We are both saddened to see the vast array of cultural cancellations over the past day and proud to see so many companies putting the health of their staff, participants and audiences first.
The arts are an important part of many of our lives, and we’re also excited to see so many isolation friendly options arising. We’ve started a list of online dance and yoga classes, digital only festivals and a huge array of dance, opera, theatre, museums and CPD activities you can do from home – including full NDCWales performances. Please share this resource and let us know of other fab things we can add to it.
______________________ Mae’r ddau ohonom yn drist iawn o weld yr ystod eang o ddigwyddiadau diwylliannol sydd wedi cael eu canslo ers ddoe ac yn falch o weld cymaint o gwmnïau yn rhoi iechyd eu staff, cyfranogwyr a chynulleidfaoedd yn gyntaf. Mae’r celfyddydau yn rhan bwysig o fywydau sawl un ohonom, ac rydym hefyd yn teimlo’n gyffrous i weld cynifer o opsiynau y gellir eu gwneud wrth hunan-ynysu yn codi.Rydym wedi dechrau rhestr o ddosbarthiadau dawns ac ioga ar-lein, gwyliau digidol yn unig a llu o bethau yn seiliedig ar ddawns, opera, y theatr ac amgueddfeydd, a gweithgareddau y gallwch eu gwneud adref – gan gynnwys perfformiadau CDCCymru llawn.
Rhannwch yr adnodd hwn a rhowch wybod i ni am bethau gwych, eraill y gallwn eu hychwanegu ato.
NDCWales P.A.R.A.D.E. including choreography by Caroline Finn, Marcos Morau and Lee Johnson, in collaboration with BBC National Orchestra of Wales, Rubicon Dance and Vertical Dance Kate Lawrence; filmed by The Space Arts. https://vimeo.com/248459479
CPD FROM HOME ETC have made their online training courses free during this time: training for technicians Courses.etcconnect.com The following performers offer one to one tuition, find them on facebook.
Rubyyy Jones – Cabaret MCing Paul L Martin – mentoring for cabaret performers John Celestus – one to one Flexibiliy and Strength, contortion, compare Skillshare International Offers photography, illustration, design with a 2 month free trial available https://www.skillshare.com/
Having seen the first two shows in the Novello concert series I was very excited to see the third and final show. The bar was already set extremely high with the fantastic evenings of movie mixtape and night at the musicals so I was very eager to see if the performers would be able to match their own high standards but heart and souls did all this and more!
If you haven’t read one of my reviews about the Novella orchestra shows before basically, they are incredibly fun and enjoyable evening where a love orchestra is gathered on the stage and performer alongside some of the most talented singers possible. The orchestra is on the stage which really helps to bring them into the spotlight and allows the audience to really see the hard work that goes into playing for a show which oftentimes goes unnoticed! Each concert has been like a miniature party where the audience is encouraged to sing and dance along to songs they know which really helps to create an enjoyable atmosphere in the theatre.
The show opened with an instrumental version of earth, wind and fire’s famous song September which while it was an incredibly fun song that helped leaked the audience interest (as it is a song many people know) it is a very strange show to choose to open up the entire show. As per usual the orchestra was incredible and created a wonderful sound however in this specific concert there was a lot less opportunity for the orchestra to really showcase what they could do. With the other shows, there were numerous songs that were entirely instrumental which helped the orchestra show their talents but this one really scaled back on the opportunities to do so. The lighting of this show really helped to add to the fun and party-like atmosphere of the show which really encourages the audience to join in where appropriate. The conductor of the orchestra really helped summarise the entire show when he said: “are you ready to get this party started?” As this was exactly the type of show it was. A fun, enjoyable evening of fantastic music that encourages the audience to get up and sing/dance. I was a little confused by the zig-zag line that was lit up on the backdrop of the dragging. At first, o assumed it was a symbol representing the Motown icon but after inspection, this shape was very different to this logo and so I was very confused.
To open the show we had one of the insanely talented singers namely Shaney Holmes (of most notably Rent) singing I want to dance with someone and ignoring the fact that this is one of my favourite songs, this was a much better way to start the show. This was super high energy, artfully performed song which most people knew the lyrics for which really added to the party vibe of the show. In my personal opinion, I would have swapped the instrument and this opening song to really start the show with the massive musical number it deserved. Another highlight in Holmes performance was I will always love you which was sung beautifully although I have heard this song performed at many cabaret-styles like this one (in fact Lucie Jones actually did this exact some at the last novella concert) and it is starting to become overused.
Having never heard of Marisha Wallace until today, I didn’t really know what to expect from her but oh my she was incredible. Her rendition of ” you’re going to love me” from dream girls was OUT OF THIS WORLD! To put it into perspective, I don’t think I have ever seen a song performed in the middle of act 1 that had received a stand ovation before the song had even finished and that exactly what happened for the stellar performance. Wallace clearly poured her entire ’heart and soul’ into this performance which on top of his insane vocal abilities made if a very emotional and moving rendition of an iconic song! Even the people who are familiar with her singing from shows such as waitress and even dream girls itself were blown away but this incredible performance which is the sign of a talented performer! Every song she performed then on was amazing but I constantly had the thought of this perfect song in my head through. Her renditions of “you make me feel like a natural woman” by Aretha Franklin and “I’m every woman” by Shaka Kahn were fantastic in the own regard but were overshadowed by her early performance. Really “your going to love me” would have been an amazing way to end the act or night but the placement of this song did somewhat damage the rest of her performance. However, despite this, any show which contains the iconic song “proud Mary” by Tina Turner while instantly have my heart and Marisha sang and PERFORMED this show with the power and vigour necessarily which even matched Tina’s performances of this song! Marisha is an insanely talented performer and is one to keep an eye on for future shows she is involved with, you will not be disappointed!
What was fantastic to see that this concert gave a local dance troop the chance to perform as a part of the show. These dancers were very fun and entertaining and it was clear they enjoyed what they were doing and poured everything they had into every high energy performance. It is fantastic to see an established group such as Novella orchestra promoting young local talent as it gives them a chance to showcase their abilities as most of the time they are ignored. The final song in this concert was “dancing in their street” and while this is an iconic Motown anthem it probably wasn’t the best song choice to close the show. We had had the phenomenal performance of “you’re going to love me” , the energy of “proud Mary” among others which I think would have made a much better end to the show. “Dancing in the street” is a song visibly many people weren’t too familiar with and also fell a little flat when compared to the other amazing songs in this show.
Overall Heart and Soul was a fun and enjoyable evening that celebrated all things Motown , R & B and soul which included many songs that I am personally a fan of. Yet again the orchestra was beautiful , performers were amazing and the party atmosphere really made a unique atmosphere for the audience to revel in. I would rate this production 4 out of 5 stars and encourage everyone to keep an eye out for when the novella orchestra are in a town near you as they are not to be missed out on!
Hi Jon great to meet you, can you give our readers some background information on yourself please?
I was born in Llanelli, acted in Cardiff, in various bands in London, back to Llanelli to write TV and moved to Laugharne in 2012. I live in a house where a murder was committed in 1953 and a friend of Dylan Thomas was arrested. Dylan called Laugharne, ‘…the strangest town in Wales.’ He wasn’t wrong. I’ve written the Dylan Thomas ebook for the BBC, TV comedy drama for BBC & S4C and the David Garland Jones Youtube channel. Hail Cremation! is my fourth play after two plays for Llanelli Youth Theatre; Raw Material: Llareggub Revisited for NTW (co-created with Marc Rees) in 2014, and I’ve have been working on Hail Cremation! since 2016.
So, what got you interested in the arts?
My Dad read Dr Seuss and Charles Dickens to me when I was very young which I loved. I later raided Dad’s bookshelves and his Anglo-Welsh poetry, and became big fan of poet and polemicist, Harri Webb. In school I got into acting after seeing a performance of Wind In The Willows and later trained as an actor in the (Royal) Welsh College of Music & Drama. I’ve been in bands and written songs since I was a teenager, and once I started creative writing around twenty years ago, a musical was a logical step, tho’ it took me some time to realise it.
Can you tell us about your writing process? Where do your ideas come from?
My ideas seem to percolate for years. I try to create something I’d like to watch, and that I don’t think I’ve seen before… but those ideas are often outside the bounds of what people are prepared to commission. In terms of ideas, thinking about it, most of my writing is about real life stuff but then I like to drag it into left field.
Can you describe your writing day? Do you have a process or a minimum word count?
I don’t like staring at a screen for too long. I have a young daughter so writing time is precious, and when I do have time to sit and write, I throw everything at the screen. Sometimes it’s better to clear your head by writing 1000 words of rubbish rather than nothing at all. It’s all in the editing. I find a good walk, or a drive, is often beneficial, recording ideas into a phone ready for those gaps in real life when writing happens.
Why and where do you write?
We live in an 18th century cottage in Laugharne and my office is downstairs with a view of the street. I’m surrounded by books, cards, pictures, ornaments – or ‘junk’ as my partner calls them – and often scan the shelves when I’m stuck. It looks a bit of a mess, but you should have seen it before I tidied up.
Your latest play Hail Cremation will be produced by National Theatre Wales at Newbridge Memo from the 23 March- 04 April. The production is described as a musical odyssey through the life of cremation pioneer, Dr William Price – a complex and extraordinary Welshman. What drew you personally to telling your interpretation of Dr William Price?
Like many I knew about the infamous cremation, but initially I wasn’t aware he was a ground-breaking surgeon, vegetarian, feminist, nationalist, radical, a dandy and clearly a genius. However, his eccentricities in later life meant that many of those elements were ignored. If Price was around today, he’d be an inspiring leader, passionate about history, language and culture and I wanted to celebrate him with a spectacle that he would have enjoyed. On reflection most of my work is about Welsh identity, and Price was probably the person who tried to define it more than anyone else in the last two hundred years.
National Theatre Wales describe the nation of Wales as their stage. Their productions have ranged from We’re Still Here portraying the lives of Neath Port Talbot Steel Workers. On Bear Ridge which took place in “a lost village, blurred by redrawn borders” to this new production taking place at Newbridge Memo. Do you feel that Welsh Theatre is presenting representative stories of its citizens on our stages?
I’m interested in stories and legends that are uniquely Welsh. Wales is definitely the ‘secret Celtic nation’, and yet we have one of the oldest literary traditions in Europe. There is an ancient, supernatural, magical, mythical, witty, wild and wide-eyed side to Wales – Wales on mushrooms if you like – which is unique to us. I think more plays in this area would help establish, and then cement a Welsh theatrical identity not only in Wales but around the world.
Why do you think audiences should see this new play?
It’s part gig, part catwalk show, part cabaret. It has a wonderful troupe of dancers and actors, a rock band, incredible costumes, mad props, druids, goats, punk toads, wall to wall video projections, and an astonishing creative team lead by director, Adele Thomas. Yet at its heart is the story of a man who wanted his people to thrive. Dr Price met a woman called Gwen who was sixty years his junior, and they were a very loving, if highly unusual couple. They’d be unusual now, so it’s hard to imagine what 19th century non-conformist Wales would have made of them. Price and Gwen lost a child, and I nearly lost my daughter, so I had a small understanding of the grief they must have gone through. Then when Price’s powers started to wane and he went through a number of ordeals, he continued to charge on with Gwen at his side. He lived for ninety-two years and it’s still amazing how he crammed so much in. People should see this play because it tells a story of a dynamic couple in a wild theatrical arena, is both fun and emotional, and has something to say about Welsh identity.
Is it possible to sustain a career as a writer in Wales and if not what would help?
If the question is: ‘Can someone who writes plays about Wales and Welsh issues sustain a living in Wales, or indeed, anywhere?’ Then apart from maybe one or two exceptions, the answer is probably no. There are a lot of playwrights in Wales chasing a small pot of money and Welsh writers probably need working partners, day jobs, lecturing posts, etc., to survive. What would help? I don’t really know. We’re unlikely to see more arts funding for a while as the Welsh Government is looking to reduce public subsidy. Trying to be positive, successful and profitable shows that reach beyond Wales, and that couldn’t come from anywhere other than Wales, would help. We need to find our voice.
If you were able to fund an area of the arts in Wales what would this be and why?
There should be more development deals, so that writers are nurtured in plays, poetry, TV scriptwriting etc. More people need to feel they have a chance, get some feedback, be part of a dialogue, even if the ideas end up uncommissioned. There could always be more arts, but we also need to build and educate audiences too. It’s tough in this era of Netflix, deadly diseases, Just Eat and smartphones, but the more people that take an interest in the arts, the better off we’ll all be.
What was the last really great thing that you experienced that you would like to share with our readers?
My daughter, Sylvie, has had two heart operations and spent five days on life support, so seeing her enter a pool for the first time in Butlin’s Minehead last weekend was a truly great thing.
Hi Luke, great to meet you, can you tells us about yourself and your work?
I’m Luke Seidel-Haas, I’m a Cardiff based theatre maker and one of the founding members of new theatre company CB4. CB4 Theatre was founded a couple of years ago; we’re all Drama graduates of the University of South Wales and having done our separate things for a few years we found ourselves gravitating back to Wales and wanting to create theatre together. Right now, we’re about to perform our debut show “Back to Berlin” at The Other Room at Porter’s Cardiff. It’s a show that I’ve written and am performing in and is inspired by a true story my dad told me, about when he travelled back to Berlin to see the Berlin Wall come down in 1989. The more we spoke about his story, the more we realised how many parallels it had with what’s going on at the moment across Europe and around the world; while the story is set 30 years ago, so many of the themes feel just as relevant now as they did back then.
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?
Right now I’m listening to Kanye West’s most recent album Jesus Is King. It’s quite different to his previous albums, and is more influenced by gospel than his rap/hip hop roots. Kayne is often unpredictable, and I love that with every new album he releases you never quite know what you’re going to hear next – Jesus is King is no exception.
When I first heard it, I wasn’t sure about it, but after a couple of listens I think it’s a really interesting album which uses a type of music not often heard in the mainstream. I saw Kanye headline Glastonbury in 2015, and it was one of the most bizarre, intense but unforgettable performances I’ve ever been to.
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?
I Choose Noise by Hybrid
Hybrid are a Welsh electronic music group who blend electronica and house with cinematic and orchestral stylings. Most of their music doesn’t have words, and so is really useful to use in a rehearsal studio to help devise or work on physical or movement based sections of work. Their music is often used by companies like Frantic Assembly, as well as on movie soundtracks. I could have chosen from a few albums, but “I choose Noise” is just a really varied album which has often helped me out of a rut when devising.
Volume 3: The Subliminal Verses by Slipknot
This album resonates with me more for personal reasons. As an angsty teenager whose wardrobe had a distinct lack of colour it was probably one of the albums I had on repeat more than any other. To some people Slipknot just sounds like angry noise, but I think this album manages to mix that aggression and anger with amazing hooks, guitar solos and powerful choruses. There are also a few tracks like Circle and Vermillion Pt. 2 which are unexpectedly melodic and emotional.
The World of Hans Zimmer by Hans Zimmer
Okay I’ll admit, this one is a bit of a cheat – I couldn’t choose just one album by this legendary composer. Hans Zimmer has written some of the most iconic music in modern cinema including The Dark Knight Trilogy, Inception, Interstellar, Pirates of the Caribbean, True Romance and so many more. His scores are so emotionally evocative, and to me they resonate because of how they help to drive plot, develop tension or reflect the underlying emotion of the scene. With a lot of films, the soundtrack ends up feeling like an accompaniment – something which adds a bit more flavour to the film, but that they could manage without. Zimmer’s best soundtracks rise far above this and become a vital part of the whole experience.
Angles by Dan Le Sac Vs Scroobius Pip
This album resonates with me because of its mix of the deeply political with the outright silly. “Angles” manages to go from a reflection on the death of Tommy Cooper, to rapping the periodic table, to A Letter from God to Man, to a film noir style existential rap. Hip hop often unfairly suffers with the stereotype that it’s all about “guns, bitches and bling”, and before listening to this album I was probably wrongly was under that impression too. This album opened my eyes to how different genres can be used to make a political point. Scroobius Pip also has a fantastic beard.
A Brief Inquiry Into Online Relationships by The 1975
The 1975 are a band that have really developed their sound over the course of each album. As a left-wing millennial, I think A Brief Inquiry… manages to brilliantly tap into a lot of anxieties that people of my age have. Songs like Love It If We Made It and Give Yourself a Try are on the surface catchy pop tunes, but the political and social messages they carry are a testament to the strength of the song writing. They are also a band that seem to (as much as possible) practice what they preach and are leading the way in terms of making live music and touring as eco-friendly as possible.
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?
Love It If We Made It from A Brief Inquiry Into Online Relationships by The 1975
To me, the lyrics of this song are some of the most powerful of any pop song released in recent years. The song leaps from talking about Donald Trump and Kayne West, to Heroin addiction via the Jonestown massacre and dead migrants washing up on beaches, but despite its rather bleak lyrics and content, its refrain of “I’d love it if we made it” makes the piece feel hopeful and optimistic. It’s a great piece of music if you want to get yourself angry about the state of the world, but in a way that makes you want to take action to make things better.
Back to Berlin By CB4 Theatre is running at The Other Room @ Porters from 3-6th March 2020. Tickets are available here
When browsing the St David’s Hall brochure, a variety of performers that I hadn’t heard of before, appeared interesting. In particular I looked up Breabach, listening to a little of their music and thought let’s give it ago. I’m quite open to all genres of music and certainly glad I attended.
The five piece Scottish folk band, Breabach, came back to Cardiff for their second visit, while on their Winter UK tour. The talented musicians have been together for 15 years, and more recently visited Canada, Australia, and Switzerland.
Part of the Roots Unearthed world music at St David’s Hall in Cardiff, Breabach performed a selection of contemporary folk music including their own band members creative compositions. Their latest album Frenzy of the Meeting, is an exceptional diverse range of sounds by skilled musicians. Listening to them live in the intimate setting on Level 3, was full of energy and passion.
They explore a combination of sounds with their instruments and voice; violin, double bass, guitar, bagpipes, flute, whistle, bouzouki, cajon and vocals.
The Level 3 Lounge at St David’s Hall, had a bar, seating facing and focusing around the stage, and also some chairs and tables on the edge. There was space at the back where you could stand if that’s what you wanted to do, and even have a little dance! Along with the music, it had a warm and moving feeling.
St David’s Hall is in Cardiff. An accessible venue, a central location, with city centre parking all around. Myself as a wheelchair user, parked on Churchill Way in the disabled spaces. Of an evening there are usually plenty. Although slightly further away than St David’s or John Lewis car park (that charge), it is free to park here with a blue badge for a few hours.
At St David’s Hall, there is a door at the side that has ramp access, to take you into the main reception box office, and then a lift to get you to the level you need to be on. Disabled loo access was on the same level as the performance.
I will certainly try and see Breabach again. It’s made me open up to trying more performances that I may not have thought of attending. Whether it’s something your use to and know, or new and different, take that step, go along!
Behind ‘Rush’ lies a simple theme. This is my story. This is where I come from, this is why I came here. This is what life is like for me here. Here is my story told through the universal medium of music. We all have a story like this, and to a degree every story is engaging because people are interesting. It is just that some stories are more interesting than others and this one involves three continents, colonization, death of an indigenous people, brutal slavery, rebellion, warfare, migration and racism. Welcome to Jamaica and its tour of Britain, February 2020, destination Mold.
We were promised a joyous Jamaican journey and judging by
the fact all bar a handful of people in a crowded theatre were on their feet at
times, this is what we got. Even my left
knee was shaking in time to this rhythmic feast despite my pathological phobia
of dancing. The fact that I was pinned
back in my seat to avoid the gyrations of the lady standing next to me did not
detract from the spectacle. Sometimes it
is just great to see people join in with unfettered enthusiasm.
Yet here was a contradiction. This story is far from joyous, it is tainted
with more than a bucketful of blood, sweat and tears and while this was pointed
out with a wry sense of humour, this was not what we heard. Instead we were
treated to an endless list of Jamaican song encompassing a brief history of ska
and reggae with songs from Jimmy Cliff and Desmond Decker amongst a host of
others. Special mention was made of Bob
Marley who would have celebrated his 75th birthday this week and who
played Deeside Leisure Centre in 1980.
It’s a small world. There were
some surprising sounds, ‘The tide is high’ is so heavily associated with
Blondie that many have forgotten its Jamaican roots.
The music was performed with distinction by the JA Reggae
Band, all of whom were consummate musicians orchestrated by the lead guitar and
musical director, Orville Pinnock. True to the development of ska in
particular, the band was racially diverse with a rich tapestry of experience
from different musical genres. They were
ably supported by DJ Paul who played a variety of tracks supplementing a long
The two lead singers IKA and Janice Williamson both had
rich, powerful voices that were adaptable to a range of song. My particular favourite was the gospel
standard, ‘Oh Happy day’ acknowledging church influence on the Jamaican
community. The story was introduced and
narrated by John Simmitt, who did so gently, rhythmically yet with a waspish sense
of humour. One pleasing aspect here was
that there were no ‘stars’ in this ensemble, just a team working closely
together who so obviously enjoyed and entered into the musical feast they
My question is, how important is the Jamaican story? This, and others like it should be a staple in every secondary school curriculum. It speaks volumes to us about our national identity, our historic legacy and comments forcefully against those xenophobic elements in our society that seem to have found a voice in the past few years. From the brutal colonization of the 15th and 16th Centuries, the loathsome practice of transatlantic slavery to the shocking betrayal of the Windrush generation by a populist government pillorying immigrants to win votes, this story reeks of injustice. I would have liked to see more historical narrative, to learn more about the Maroon rebellions and leaders such as Marcus Garvey and Paul Bogle instead of being satisfied with allusions to these events and people. But increasingly as the show developed it was a celebration of music that has its roots or was influenced by Jamaica.
Perhaps the most important theme of the show was to emphasise the fact that the presence of Black and Asian communities in the UK is the result of a direct invitation to live here by the British government after World War 2. Once people arrived, despite a pernicious level of racism these communities have integrated into, influenced and enhanced our society. The reception given to 2-tone music and the energy generated by numbers by The Specials and Madness was a prime illustration of this. Similar statements could be made especially about those communities from the Indian sub-continent who have made their home here. Few people prior to 1960 would have heard of Tandoori chicken, yet to some, this is more of a national dish than roast beef and Yorkshire pudding.
These communities are building their own cultural legacy
now, a great example being the Notting Hill Carnival, one of the biggest street
festivals in the world, attracting over 2 million visitors each year. The carnival in itself is unique, being a
fusion of Jamaican reggae and Trinidadian steel band and is now officially a
British cultural icon. Perhaps we have
forgotten the roots of this carnival lie in a response to racial attacks on
West Indians. Few have heard of the 1959
death of Kelso Cochrane at the hands of white youths. And few will know that the perpetrators were
never charged or convicted for fear of the public unrest that may incite. This was despite the fact that the identity
of the killer was an open secret in the local community.
This demonstrates that we have a lot to learn from this
history yet despite such a powerful message it was not the key theme of the
evening. There was no axe to grind, no
bitterness at this shameful treatment.
Just a nice line of humour poking fun at people like Enoch Powell and
his ‘Rivers of Blood’ speech. The
Conservative club in his former constituency is now a West Indian Cultural Centre. How times have changed.
The pervasive theme of the evening for me was the rhythm
which permeated every song, energised the audience and left people with a feel
good factor. It was remarkable that a
mainly white, middle aged, middle class audience found such movement and joy in
this Caribbean cultural festival. John
Simmitt joked that the audience might be better suited to a cup of Milo or
Horlicks before bedtime but this was far from the case. The audience warmed to the rhythm with
gusto. Full credit to the cast, who
after taking their bow made their way to the foyer to greet the audience as
they left. After three hours of performance
they need not have done this but was a most welcome end to a fabulous evening.
Go and see this performance.
Feel the rhythm, enjoy the music, learn the history.
In November 2018 we published an article in response to the new Arts Council Wales Corporate Plan “For the benefit of all..” with a range of contributions from Creatives in Wales. We revisit this area in the updated article below with responses from one of the creatives featured in the article as well as an additional contribution.
Our mission statement at Get The Chance is “Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.”
We were very pleased to see some of the priority areas in the new Arts Council Wales, Corporate Plan, 2018 – 2023 “For the benefit of all”
In particular we were interested in Commitment 2 below
We will enable a greater number and a wider diversity of people to enjoy, take part and work in the publicly funded arts.
ACW then go onto make a series of intentions (below) for where they want to be in 2023 (5 years)
We will be able to demonstrate clearly that all our funding programmes promote and contribute to equality and diversity
There will be a narrowing of the gap between those in the most and least affluent social sectors as audiences and participants
We will develop the creative work of disabled artists by funding “Unlimited” commissions and developing a scheme similar to “Ramps on the Moon” operated by Arts Council England
We want to introduce a “Changemakers” scheme placing BAME and disabled people in senior executive positions in the arts
We want to see a doubling of the number of disabled people in the arts workforce
We want to see a doubling of the number of Black and Minority ethnic backgrounds in the arts workforce
We want to have introduced an Arts Council Apprenticeships scheme designed to provide opportunities for people from diverse backgrounds
We will have achieved a trebling of the number of BAME and disabled and on APW boards of governance
I struggle to fully engage this as a response. My recent experience has revealed that there is certainly a surge to include diversity in all its forms on boards and in creative spaces and projects. However, this new ‘interest’ feels more like organisations ‘needing’ to diversify rather than ‘wanting’ to diversify, in order to secure their future and funding. I am hopeful though.
Artistic Director, Taking Flight Theatre Company
What a year of change 2019 has been. For Taking Flight it has seen the company move away from the annual Shakespeare production to more indoor, venue-based work.
peeling by Kaite O’Reilly, opened on International Women’s Day in March at The Riverfront, Newport and then toured Wales and England and was a huge success earning 4 and 5* reviews.
The Guardian stating “Accessible theatre? Do it properly – do it like this”. Following this Taking Flight was invited to Grenzenlos Kulture festival in Mainz, Germany as an example of best practice in accessibility. It was a huge tour and highlighted once more the inaccessibility of much of Wales; accessible accommodation is very hard to find, and some venues struggled to meet our access riders. However, this did lead to some very inventive solutions involving temporary dressing rooms created with flats, curtains and even a marquee! Obviously not the ideal but with our hugely creative stage management team always looking for solutions rather than the problems and the support of venues we made it work. High applause to Angela Gould at RCT Theatres for her work in this department.
One of our lovely actors toured with her dog who was a lovely addition to the team. Max is a therapy dog; many places we visited were only familiar with guide dogs, which made us realise how much there is to learn about the different types of assistance dogs.
Everything we learnt during this extensive tour will feed into the work we have been developing towards a scheme like the Ramps on the Moon initiative. A scheme like this can never be replicated, but the interest and passion from venues in Wales to be involved is overwhelming. Creu Cymru, hynt and Taking Flight have been in ongoing discussions about ways to make this happen. We read with interest that it was also a priority for ACW and have begun conversations with them around a similar scheme. As we have been researching and pushing for this to happen since ‘Ramps’ began in 2016, we are passionate that this becomes a reality. Taking Flight has just received funding for their next production, Road, at Parc and Dare, RCT Theatres and we hope this partnership will be the first step. Taking Flight will give support to participating venues to be confident to manage and produce inclusive work, to provide excellent access and a warm welcome to all- both audiences and creatives.
While peeling was out on the road in the Autumn, we also remounted the hugely successful and totally gorgeous You’ve got Dragons. After a run at WMC we hit the road again for a UK tour including a week run at Lyric Hammersmith which was almost sold out and incredibly well received. The desire for inclusive and accessible work for young people is growing. Watch this space for more news on You’ve Got Dragons next adventure.
Taking Flight has often dreamt of setting up a Deaf- led Youth Theatre for D/deaf and Hard of Hearing young people and with funding from BBC Children in Need we have finally done it. Led by the tremendous Stephanie Back in BSL and English, the youth theatre began last week and the results are already fabulous. The Wales Millennium Centre are our amazing venue partner and host the weekly sessions for D/deaf children aged 4-18. We have been overwhelmed with interest in this project, demonstrating that this has been needed in Wales for a long time.
There has also been a surge in interest from companies and individuals wanting to consider access while writing funding applications. There is a general excitement around making work accessible. There are some brilliant intentions and I’ve had exciting conversations with companies about different types of access and have been able to recommend consultants and access professionals.
The ground has been fertile for change for some time and there is much more inclusive and accessible work being created here than when we first started 12 years ago. Theatres are also much more interested in programming diverse work and many have invested in Deaf Awareness training with Taking Flight (Led by Steph Back).
There is a real desire to diversify audiences and welcome them to theatre spaces. Taking Flight’s next symposium on 28th Feb at Park and Dare RCT theatres on Relaxed Performances brings the brilliant Jess Thom, Touretteshero to Wales to discuss ways to provide the warmest possible welcome to those who may find the traditional etiquette of theatre a problem.
There has been a surge of work featuring D/deaf and disabled performers, productions like Jonny Cotsen’s Louder is Not Always Clearer, Leeway Productions Last Five Years and Illumine’s 2023 really engaged new audiences and the venues have really built on this success. There have been more productions that embed access in a creative way, a gorgeous example in Gods and Kings by Fourinfour productions with integrated BSL from Sami Thorpe. I had lots of fun working with Julie Doyle and Likely Story integrating BSL interpreter Julie Doyle into Red. Companies are choosing to interpret, audio describe or caption all the shows in a run rather than just one which is really encouraging and promoting more equality of access to shows.
So, the will to make accessible work is absolutely there, the best of intentions are definitely there and, now the funding for access is factored into budgets, the funds are usually there. However, why is it still access that falls through the cracks, gets pushed aside or forgotten as a production approaches opening night? I hear stories of interpreters and audio describers who can’t get into a rehearsal space to prep or are placed somewhere on stage that is neither aesthetically pleasing nor practical. It can still sometimes feel like access is something that needs to be ticked off a list in order to fulfil a funding application.
I am absolutely sure that this is not the intention; but we are all so overstretched, one person is often doing multiple jobs (especially in small companies) and when no one is directly responsible for access or it simply forms ‘part’ of someone’s role. So those best intentions and exciting plans are really hard to fully achieve. Taking Flight are exploring this lack of provision for access co – ordination with Bath Spa University so watch this space for the results of our research… The next generation of theatre makers are coming, and they really care about making work that can be accessed by all – that makes me happy.
You know you’ve hit on something good when the support act is as good as the headliner. It may have been The Trials of Cato that we had come to see, but it was the five-piece female band Tant that we went away talking about. Running slightly late, we wandered into the theatre at Pontio Arts Centre and were immediately transfixed by their magical and melodic tones. They proceeded through a half hour set that traversed the boundaries of folk and pop with tremendous subtlety, producing a sound that felt highly original and resultantly captivating. All are clearly talented musicians, whether on harp or guitar, but it was their combined vocals that really struck me. Performing acapella on the song ‘Gwydyr Glas’, their voices played together like wind chimes, singing in beautiful harmony whilst also producing distinct tonalities that made this a really fascinating piece to listen to.
At the end of their set, Tant were wildly applauded off stage. Recognising their popularity, The Trials of Cato twice paid tribute to them during their own set, where the praise was again handed out, and deservedly so. It was clearly an inspired choice to have them open. Only the best could follow. The Trials of Cato are certainly that, having already scooped up Best Album at the Folk Awards in spite of their relatively short career. Opening with an instrumental piece before going straight into ‘Tom Paine’s Bones’, these early numbers demonstrated the toe-tappingly catchy rhythms that make their music such a joy to listen to. ‘Haf’ added a lightness of touch to proceedings before ‘Cân John Williams’ was given a Lebanese vibe thanks to a particularly strong instrumental section at its end. The only slight melancholy in the evening came courtesy of ‘My Love’s in Germany’, but even here the performance was more rousing than depressing.
We were then treated to some new material in the form of ‘Dog
Valley’, from an album that should be out later this year. It was a track to
sit back and enjoy, reminiscent of freestyle jazz and showcasing their skills
as truly accomplished musicians. This and ‘Gawain’ are highly recommended for
first-time listeners, the latter their “prog rock” offering, which turned this
intimate venue into a few thousand seater stadium through excellent lighting
and amplified sound. Two favourites in ‘Aberdaron’ and ‘Gloria’ then followed
before they closed out with an excellent rendition of ‘Kadisha’. So good was
this final number that there was no need for an encore. Indeed, in hindsight,
there should not have been one, for it was hijacked by a woman intent on
playing tambourine with them on stage. The intervention of security a few
moments later meant that any chance of the band making the best of this
unexpected entrance was lost. A chorus of boos followed, and the subsequent
final song fell a bit flat. It was a disappointing end, but the only blot on
what was an otherwise incredible night of Welsh folk music. The strength of and
sheer originality on the national scene at the moment is inspiring. The Trials of Cato most definitely
reflect that, and after their performance here, Tant are undoubtedly doing the same.
I am walking up the High Street in St Asaph on an unseasonably warm January evening. The final remnants of Christmas hang in shop windows. The town’s tree is already stripped bare. It stands awkwardly on the side of the street. Meanwhile, opposite, a yellow glow emanates from the inside of the Cathedral. It stands, as always, resplendent at the top of the hill. As I reach the door, I can hear Robert Guy, Artistic Director of the NEW Sinfonia Orchestra, introducing the opening piece. I pull out my phone to show my ticket and notice that I am three minutes late. As a result, I decline the kind steward’s invitation of a seat at the front, and wander to a row of seats at the back. It helps that I know the place, for it allows me to settle immediately and enjoy the final section of Tchaikovsky’s Sleeping Beauty Waltz. It receives the first of many rapturous applauses on the night, and deservedly so. Made up of professional musicians from across North Wales and beyond, Robert and his brother, Jonathan, have assembled a talented cast whose collective sound brings the bricks of this ancient venue to life. It is no wonder that the well-dressed crowd in front of me look relaxed and fully engaged in every bit of what follows on this mild eve.
There is a rousing rendition of Strauss’ Thunder and Lightning Polka, a sprightly performance of Chit-Chat Polka, and a fascinating piece by Vittorio Monti called Czardas. However, it is a special guest appearance by Erin Rossington that particularly grabs my attention. Winner of the ‘International Voice of the Future’ at the Llangollen International Eisteddfod in 2019, the Guildhall School of Music student both looks and sounds like a future star. Dressed resplendently in a silk dress, she delivers a note-perfect performance of Porgi Amor from the Marriage of Figaro. Following that up with Waltz of My Heart, I am struck by the gentle power of her vocals. Hers is a voice that never overwhelms. Instead, it reaches out and softly touches the wooden beams that adorn the roof of the Cathedral. It is strong, but not overbearing; confident without being arrogant. It sits beautifully alongside the orchestral score.
Rossington is indeed a rising talent, as is Jonathan Guy,
who showcases his aptitude for composition with a new piece called Fire Dance. Coming at the start of the
second half, it is an intriguing bit of music that reflects the tempestuous
element of the title. The low tones of the introduction speak of danger, before
a more uplifting section produces something of a magical effect that, in the
final part, produces a majestic sound that captures the awful beauty to be found
in flickering flames. It is a far cry from those fireside images of Christmas
which are now fast being extinguished from the memory for another year. In their
place, thoughts turn to those caught up in the Australian bushfires. It is
fitting that an encore of Auld Lang Syne is
touched with poignancy. The string section is solemn, and the audience, in
unison, lend a certain pathos to the closing moments of this excellent concert.
Thunderous clapping gives way to a politely crowded exit. And as I walk out
into the pleasant calmness of the weather, I wonder if there could have been
any better way to start the New Year? The answer, I conclude, is no.
1) getthechance.wales/2019/10/30/review-heartsong-by-tj-klune-by-sian-thomas/. I was so excited for this book to come out and it really delivered. It’s on one of my favourite series with an exceptional way of world building and atmosphere, and the way the characters act towards each other and their surroundings is incredible. It’s funny, loving, and full of action, and I love it.
3) getthechance.wales/2019/03/02/review-how-to-train-your-dragon-3-by-sian-thomas/. End of an era! I loved this series when I was in my early teens and kept a close hold of it all the way until the end. I cried when I saw it in the cinema, at the end, when Hiccup and Toothless went their separate ways and then saw each other again a good number of years later. An amazing film about people and creatures and their relationships. Also, visually stunning. Animation is a top tier medium.
Personal: I finished my first year of university this year, and did so well in my classes that the university gave me a cash prize. There was a chance for people to win £1000 by getting a really good mark for their first year, and I had no idea about it until I received an email saying I’d won. Which was amazing news! It made me really proud of my both my actual work and my work ethic from the first year. It was a big academic confidence boost!
With such a cornucopia of goodies on offer theatre-wise during the past year, it isn’t easy to single out just three. For my money, two of these have to be musical theatre productions: Kinky Boots and Les Misérables, both staged in the Donald Gordon Theatre at the Wales Millennium Centre.
First on my list has to be Les Misérables. Cameron Mackintosh’s production, first staged
almost a decade ago to celebrate the 25th anniversary of Les Mis,
once again proved what a sure-fire winner it is. Grand theatre at its best, top
of the tree for music, lyrics, storyline et al.
A privilege to watch, all presented by a multi-talented cast, among them
Welsh actor Ian Hughes as a nimble-footed Thenardier who brought the audience
to its feet on opening night with his uproariously funny rendering of Master
of the House.
Closely followed, I must admit by Kinky Boots which
was, start to finish, a joy to watch. So
much more than “Just another musical,” it has at its heart a subject which nowadays
is treated in most cases empathetically but which was by any means the case
only a few short years ago. I refer to
transgender. Kinky Boots tackles this head on, with the
occasional heartbreak mixed with the fun and verve which is characteristic of
this amazing show, all dished out by a superb cast.
On to number three – also at the WMC, home of Welsh National
Opera who once again proved what a top-notch company they are with their new
production of Bizet’s Carmen. An operatic sizzler with wonderful
music, the story of the torrid but doomed relationship of the gypsy girl Carmen
and her solder lover is given a contemporary twist by director Jo Davies which
works brilliantly, with the added advantage of French being the native tongue of
mezzo soprano Virginie Verrez in the title role. With the mesmeric Habanera in
Act I, wonderful music and at times gut-wrenching libretto, this Carmen is
proof – if, indeed, proof was needed – that a new slant on an old favourite can
And now to the best “Cultural experience.” I am going to go off piste here, for to my
mind it has to be the film Solomon and Gaenor, given a twentieth
anniversary screening at Chapter with the film’s writer/director Paul Morrison,
producer Sheryl Crown and leading lady Nia Roberts on stage afterwards for a Q
and A. The Oscar-nominated and BAFTA
award-winning film, with dialogue in Welsh, English and Yiddish, set in the
Valleys back in the time of the Tredegar riots, tells the story of forbidden
love between a young Jewish peddler and a young girl from a strict Chapel going
Pinpointing how attitudes have changed, despite still – as Morrison commented during the discussion afterwards – having a way to go, Solomon and Gaenor, shown as part of the Jewish Film Festival, is riveting from start to finish in a drama that is upfront and unique in its presentation.
2019 was a brilliant year for Welsh theatre, a real
abundance of riches across the stages of Cardiff. American Idiot started off
the year with a bang, Peter Pan Goes Wrong brought comedic chaos, and Curtains
brought the kind of vintage charm you can only usually find among the bright
lights of Broadway and the West End. Narrowing it down is a tricky task, but
there were a few shows that stood out among the rest for me…
#3: The Creature (Chapter Arts Centre)
In what daily seems like an increasingly unkind, apathetic world, The Creature was a beam of hope in a dark time that didn’t shy away from trauma or tragedy but which held with it the promise of a better future – if we fight for it. It seemed perfectly tailored to me and my research interests – a modern take on the criminal justice system via a pseudo-Frankenstein adaptation, it hooked into my soul and still hasn’t let go. I’m eagerly anticipating the future endeavours of this fantastic creative team.
#2: Cardiff Does Christmas – Cinderella (New Theatre) and
The Snow Queen (Sherman Theatre)
The Christmas shows this year were the best I’ve had the privilege of seeing in quite some time. Cinderella was the show that reignited my long-dormant love of panto and saw the season in with festive cheer, while Sherman Theatre’s The Snow Queen was brimming with Christmas magic and a sweet tale of friendship, courage, and the fight against seemingly-insurmountable odds – a message we could all use about now.
#1: Hedda Gabler (Sherman Theatre)
It’s become increasingly apparent to me that the Sherman is
the soul of contemporary Welsh theatre – consistently producing creative,
fascinating and timely plays ‘rooted in Wales but relevant to the world’, as AD
Joe Murphy said of his artistic vision. Their staging of Ibsen’s Hedda Gabler was
an utterly stunning adaptation that haunts me to this day – and Prof Ambreena
Manji and I were blessed to be able to bring our Law and Literature students to
the production as we’re studying the text this year. You know it’s a roaring
success when the students want to write their coursework on Hedda!
Reviewing for Get the Chance has been my cultural highlight, which includes being continually in awe of the kindness and generosity of the Sherman, New Theatre and Chapter: the future of Welsh Theatre is in good hands indeed!
Losing Home, My 2019 Highlight, Les Misérables, Eva Marloes
As 2019 comes to a close, so vanishes the last hope of stopping Brexit. It is decided. Parliament has agreed our ‘divorce’ from the EU. Some feel elated, some relieved, some dejected. The morning after the 2016’s referendum, some people in Britain woke up and felt stripped of their very identity. The EU question was never about rules and regulations, trade agreements or sovereignty; it was about identity. In the political debate, only the Leave side appealed to identity. The European identity of many Remainers was and still largely is neglected. This is what makes Mathilde Lopez’s interpretation of Victor Hugo’s Les Misérables so poignant. It gave voice to the emotional attachment to the EU some people have always felt or have begun to feel once that belonging came under threat.
The beauty of Lopez’s take on Hugo’s masterpiece lies in interweaving the ‘small’ lives of individuals with the ‘big’ events of history. It is personal and political. It speaks of today by reaching into the past. With Les Misérables, Lopez brings together the battle of Brexit with that of Waterloo. It is a tragi-comedy that makes the lives of ordinary people part of history. Amidst the blood of Waterloo, the crisps devoured while listening to the referendum results, and the summer music of holiday-makers, we experienced the banality and significance of the Brexit decision.
The play was fun and moving. It was original, innovative, and thoughtful. It wasn’t perfect and wasn’t the best show I’ve seen in 2019 (that should go to WNO’s Rigoletto), but it was the most significant of what the country is going through. By mixing the escapism of the holiday feel with the horror of Waterloo and the shock of people watching the referendum results coming in, Les Misérables captures the closeness and distance we feel when caught in events of historical significance.
In one night, something changed radically. For European citizens in Britain, Brexit has created insecurity about their status, brought extra costs to get documentation that might allow them to stay, and has made them vulnerable to attack and insults. They don’t belong. The nostalgic identity the ideologues of Brexit have conjured is too narrow and homogeneous for some British people too. They too don’t belong. As Britain seeks to close its borders and refashion a nationalistic identity, some of us have lost their home.
In my review of Lopez’s Les Misérables, I wrote that the play appealed to faith, hope, and love. It was an acceptance of defeat without despair, a search for strength in love, not distance. Hugo described Waterloo as ‘the beginning of the defeat.’ As the first phase of Brexit concludes, it is tempting to use Hugo’s words for Brexit as the defeat of the dream of an inclusive and welcoming society, but it is not over. Nostalgia is incapable of meeting the challenge of the present, let alone of envisioning a future. That is for us to do. It is for all of us to imagine our future and rebuild our home. It begins now.
(My behind the scene article on the production Les Misérables can be found here)
Bodyguard at The WMC
The biggest and boldest production I have ever seen with music that has become iconic.
Meet Fred, Hijinx Theatre Company
A fantastic piece of theatre thy showed the true meaning of inclusivity while also showing an unique art form of puppeteering.
A fantastic and modern piece of theatre that literally gave a voice to someone who doesn’t have one.
Pavilion, Theatr Clwyd
A sharp and witty ode to small town Wales, Emily White has produced a great piece of engaging drama out of the mundane, the everyday. With recognisable characters brought to life by a hugely talented cast, this represents an excellent debut for a Welsh writer whose talent is sure to be noticed.
Writer Fflur Dafydd continues to demonstrate why she is one of Wales’ foremost scriptwriters with this intriguing mystery drama. Her intimate characterisation and weaving narrative kept viewers gripped right to final moments of its eight-part run.
A really important and culturally significant film, providing a fascinating insight into the Welsh language music scene. Huw Stephens deserves huge credit for spearheading it. I urge you to see it if you can’.
Cotton Fingers, NTW by Rachel Trezise and On Bear Ridge, NTW by Ed Thomas, both at Sherman Theatre, Cardiff. Having returned from University in Brighton this year, it was brilliant to see the Sherman Theatre flourishing as much as it was when I left Cardiff 3 years ago. The detail that went into Cai Dyfan’s set design for On Bear Ridge was incredible to witness. His level of craftsmanship, often only found in commercial and west end theatres, was a delight to see on a smaller, regional stage.
Meanwhile, a more stripped back Cotton Fingers let its script do all the talking and was skill-fully delivered by actor Amy Molloy.
Shout out must go to Katherine Chandler for her play Lose Yourself, also at the Sherman Theatre. Although I did not review this play, it was definitely one of my highlights of 2019. Gut-wrenching for all the right reasons, its finale left the audience silent. I’ll never forget heaviness in the air at the end of play felt by everyone in the audience who just experienced something very important together.
Personal cultural event of 2019: Slowthai at Glastonbury – never before have I been so instantly hooked on an artist I’ve never listened to before. The way he riled up the crowd with his boisterous, unapologetic stagemanship was incredible to witness and I haven’t stopped listening to him since.
Christmas Carol, Theatr Clwyd
A thoroughly enjoyable interactive performance that communicated much of what Dickens intended yet had a lightness of touch, an impish humour and a sense of occasion that made it well suited to a Christmas show.
Yes Prime Minister,Theatr Clwyd
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