance works to support a diverse range of members of the public to access cultural provision In relation to your own project are you aware of any barriers for audiences to access cultural provision.
I think the barriers faced will vary greatly depending on where you are based. The Citizens Theatre is in a highly deprived area with an extremely diverse cultural background meaning we have encountered barriers such as language, affordability and childcare. Some people also feel intimidated entering a building they have only ever walked past or think it isn’t physically accessible. We have heard that a lot of people think theatre is elitist and “not for them”. Transport and programming also come up as common answers to what stops people coming along.
Thanks Campbell, finally some more personal questions. What excites you about the arts? What was the last really great cultural activity event that you experienced that you would like to share with our readers?

The cast of My Country with director Rufus Norris, gatherer Campbell Lawrie and some of the interviewees from Glasgow.

I genuinely get excited when a theatre show tackles social issues and politics head-on. Any piece of art that encourages debate or triggers a passionate response from its audience while also being entertaining has, in my eyes, achieved its goal. I was very lucky to have worked on the recent production of My Country by National Theatre. My role was to gather information from the Scottish people on their views on Brexit and the political climate following the Brexit vote. Listening to each person’s unique story on how they decided they were going to vote and knowing that snippets of these stories were going to heard by people all over Britain really excited me because the project, like the issue, encouraged debate but this time it was a debate between everyday people – not the media and not the politicians.



http://citizenstheatre.blogspot.co.uk/2017/03/my-country-work-in-progress-divides.html
There is, on the other hand, one show that has stuck with me for ten years and remains my favourite piece of theatre – Headlong and Citizens Theatres production of Angels in America in 2007. I have no words to describe how that show made me feel but it did make me want to work at the Citizens Theatre. I guess in that way, that show changed my life.

https://headlong.co.uk/productions/angels-america/
http://www.citz.co.uk