Another musical my girlfriend and I saw whilst in New York recently. Bear in mind, we saw the preview so by the time it opened a couple of weeks back, much may have changed.
Some trivia for you, Elsa is the first Disney princess to be crowned Queen, it’s been translated into 41 different languages, plus Walt Disney wanted to produce a cartoon based on the Snow Queen for over 70 years. These are just some facts behind the highest grossing animated film of all time, which has now become a musical in its own right.
As I started this review, we saw the preview, but I can’t see much changing as what we saw was epic.
If you’ve not seen Frozen (seriously?) here’s a basic plot; Fearless optimist Anna teams up with rugged mountain man Kristoff and his loyal reindeer Sven and sets off on an epic journey to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. The rest, well, go watch it on DVD.
St James Theatre is steeped in Broadway history, just recently it was 75 years since Oklahoma was first premiered there, and now another piece of Broadway history is being made with Disney’s Frozen playing out to packed houses each night.
Having watching the film once or twice (maybe more), the first half of the performance seemed to use all the songs – I couldn’t remember what songs were supposed to be in what place, but ending on Let it Go is definitely a show stopper into the interval.
There are several new songs for this production, and they help flesh out the story. True Love and What do you know about love will certainly stay with me, as will Hygge which opens act two. My only slight disappointment, is not being able to have a cast recording – needless to say, it’s being released in June 2018!
Caissie Levy plays Elsa, and Patti Murin, Anna. Both are extremely talented performers and will certainly leave you with goosebumps during certain sections. Olaf is played Greg Hildreth, and it might be a little unfair to say, but he’s so much like Josh Gad in his performance and vocals. You can close your eyes and think it him. Young Anna & Elsa were played by Mattea Conforti and Ayla Schwartz the performance we saw, and let’s just say I believe they’ll will be names to watch for in coming years.
The ensemble, the effects, and the orchestra all played a part in bringing the most beloved in car karaoke soundtracks of recent years to life, and then some. Like I saw previous, the only thing that I’m disappointed about was not having the cast recording, so for now I’ll have to make do with youtube clips – suppose in terms of a soundtrack, it’s a little bit of a fixer upper….
There is talk of it coming to London, but not for a little while – so in the meantime, get a flight to NYC, walk around Central Park, go see Starry Night at MOMA, and most important of all, believe in true love and spend an evening with the fair folk of Arendelle. Hold onto your ticket as you won’t want to lose it…or let it go.
So whilst in NYC for a few days myself and my girlfriend went to see Waitress at the Brooks Atkinson Theatre. The main reason for this being the theatre was 50 metres away from our hotel (honesty being the best policy I believe). That aside, it also had an extra bonus in that Sara Bareilles – the composer & lyricist was appearing as Jenna.
If you don’t know much about Waitress, it was a quirky little film from 2007, written by the late Adrienne Shelly and starred Keri Russell in the lead role. It was bought by Fox Searchlight pictures for about $6 million, and went on to make $16 million, winning plaudits along the way.
It tells the story of a young woman trapped in a little town, a loveless marriage and a dead-end job as a waitress, who falls into the next trap of an unwanted pregnancy. Escape beckons when she falls in love with her gynaecologist, but he hesitates to leave his practice and his wife.
Staging wise it’s like nothing I’ve seen before. There’s not the effects like Wicked, or Frozen, but in its own way, the Brooks Atkinson Theatre is a small venue and that adds to the cosiness of the musical. It’s a little piece of small town USA in the big city.
Musically, it feels right – with lyrics written and performed by Sara Bareilles. It has a country contemporary feel that oozes emotion with each note. Till seeing it, I’d not heard any of the score, but once was enough and it left me wanting more – so much so, upon arriving back in the UK I bought the original cast album and Sara’s album of songs from the musical.
As a lead character, Sara Bareilles is able to inhabit the role quite well – considering she wrote the music and lyrics – there were moments that left me speechless – “She used to be mine” certainly has left a lasting impression.
NaTasha Yvette Williams as Becky (a role once taken by Keala Settle – her that now is part of The Greatest Showman), together with Caitlin Houlahan as Dawn provide the perfect harmony and backing to the main story, and both excel with their own story arcs.
Drew Gehling as Dr Pomatter plays Jenna’s love interest with brilliant comic timing, as does Christopher Fitzgerald as Ogie for Dawn. His “Never ever getting rid of me” performance ranks as one of my favourite musical theatre moments – ever!
My one slight problem with the production lays in the fact, will it transfer across the pond to the UK? The musical style is intrinsically American country – so would audiences in the UK buy into it? I don’t see why it shouldn’t work – Leann Rimes, Shania Twain, and Taylor Swift are all country music based – and they’ve done quite well over here.
I hope it does, because I’d say you need to see it. If you’re a fan of Sara Bareilles, the film Waitress, or a beautifully written musical that will send you away with a song in your heart, and the taste of pie in your belly, this is for you.
In this article we interview a range of arts professionals to share good practice in the areas of Access, Inclusion and Diversity.
Meredydd Barker
Hi can you please tell us a little about yourself and your practice?
I’m a playwright, artistic director of Narberth Youth Theatre and the west Wales rep for Youth Arts Network Cymru – YANC
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
It begins with the young. Youth Arts Network Cymru – YANC – is doing tremendous work in this regard in the hope that as the young people involved grow older and, perhaps, make a career in the arts, best practice can spread through the industry . Then, one day, access, inclusion and diversity will not be issues that have to be continually addressed. They won’t be issues at all.
Helena Davies
Hi can you please tell us a little about yourself and your practice?
Hi, I’m Helena Davies, and I’m a linguist with a background in Technical Translation and English as a Foreign Language. I have a BA in Italian and Spanish, an MA in Literary Translation and I am currently preparing for my Welsh Mynediad exam in June. I moved to Cardiff from London last year, and over the last couple of months, I have been training to become a Captioner, working on producing film and TV subtitles for the deaf and hard of hearing. I recently received audio description training from Dr Louise Fryer, BBC Radio 3 Presenter and Audio Describer, and Anne Hornsby of Mind’s Eye, both pioneers in UK audio description. I am now looking to establish a career in Captioning and Audio Description. I dance samba de gafieira and samba funkeado, and am passionate about media and arts accessibility.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
With a strong interest in dance and accessibility, I was delighted to be invited by Carole Blade, Creative Producer for Dance in Wales, to attend a three-day audio description training course based on the Family Dance Festival at Chapter Arts Centre. Over an intense three days, we learnt how best to audio describe dance, which is considered to be one of the hardest mediums to describe. We all concurred that “Drifter” by Jukebox Collective, featuring the talented Kate Morris, was by far the trickiest to describe. The Family Dance Festival is presented by Bombastic and Coreo Cymru, and features four short audio described dance performances in Welsh and English, with accompanying touch tours. It is a great initiative and exciting to see dance being opened up to all. The Family Dance Festival is running from 24 March to 14 April 2018
Elise Davison
Hi can you please tell us a little about yourself and your practice?
I’m the co founder and Artistic Director of Taking Flight Theatre Company, the company I co founded with Beth House in 2008. Before this I was an actress for 10 years, a teacher, a presenter and a facilitator. Taking Flight is an inclusive company originally set up to break down the barriers, or perceived barriers to participation in the arts. We have been integrating access tools into our work for a long time now and act as creative access consultant for many other theatres companies. We have produced over 17 tours of Wales, run many residencies and trained many facilitators in our 10 years. We have recently become a disability led organisation, as over half of our Board of Directors identify as disabled, and this is really important to us.
Currently we are touring our inclusive family show You’ve got Dragons which gently raised the issues of Mental Wellbeing in young people and accompany this with free resilience building ‘Dragon Taming’ workshops which have been created in collaboration with clinical psychologists. This is touring the whole of the UK and is a really exciting development for the company. It’s been great to find so many theatres in England keen to programme inclusive work. We are a company that seeks to nurture the next generation of theatre makers, we have taken risks with casting, with our creative access, with our marketing materials. As creatives we take risks with everything else we do so we need to be prepared to do so with regards to diversity and access. It’s great to see some of our former employees ‘take flight’ and set up on their own e.g. Sami Thorpe and Chloe Clarke of Elbow Room and we continue to wish them every success on their new adventures. TF offer support and advice when we can and do everything within our power to ensure we make our work and our process as accessible as possible. We make mistakes, we often get it wrong and we continue to learn and to develop our work and we love to collaborate…many heads are better than one!
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
Fio – Abdul is doing so much to raise the issues around the lack of diversity in Wales and is producing some cracking work. We hope to work more closely with Fio in the future.
Mess up the Mess – a ‘quietly inclusive’ company that really nurture the young people they work with creating strong, independent theatre makers with excellent ideas about access. Can’t wait to work with them again – we continue to learn from them.
Hijinx Theatre – producing excellent touring work and taking the international scene by storm, this company is changing the attitude towards in inclusive work featuring learning disabled actors. Meet Fred continues to tour across the world and the next show The Flop is sure to be another success. Additionally the academies which are now running pan Wales are a real example of the kind of training that we need to have in place to nurture the next generation of learning disabled performers. We would love to have the capacity to run an ongoing training forum for D/deaf/HOH and disabled performers and are in conversations with a number of organisations about this.
Ramps on the Moon – an amazing initiative in England which is placing disabled performers and accessible productions on main stages and in producing houses across the UK.
Stopgap Dance – they have been so generous to us over the last year, giving us advice and putting us in touch with like minded organisations and really are the leading lights in inclusive dance. Love their work. www.stopgapdance.com
WMC – Jenny Sturt is making massive changes and embracing access and inclusion in a huge way. Her drive and passions is infectious!
Yvonne Murphy – has produced some excellent all female work and is enthusiastic and determined to challenge any inequality which may lead to people being excluded from the arts.
Bath Spa and The Atrium – I’ve worked with both these organisations as a creative access consultant and have worked to integrate a BSL interpreter ( the wonderful Julie Doyle and Tony Evans) into their shows and to integrate audio description. It’s great that the Universities that are training the next generation of actors feel so strongly about making accessible work. The students have loved the process and have been inspired to think more creatively about access as a result. Long may it continue!
Creu Cymru and hynt – Still doing fab work with venues via the hynt card scheme. It’s also been great to host our 4th access symposium Wales – a diverse nation? at Theatr Clywd with Creu Cymru in Feb, such a great bunch of people attended and so many ideas were generated and will hopefully start to be put into play. As a result we are hosting free access meeting – practical access solutions at WMC once a month and the first one sold out in 12hrs! So there is obviously a want to be more diverse and a desire to be part of the conversation, we all just need to be a tiny bit braver and not worry so much about getting it wrong!
Ucan go! app – also needs a mention here – an app to help orientate blind or partially sighted visitors at theatres, it’s so great it would be wonderful to see more venues investing in this.
Adeola Dewis
Can you please tell us a little about yourself and your practice?
My name is Adeola and I am an artist and researcher working across visual arts and performance. My practice engages conceptual, performative and aesthetic notions on Carnival, ritual, folk and emancipatory performances.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I highlight Carnival as an area that exemplifies good practice in terms of inclusion, diversity and access.
Jacob Gough
Hi can you please tell us a little about yourself and your practice?
My name is Jacob Gough, I’m Production Manager for National Theatre Wales, which in a nutshell involves the logistical planning for productions.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I would like to highlight the amazing work of companies that don’t just champion but incorporate access into their shows; companies like Taking Flight, UCAN Arts, Hijinx, Llanarth Group and artists like Jonny Cotsen amongst others. Companies and artists are doing a lot more work now to provide captioning, BSL and audio-described performances, which is great to see. Access forums are a fantastic mechanism to help organisations and artists share knowledge and learning, and a lot of new technologies are being developed that help accessibility; all of which helps develop this all-important feature of the arts.
Jafar Iqbal
Hi can you please tell us a little about yourself and your practice?
I’m a freelance artist and arts critic. I’ve written for publications such as The Stage, WhatsOnStage and Wales Arts Review, as well as regional and online publications over the course of my career. I’m also a scriptwriter and storyteller.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I’d like to raise awareness about Where I’m Coming From, a monthly Open Mic event hosted by writers Durre Shahwar and Hanan Issa. Currently at the Tramshed in Cardiff every month, the spoken word event is aimed predominantly at the BAME population. Going to one of these events is an enlightening experience, as its attended by people who you usually wouldn’t see at other such events. It’s become a safe space for writers to express themselves in a welcoming environment and, for many of these people, the first time they’ve ever shared their creativity to an audience. A fantastic event.
Rachel Pedley Miller
Hi can you please tell us a little about yourself and your practice?
I run Avant Cymru. At Avant we aim to be acceptable creating work with audiences and delivering projects that are accessible to many individuals. In the past we have used apps such as swipe to caption our performances and we have worked in venues which are acceptable to those with mobility issues. We work with the community into raise our awareness of the needs. We also look to highlight a range of needs especially through our continual drama Rhondda Road, which is directed by Shane Anderson. Rhondda Road will be starting again in May 2019 and we would love to have a character in the show who would want to raise further awareness of the difficulties people who have a disability have accessing the arts. As a dyslexic person living with a chronic illness, I refuse to let my conditions prevent me from trying new things and will always work with audience and cast members to make the shows as accessible as possible. To date Avant have not produced one show without BAME cast members, we have also employed LBGT cast members on various projects. This has not been something that we have shouted about as we have seen our staff as the best people for the job, the fact that they identify as disabled, LBGT, disabled or from a BAME background is for them. We just see everyone that is hired as the best person for their role and we are proud that we see diverse people as equals.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I think that it is important to look at each project, Consider if it is relevant to 2018. What I mean is if there is a pre-written script is it possible to make it appealing or relevant to audiences now. Because if it isn’t then Avant are not interested in producing that show.
When we have established a compelling idea we look to hire someone who has the correct skills, energy and enthusiasm to create the work. Looking for a cast member who can ply the role with the right drive, rather than worrying if they can tick a diversity box. Seeing each individual on their own merit and supporting them to make a career in the arts, or to participate in the arts should be considered on a person by person basis and implementing various tools to make work and audience opportunities accessible to all should be considered. We always evaluate after each show, so far our audiences have been happy that they have been able to access Avants work. We need to keep evolving to have more tools in place so we are able to cater for different individuals.
Yvonne Murphy
Hi can you please tell us a little about yourself and your practice?
I run Omidaze Productions. I set it up back in 2008 specifically to use drama and theatre to shake stuff up, entertain new audiences and inspire change. We make politically grounded theatre, run workshops in schools and produce annual Summer Schools for young people which give full scholarship places to those for whom economics make the arts harder to reach. Our first production and tour (Things Beginning With M) examined how women learn from each other about everything from Motherhood to the Menopause, Miscarriages, Menstruation, Masturbation, Men, Money, Marriage, Mysogyny, Media Images and Maturity. Everthing begins with M!
I am really interested in smashing down boundaries between different art forms and exploring the difference between for example a visual art installation and set design or dance and movement/physical theatre. I love to smash the fourth wall and explore how audiences behave when you break the rules, or even have none at all. I like theatre to break beyond the confines of the designated space and like using unusual public spaces to entice and spark curiousity in those who might not otherwise enter a theatre.
I use visual artists, stand-up comedians, circus choreograhers and aerialists and movement directors to help me discover what will entice new audiences into the theatre and allow text to become relevant, accessible and visceral.
I created, directed and produced the Shakespeare Trilogy (co-productions with the Wales Millennium Centre) which consisted of two all-female productions immersive site specific productions in the WMC roof void (Richard III 2015 & Henry VI 2016) a ‘gateway’ Shakespeare production which strived to reach younger audiences and used a BAME strong and gender balanced cast.
I am deeply concerned by the inequality within our society and within the theatre industry where we tell and share our stories which help us to connect and make sense of our world and what it is to be human. I therefore strive to make work which challenges myself and the status quo and attempt to raise awareness of that deeply ingrained inequality, issues of social injustice, conflict and stuff which I believe needs to shift and change through my work.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
The Young Vic did some good work on how we should think and act differently as cultural organisations when recruiting. Where and how we recruit for positions at all levels is key. Recruitment processes could be so much more creative and reach people from different sectors and walks of life. They have walked the talk with the recruitment of their new Artistic Director, Kwame Kwei-Armah.
Taking Flight have taught me so much about inclusivity in theatre and I would love to see the day when they no longer need to call themselves an inclusive theatre company because EVERY theatre company should be an inclusive theatre company.
The Clore Leadership Programme gave me phenomenal training in so many areas including governance and is striving to change the face of cultural leadership within the UK and make it more equally representative. It made me realise how key governance is and if the board of an organisation is not leading the way in challenging systemic inequality then the organisation most likely won’t be either. Any board which is truly diverse and ensures that trustees step down after a set period of 5-6 years is good practice.
Kaite O’Reilly
Hi can you please tell us a little about yourself and your practice?
Hi of course, please find some information on myself below,
Kaite O’Reilly is an award winning Playwright who works both in the so-called mainstream and disability arts and culture. Awarded the Peggy Ramsay award & Ted Hughes award for new works in poetry for ‘Persians’ with National Theatre Wales (NTW). A leading figure in disability arts and culture internationally, she received three Cultural Olympiad commissions and her Unlimited commission production with NTW of ‘In Water I’m Weightless’ was part of the official festival celebrating the 2012 London olympics/Paralympic and created an important political and cultural precedent – the first production written from a disability perspective with an all Deaf and disabled cast performing on such a high profile national platform. She is currently touring ‘Richard iii redux’ – reclaiming Richard iii as a disabled icon and her 2018 Unlimited international commission ‘and suddenly I disappear – the Singapore ‘d’ monologues’ premieres in Singapore in May and comes to U.K. to tour in September. Her acclaimed collected ‘Atypical Plays for Atypical Actors’ are published by Oberon. She is patron of Disability Arts Cymru and DaDaFest and publishes widely about diversity, inclusion and disability.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I think it’s about changing the whole way performance is made, how, about, and with whom, it’s the content and material as much as including innovative use of the aesthetics of access. Theatre is supposed to be the study of what it is to be human and yet it still has a very narrow perspective – we need to broaden this in the stories we tell, the protagonists we create and the theatre languages we use (integrated Sign interpretation, captioning, audio description, etc).
I have written widely about what I call ‘alternative dramaturgies informed by a Deaf and disability perspective’ when AHRC creative fellow 2003-06 and 2010-2017 when fellow at International Research Centre in Berlin. We could be far more inventive – and work, like mine, had been going on for decades but is still marginalised. We need to make this central . But not just access as add-on – we need disabled and Deaf writers, makers, directors, designers, performers etc and this should be mainstream not ‘inclusive’ for brownie points.
You can read more from Kaite on this subject matter at the links below,
Hi can you please tell us a little about yourself and your practice?
I’m Chloë Clarke, a visually impaired actor, director and theatre maker and cofounder of Elbow Room Theatre Company in Cardiff. I have been working as a performer for 8 years and now focus on making my own work, both as an individual and with ERT partner Sami Thorpe, which champions creative access and truthfully representing disabled people within the arts. ERT is committed to producing new writing that does the same while showcasing relevant and cutting edge work.
I also work as an audio description consultant, which means I work with companies, venues and artists to integrate AD into their work through joining their devising and R&D process, or find creative ways to add it to existing work in a way that is inherent to the piece’s unique style.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
The recent discussions and debates surrounding diversity in the arts, within Cardiff and on a global scale through events like the Oscars and the promotion of the inclusion rider, are vital and long overdue. If you’re not from a minority it may not seem relevant, it may in fact feel quite uncomfortable, but we all have a responsibility to ensure that we, as artists, provide fair representation of our society through all facets of our practice, and to date we have fallen worryingly short of this. However, the very fact that these debates are taking place in our industry is a very positive sign. Now it’s time to act.
I, for one, can only speak from my own experience as a female disabled artist. As well as stipulating the need for wider and truer representation of people like me in the arts, I’d also like to highlight the importance of considering access from the outset of any project – namely the writing of a script or the start of R&D wherein a piece is being devised. Once we start committing to this idea across the board the arts will become fairer.
I will always advocate for creative, integrated access rather than ‘traditional’ methods (an attitude that I have encouraged and nurtured within many companies I have worked with over the years to great effect), as this is the best means by which access can become relevant to every audience member and not just those with access requirements. It’s wonderful that the collective consciousness is growing in this regard and that more creatives are becoming aware of the opportunities afforded them by considering access as inherent to their work – we just need more. More awareness, more action, more choice.
We still have quite a way to go to overcome a lot of the barriers faced by audiences, performers and companies, but as long as we talk AND act (and start engaging diverse people in these conversations rather than just listening to white, straight, middle class, non-disabled people talking about what ‘they’ need) the positive changes we’ve started to notice happening will gain momentum.
So, no one shut up! Let’s keep this going and hear from the diverse array of people we actually have in this industry.
Good practice (very generally speaking) is to openly discuss issues surrounding diversity rather than shying away from them because they’re awkward. In more specific terms, Graeae are the obvious UK trailblazers with regard to best practice surrounding access, particularly for d/Deaf audiences and performers. As everyone who works in disability arts knows, nobody ever gets it 100% right all the time, that’s where open dialogue needs to be continual. It never hurts to ask questions.
Gagglebabble really impressed me with their commitment to having a VI consultant involved from the outset on one of their latest of projects and their commitment to auditioning VI performers for at least one role in the show. They have taken a very natural approach to it without any hint of wanting to tick a box, and their high standards can only help to improve general perceptions of what a quietly integrated cast can do.
If all ‘mainstream’ companies could adopt the same attitude – very openly and naturally deferring to those with lived experience to guide them on best practice and having the intention of also representing this on stage, while not making a big song and dance (sorry, couldn’t resist) about it – things would move forward much more smoothly and there would be little need for drum-banging from those of us who are marginalised.
Elena Schmitz, Head of Programmes at Literature Wales.
Hi can you please tell us a little about yourself and your practice?
My name is Elena Schmitz and I am the Head of Programmes at Literature Wales. In this role, I am responsible for the development, effective management and operational delivery of Literature Wales’ varied programmes including high-profile projects in Community Participation; Arts & Health; International Development and Writer Development. So quite a varied role. I am particularly interested in collaboration, co-production, interdisciplinary work and in achieving social change through arts provision.
We have been running many inclusive literature community projects for a number of years, most notably the South Wales Literature Development Initiative (SWLDI) which is now called Lit Reach and has been extended further to areas in North Wales. We are also currently facilitating a number of health and wellbeing projects, including the delivery in Wales of the UK-wide Reading Friends Project, as well as our new Health & Wellbeing Funding Scheme.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I think many arts organisations in Wales are exemplary in this and others can learn a lot from their approaches. Some of them have focused on access, inclusion and diversity for years and this is absolutely part of the raison d’être of the work that they do. For example, Hijinx Theatre is brilliant at co-producing high quality theatre with disabled and non-disabled artists, while Valleys Kids focuses on providing opportunities for disadvantaged families. Head4Arts has worked tirelessly in providing meaningful, empowering arts experiences to the disadvantaged communities of the heads of the valleys. NTW’s TEAM is a great model of widening access for larger arts organisations and allowing for more shared decision-making and wider reach of the organisation’s work. The new BAME community-led Where I’m Coming From collective organises regular literature events in Grangetown in Cardiff, arising from the need for more diversity in the literature sector.
Across the UK there are a number of really inspiring projects. One that I find very powerful is the Fun Palaces initiative, conceived by writer and activist Stella Duffy. At the heart of this growing and influential project lies the believe that everyone is an artist and everyone a scientist, and that creativity in the community can change the world for the better. Fun Palaces is an ongoing campaign for cultural democracy, with an annual weekend of action every October. The campaign promotes culture at the heart of community and community at the heart of culture.
I think the model of co-producing work with (rather than for) communities and shaping things together is increasingly important for all arts organisations. Arts and culture that truly matters and changes minds needs to be shaped by all, not just by an elite minority.
Sami Thorpe
Hi can you please tell us a little about yourself and your practice?
Hi, I’m Sami, I work as a performer and also as a qualified British Sign Language/English Interpreter. I am also a cofounder of Elbow Room Theatre Company. I have a longstanding passion for inclusion and accessibility in the Arts ever since training at a unique degree course at the University of Reading; Theatre Arts, Education and Deaf Studies.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I thought it might help to share the dates for the British Sign Language Interpretation for the productions below over the next few months which I am providing.
Fleabag – Wales Millennium Centre
8pm, 27/04/2018 (Friday)
The Effect – The Other Room Theatre
7:30pm, 03/05/2018 (Thursday)
Rhiannon White
Hi can you please tell us a little about yourself and your practice?
I’m a Cardiff born, Cardiff based theatre director. I mainly work with my theatre company Common Wealth but I also work on freelance stuff which has ranged from taking a circus to Gaza to making a show on a beach.
I think it was growing up in St.Mellons, Cardiff that got me into theatre. We didn’t have very much growing up but what we did have is loads of kids to play with. I spent my childhood playing in the street, dressing kids up in my mums old clothes and on plays on in the garden. I think that’s where my DIY spirit came from in those early lessons of making the most of what you’ve got.
My company Common Wealth grew out of those roots – we were a group of people that came together to make theatre. We started with nothing, making shows in large empty buildings, without funding and with the generosity of people who wanted to get involved.
Over the years Common Wealth has grown, we’ve made work in many different places, with incredible groups of people and have worked on shows in places like Neath, Chicago and Germany.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
Last year I completed a report called CLASS ‘The Elephant in the Room’s it was researched, written and performed as part of my Arts Council Wales supported Clore Fellowship (2015 – 2016) and was funded by the Arts Humanities and Research Council. The purpose of CLASS The Elephant in the room is to investigate the inherent social conditions that exist in the creative industries today; social conditions such as social class and geographic location that can influence and determine a career in the arts. It pays attention to the contradictions that play out where class is considered, and how these contradictions continue to reproduce and reinforce class divisions.
It is an auto-ethnographic study that draws from my own personal experience and combines it with interviews with others who share a similar position. It provides a personal testimony on working in a sector that is dominated by white, middle-class, males.
This report was first and foremost delivered as a live performance debate that provides a resource for theatres, artists and institutions to use if they would like to form their own discussions around the themes of diversity and class.
Common Wealth are also starting a Youth Theatre Lab in Cardiff. The aim of this youth theatre is not to play games or train to become an actor (although this might happen too.) The Youth Theatre Lab is about developing the skills to make theatre that has something to say. The YTL will be a place of experimentation – we will collaborate with highly experienced theatre practitioners, choreographers, visual artists and composers to develop important work by and for young people. The Youth Theatre Lab is FREE but booking is required. Its or ages 13-18 6pm-8pm and starts on Wednesday 4 April.
Nickie Miles-Wildin
Hi can you please tell us a little about yourself and your practice?
My name is Nickie Miles-Wildin and I’m a theatre maker. I’m currently Regional Theatre Young Directors Scheme, Resident Assistant Director based at The Royal Exchange Theatre in Manchester. I am also Artistic Director of TwoCan Theatre Company based in Gloucestershire, where I’m originally from. Alongside my colleagues Becky Andrews and Louise Partridge we set up TwoCan to promote diversity in the arts and enable D/deaf and disabled people access to the arts, something that was lacking in the county. We have a successful youth theatre and have produced work made by professional disabled actors, writers and directors.
Which area/s of good practice in the arts relating to the themes of access, inclusion and diversity would you like to highlight?
I would highlight the work of Graeae as they have been going for 30+years and continue to push the barriers of access. They have taught me what I know and I continue to admire their work. Ramps On The Moon builds on the Graeae model and will hopefully change the views of directors and audiences as it progresses. In Wales I admire the work of Elbow Room who are challenging us all about creative use of audio description. We all fall in love with sign language (have our epiphanies) and Elbow Room are making us do the same abut audio description.
In 1964, There was a little girl sitting on her mother’s floor in Milwaukee watching the 36th Academy Awards. She watched as Anne Bancroft opened the envelope for Best Actor and said five historic words: ‘The winner is Sidney Poitier.’
This little girl had never seen a black man being celebrated for his talent and to quote her “I tried many, many times to explain what a moment like that means to a little girl, a kid watching from the cheap seats as my mom came through the door bone-tired from cleaning other people’s houses”
https://youtu.be/Qbp8o6aBgTs
That little girl grew up to become one of the most influential people on the planet – Oprah Winfrey.
And at that moment of celebration at the 36th Academy Awards she was truly inspired by what she saw. She watched history unfold from her cheap seat, took inspiration and the rest as they say is history.
Fast forward over 50 years and Oprah has joined Sidney Poitier in becoming a recipient of the Cecil B DeMille award and when accepting the award she recounted that memory of the cheap seats and went on to add “there are some little girls watching as I become the first black woman to be given this same award”
At that moment and later on in her speech all over the world girls and boys and men and women were inspired and in awe. With that inspiration and determination those little girls and boys will become the next Oprah Winfrey or the next Viola Davis or indeed the next Denzel Washington.
After the #OscarsSoWhite movement two years ago The Academy has implemented drastic diverse change and many others have followed suit because after years of feeling unappreciated and uninspired and pretty much fed up, many people thought enough is enough.
If we don’t show diversity in our nominations and winners then how are the next generation meant to be inspired like Oprah was all those years ago.
By having more diverse nominations and shortlists you are giving the opportunity for the next generation to be inspired. And the key word here is opportunity.
Now more than ever we need the next generation of BAME talent to be inspired and its so great that the #OscarsSoWhite movement has taken effect and we are now finally seeing a hugely diverse and more equal nomination and shortlist spectrum. Closer to home in Wales its not the case. The Wales Theatre Awards for one have not embraced the diverse change needed to inspire the next generation of BAME talent.
Now Wales is quite small in comparison to the rest of the world but we’ve still managed to nurture brilliant talent in all fields and all I ask is that diversity is implemented like with the Oscars and many other global awards. That way the next generation of actors of colour can have a platform to look to and aspire to be on. That way we can inspire and empower the next generation of BAME talent. That way young actors like myself can look to the awards and be inspired to work harder and be in a position to celebrate their talent like Sidney Poitier was all those years ago.
We need to ask ourselves how do we encourage the next generation of artists and creatives to strive and aim for the stars? A big factor in encouragement is inspiration. If they never see role models they can relate to win awards how are they ever encouraged to become the next Octavia Spencer or the next Steve McQueen.
But let me take you back to that word I mentioned a few lines ago.
Opportunity
Because when it comes to Diversity and Inclusion, opportunity is a massive factor.
If opportunity is not given to people then how are we ever going to be in a position where we can showcase our talents?, be nominated for awards? and inspire our peers and the next generation?
Diversity has become this big hot topic over the last couple of years and its just about equality. Being treated the same regardless of your skin colour, disability, religion, gender, sexual orientation and many other labels that are handed out in our day and age. We are all equal. We are all human.
Finally in our society we have seen a positive shift in diverse action and we cant afford to get left behind whilst others continue to implement that change. We have to embrace it.
Without embracing it we risk loosing much talent to other locations. A prime example of this is the current crop of actors going overseas in search of better opportunities. Idris Elba highlighted it during his recent speech to Parliament.
John Boyega, Daniel Kaluuya, David Oyelowo, Naomie Harris and Lenora Crichlow are just a few other names who have also ventured along with Mr Elba over to the States in search of better opportunities.
A statistic recently showed that according to government data from 2013, there was a 500% increase in one year in approved visa petitions for UK actors and directors seeking to work in the US.
That number is staggering but only goes to show that this issue surrounding opportunity and representation is real.
We live in a multi-cultural world and this isn’t being represented on stage or screen. If we don’t see ourselves or our culture on stage (and screen for that matter) how are we meant to be engaged? If young people don’t see themselves represented on stage they won’t go to the theatre, if they don’t see themselves represented on TV they’ll turn the TV off. We have to show all walks of life to engage all people. Period.
That same situation is at risk of running its course here in Wales. If we don’t champion opportunity and give representation the platform others have then we run the same risk of loosing home grown talent to the likes of other more diverse locations like London, Bristol or Manchester for example. For many new and upcoming actors/performers America simply isn’t attainable yet but the likes of closer inclusive locations are very much a reality. For minority actors to be considered for awards they have to be cast in productions. To be cast in productions they have to have the opportunity to be seen for the roles.
Once again I echo the key word in all of this … Opportunity.
Seeing that I’ve mentioned him already I will bring up the case for Daniel Kaluuya. Daniel Kaluuya has got huge attention lately as he earned a Best Actor Oscar nomination for his role in the film Get Out. With this nomination, Daniel becomes the first black actor under 30 to garner a nomination. Only one word can be used to describe that achievement and that is phenomenal.
But many people think that this success just happened off the back of one movie. They don’t realise that Daniel put in years of hard work from his time at the Royal Court in Sucker Punch.
to Blue Orange at The Young Vic
to his time on Black Mirror to name just a few. But without opportunity would he have got to this stage in his career where he is now the first black under 30’s actor to be nominated for an academy award? Who knows?
And then we have the global box office hit that is Black Panther and the success that has followed this movie.
As I write this article the global box office of the movie stands at $704 million and its broken into the top 20 for highest grossing movies of all time. There are even rumours of it becoming the highest grossing Marvel movie so far. Not bad for a movie with a predominantly black cast featuring a black superhero in the title role.
But why is this movie such a milestone many people will ask. Well simply put 1) Its massive progress in a positive direction and 2) Its shown that you CAN invest in diverse talent and it CAN be successful.
All they needed was the opportunity.
I guess what I am trying to say and I will echo Viola Davis here when I say that “All that separates actors of colour from anyone else is opportunity”
Talent is everywhere in all shapes and sizes. So we have to make an effort to go and seek this talent out. Look for it. Everywhere.
So with all this being said I’m going to challenge every person who holds a degree of power to embrace the positive shift that has begun and implement change so that we don’t get left behind. Don’t hide away because if you are not part of the solution then you are part of the problem.
This goes for everyone in all industries, not just people in the creative arts. Embrace and Implement. Those two factors will allow diversity and talent to flourish magnificently. The world is now beginning to show us that our possibilities are boundless. And we have to keep on striving to achieve every possibility. Striving to achieve every dream.
The fourth ‘Breaking out of the Box’ symposium- a series of events to discuss the issue of diversity in Welsh Arts, took place at Theatre Clwyd on 16th February. Subtitled ‘Wales: a Diverse Nation?’ An access symposium’ the focus of the event centered on the question of how diverse are we, and what can we do to change things?
Opening the event was Nick Capaldi, Chief Executive, Arts Council Wales. He spoke about the history of the Arts Council and Diversity- citing reports from as far back as the 90s into the issue. He acknowledged the responsibility as a publicly funded organisation towards diversity:
"As publicly funded organisations we must be places of empathy, inclusion, community engagement, discussion as well as being sources of imaginative delight." Nick Capaldi @Arts_Wales_#DiverseWales
Capaldi also noted the need to do more to reach communities and the idea of ‘changing hearts and minds’. While this contribution from Arts Council Wales was welcome, and well intended it was let down by a lack of representation from the organisation throughout the day. The focus of the day around galvanising towards action, having an engaged representatives from the Development teams at ACW could really have helped the organisations present to make practical steps in their next projects towards diversity. We all know ACW funding is at the heart of the work made in Wales, and a level of practical support and real engagement on the day from the organisation would have made a huge difference to what could have been achieved. While Capaldi’s support was welcome, and his words supportive, it felt like a missed opportunity from ACW.
Following Capaldi, my own talk. Which focused on turning questions back on the audience to reflect on for the day.
"Our lack of diversity not being helped by a narrow focus. We can learn by examples, we can only do that by discussing it." @EmiGarside#DiverseWales
As hoped this provocation moved into an engaged discussion about the many areas that need addressing- from programming to the access needs of audiences.
Following a break we heard from Jamie Beddard, one of the UK’s leading disabled theatre practitioners, Jamie talked through his experiences as a disabled performer.
Jamie’s experiences, and the video clips he showed of projects in England he’s been a part of showed that the sky literally is the limit for what can be achieved.
Jamie was part of a couple of amazing circus projects where disabled performers worked alongside able bodied performers with no barriers or prejudice around what they were or weren’t expected to do. That this kind of work is possible can be an example for companies in Wales to aspire to.
Keen for the day to have some practical take-aways there were two workshops on accessibility led by Elise and Beth from Taking Flight Theatre Company. Elise took people through some simple steps to make a rehearsal room more inclusive, while Beth talked through making accessible marketing materials.
These practical elements were a really useful element of the day for the group-providing some tangible next steps that are relatively easy to incorporate and help slowly change the nature of diversity and accessibility.
Finally, the last two provocations of the day. Michele Taylor, Director for Change for Ramps on the Moon and critic Jafar Iqbal. Both proved to be a rousing call to action. Michele punctuated their talk with the repeated phrase ‘Seriously are we still talking about this?’ Sharing her frustration but also experience in creating active solutions through ‘Ramps on the Moon’ this was a non-nonsense call to get things done. And one which also called out well meaning sentiment with again, a call to concrete action.
Don’t describe something as “accessible” give people the specifics so they feel comfortable in your venue. #DiverseWales
Challenging all of us on everything from our choice of language to what we believe to be exclusivity Michele provoked passionate discussion about how we really enact change. There was also a clear desire from the room to mimic the ‘Ramps on the Moon’ initiative in Wales.
Finally Jafar Iqbal talked about the lack of change we’re experiencing in Wales. Criticizing those at the top for a lack of action while others repeatedly shout for change.
Progress is frighteningly slow because the people whose job it is to listen aren’t @writeofcentre#DiverseWales
Drawing on his own experience as a British Asian, Iqbal has often wondered if he’s in a room to ‘tick a box’ but is also conscious that he’s benefited from that in his career. And despite personally benefiting, being conscious that this approach isn’t good enough any more.
"I had a dilemma. I was going to start saying "I'm honoured and privileged" when actually I'm not. It's 2018. In Wales. We've not done enough to sort it out." @writeofcentre#DiverseWales
Acknowledging the recent controversies in Wales, Iqbal talked about the need to change being felt across the sector, but a lack of action being taken. And actually giving us a fairly simple way to start solving these issues:
Further discussion in the room, following this final clear provocation was to that end- the time for talking (and social media debate) has passed and it’s time for action. The very clear notion however, was that this needs leadership. And that is something the movement for diversity in Wales is lacking. Not from those engaged in the arts, but from those organisations with the power and scope to be really influential in making change. And this remains a frustration.
Despite continued frustrations, it was a galvanizing and productive event. Connections between organisations developed during discussion and networking time and there seemed a real commitment to move forward from the event with a new sense of purpose.
Let’s hope that soon an event won’t be asking the question of Diversity in Wales but simply celebrating it instead.
The Sound of Music is a musical masterpiece from the talented duo Rodgers and Hammerstein. Based loosely on the life of Maria Augusta Trapp and her journey from novice Nun to devoted mother. The Sound of Music has taken the drama which hangs on the story ‘The Trapp Family Singers’ (written by Maria) and has condensed it into a stage musical with a romantic rosy glow.
Oscar Hammerstein’s lyrics are set to music by Richard Rodgers and between them they produced wonderfully descriptive songs that take us from an abbey, to the top of a mountain and capture family life in its simplicity. These songs have been sung by enthralled cinema and theatre goers worldwide for the last five decades.
Indeed, I found myself singing whilst working the following morning, tending sheep in a windswept field in South Wales. Perhaps not such a dramatic landscape as mountains of Austria in the summer, but uplifting all the same.
The story of the family is set in Austria in 1938 with WWII on the horizon. Maria is a young novice Nun who is sent by the Mother Abbess to the home of Captain von Trapp to act as governess and care for his seven children.
Without a mother the children crave the attentions of their father who in his grief has distanced himself from the children, their family home and the memories it holds.
The welfare of the children is Maria’s primary concern and she can see how much they need to regain the love of their father. All she wants is to see the children happy again. She teaches them how to sing and bring music back into their lives. Little does she know that the Captain is himself an accomplished musician and singer and when eventually he hears the children singing it breaks the spell of his unhappiness and allows him to rebuild his relationship with his children whilst unwittingly falling in love with their governess.
Lucy O’Byrne gives an outstanding performance as Maria as does Neil McDermott as Captain von Trapp and for me, much more believable that Christopher Plummer ever was, maybe it was the beard.
Megan Llewellyn was a truly realistic Mother Abbess, kind, compassionate, and wow, what a voice!
The nuns were outstanding, their voices breathtaking and the children adorable in every scene. It was easy to imagine their lives being improved by the arrival of a much needed mother figure who would love them and bring their family back to life.
The set design was a triumph. The audience was transported from the Abbey to the Von Trapp residence effortlessly. The sets were vast and visually beautiful providing an atmosphere that extended well beyond the boundary of the stage. The vastness of the scenery and the skillful way in which it was brought to the stage added to the audience being effortlessly transported from place to place. Although the New Theatre is not the size of a West End stage, for the visual effect and the performances, it was for this production.
It would be unjust to single performers out as this was a whole cast production of talented individuals who together made us believe that we were there.
The audience were so engaged with story and the performances that I am certain that I head an audible ‘boo’ for the Nazi Officer!
Although unseen the orchestra gave an awe inspiring performance of musical talent. The balance of instruments and voices were perfect and crated a world of musical pleasure that elevated the entire show to completely fill the auditorium.
It was no surprise at the end of the performance when the audience rose to their feet before the curtain call and gave the entire cast the standing ovation that they so clearly deserved.
This really is a ‘must see’ production. I was only disappointed that it was not like the film shown in the 1960’s when you could remain in your seat and see it all over again.
In this article we look forward to a range of cultural highlights in 2018. Thanks to all of the creative artists involved for their own personal response. Connor Allen, Actor and Playwright
I would have to say that one cultural highlight for 2018 that I cant wait for is Dennis Kelly’s Girls and Boys at The Royal Court directed by Lyndsey Turner. Last year I had the pleasure of watching Hamlet directed by Lyndsey Turner and it was breathtaking. So her vision partnered with Kelly’s writing can only bring great and spectacular things (hopefully!)
One for me closer to home is to see what brilliant work National Theatre Wales bring out for the anniversary of the NHS.
My personal hope for 2018 is to get my play about homelessness I have been writing, funded and performed. that would be a massive personal achievement for me. Meredydd Barker, Playwright
I don’t plan because I like to wonder in the morning what I’ll go and see that night, but as far as theatre in 2018 is concerned, Owen Thomas’ The Wood at The Torch, Lisa Parry’s 2023 at Chapter and Maxine Peake in Beckett’s Happy Days at The Royal Exchange; those three in a very crowded field along with hoping for surprises in Edinburgh come August.
In contemporary art – whatever that means – Ragnar Kjartansson is at the National Museum Cardiff with a new performance piece (co-commissioned with Artes Mundi) called The Sky In The Room. It is a piece which will be played by a revolving roster of organists and sounds beautifully bonkers.
At some point this year I will see The Idles live because they want us to, as they say, “dance and laugh and sing in the face of adversity.” 2018 is going to need them and their beautiful clamour. Rachel Boulton, Artistic Director, Motherlode Theatre
It seems like 2018 is going to be another great year for new theatre in Wales. Having seen a development stage of Cwmni Pluen’s next show, I’m really looking forward to seeing a final production from them this autumn. Pluen has a definitive performance style which I’m always excited to see. They’re also working in collaboration with charities during the development of the piece which I think sets a great precedent for future companies making new work. I also can’t wait to see National Theatre Wales’ Love Letter to the NHS. While the NHS is under siege from; medical companies charging them a fortune for treatment; government cuts; surgery closures; and an all time waiting list high; it’s important more than ever to support and celebrate our National Health Service in face of adversity.
My personal hope for the year is to successfully tour Motherlode’s next production Exodus. The piece was developed in Aberdare with generous support from our long term collaborators and co producers RCT Theatres and will be part of their year long 80th birthday celebrations, which includes lots of new work by exciting artists. Exodus is also supported by Creu Cymru, Bristol Old Vic, Night Out Wales and Chapter, touring to 12 venues across Wales before running in London. Gulp… I just hope we pull it off!” Matthew Bulgo, Actor and Playwright
I’m really looking forward to seeing Louder is Not Always Clearer from Johnny Cotsen in February. I was disappointed to miss the work-in-progress of this as part of Experimentica last year so I’m glad I’ve got a second chance.
Elsewhere, I’m really looking forward to catching The Birthday Party (one of my favourite plays) in the West-end which has a stellar cast including Toby Jones and also The Twilight Zone from American playwright Anne Washburn which is at the Almeida. Later in the year, I’m really looking forward to catching Eyam at Shakespeare’s Globe which has been written by the very talented Matt Hartley and is being directed by Wales’ own Adele Thomas. Gareth Coles, Voluntary Arts Wales Director / Cyfarwyddwr Celfyddydau Gwirfoddol Cymru
Recently I’ve been losing myself in the acoustic EPs of the guitarist Yvette Young who also writes and performs with the band Covet. She will be releasing a piano EP early this year, and having heard some snippets, I can’t wait to hear the whole thing.
On a personal creative note, I’m hoping to develop my drawing this year. I seem to have spent most of 2017 hurriedly sketching, but having developed the habit of drawing daily, it’s time I started working on some longer and more thoughtful pieces. I have also just started playing the piano again after many years’ hiatus, so I’m hoping my rusty playing will become slightly less objectionable by the end of the year. Simon Coates, National Theatre Wales’, Head of Creative Development Jonny Cotsen with Mr and Mrs Clark producing and touring Louder is not Always Clearer, a project I had the pleasure of supporting the development of in its early days with NTW. Festival of the Voice in June for more incredible vocalists and a no-holds-barred look at the power of the voice. As well as our own NHS70 Festival of course, Theatr Genedlaethol Cymru’s Nyrsys by Bethan Marlow marking the 70th anniversary of the NHS.
The Terra Firma Spring Tour by NDCWales including the mesmeric Tundra by Roy Assaf. EXPERIMENTICA Festival at Chapter will back again for another year of live art from all over the UK and further afield in April.
And finally I am hoping to make it along to Abercych to join one of their experimental Twmpaths with Simon Whitehead and his collaborators. Geoff Cripps, Board Member, Theatr na Nog, Creu Cymru and musician with Allan y Fan
The Cultural Events in 2018 that I am already booked into and greatly looking forward to seeing starts on Saturday 6th January with a visit to The Old Vic to see Rhys Ifans as Scrooge in the acclaimed production of “A Christmas Carol.” Just a few days later and we are off to the Bristol Old Vic to rendezvous with Emma Rice’s “The Little Match Girl”.
At the end of January I am delighted and privileged to return to Glasgow as one of the 180 delegates to Showcase Scotland – a very important element within the world’s greatest mid-winter music festival. The five days I will spend here will definitely kick away any lingering vestiges of mid-winter blues! Don’t know yet which artists I will see/hear in total but I am pleased that in the festival’s 25th anniversary year the Showcase Scotland partner is Ireland. Still hoping that one year Wales will create something of lasting value like this event which has had such a powerful impact on the development of Scottish Artists in an international setting.
Later in March I will definitely be re-visiting one of my favourite productions of 2017 – The Old Vic’s “Girl From The North Country” – now transferred to the Noel Coward Theatre in the West End. Go see it if you think Bob Dylan is a genius, go and see it if you don’t know what all the fuss is about and marvel at what Conor McPherson has concocted.
Encouraged by my own top management I am looking forward to seeing two inspirational dance productions at the WMC in April from Birmingham Royal Ballet and May from Sir Mathew Bourne’s New Adventures.
I have yet to pick what to see closer to home in the valleys but am looking forward to visiting RCT Theatres, The Borough Theatre and Blackwood Miner’s Institute on several occasions during the year.
My personal hopes for 2018 include doing my best to ensure that Theatr na nÓg builds on the great achievements of 2017, that Creu Cymru continues to be the essential organisation for the theatres and arts centres of Wales and, on a real personal note, that my band Allan Yn Y Fan have our most successful concert ever in Blackwood Miner’s Institute on 28th March!
I am sure that every other contributor will make their feelings known about “Brexit”, “POTUS”, the “Maybot” etc. etc but I am deliberately trying to keep this light-hearted.
Let’s hope that despite everything the Arts In Wales continue to deliver life-changing experiences, uncover nascent talent, connect more deeply with their communities and audiences. Finally I hope that BBC Wales finally delivers a year-round coverage of the Arts In Wales. Dr Branwen Davies, Playwright
My Cultural highlights for 2018 so far are: Theatr Geneaethol’s Y Tad Pirates of the Carabina’s Relentless Unstoppabble Human Machine at Pontio Bangor January 16th-21st Dirty Protest’s Lightspeed from Pembroke Dock by Mark Williams touring Wales in April and May V&A’s Frida Kahlo Making Herself Up exhibition opening in June 2018.
My personal hope is to be continued to be inspired and surprised by writers and artists pushing boundaries and creating work that moves me and reminds me what it is to be human. Peter Doran, Artistic Director, Torch Theatre Company
On a personal level, I’m really looking forward to directing our next production, The Wood by Owen Thomas; its always exciting to tackle a new piece of writing, one never really knows if it will quite come off as expected or hoped. Giving the success we had with Owen’s last play Grav (shortly to go to New York), we have high hopes but we know that there’s a great deal of hard work in front of us. I’m also working on it with two actors, whom I’ve never directed before (Ifan Huw Dafydd and Gwydion Rhys), so that gives an extra frisson.
Elsewhere, I always look forward to Vamos coming to the Torch; Vamos are a full mask company who do wonderful work, this season they are touring a piece about the war in Afganistan called A Brave Face, one to look out for. I loved Liverpool Everyman’s repertory season last year and I’ll be interested to see if the second season is as successful – A Clockwork Orange sticks out as a highlight for me. NTW are coming to Pembrokeshire with The Tide Whisper – theatre in a boat off the Pembrokeshire Coast; you won’t get a better or more dramatic backdrop, let’s hope they compliment each other.
My personal hopes? That the true value of art and culture is appreciated and not seen as the icing on top of the cake. It’s not a commodity that can take it’s stand in the market place and compete; it has to be nurtured, supported, fed – if not, it will wither away and die. Tom Goddard, Artist and Criw Celf Coordinator
In a time when Netflix is elevated to the role of religion, Shezad Dawood’s Leviathan satisfies our obsession with marathon box set watching, with this ten part film series. First at last year’s Venice Biennale and the series continues now at Mostyn, Llandudno in March.
Cardiff’s James Richards, who represented Wales in Venice last year, will be bringing Music for the Gift back home to Chapter opening at the end of February. Ragnar Kjartansson, Artes Mundi 6 nominee, will return to Wales to present a brand-new performance piece, The Sky in a Room which will feature a series of revolving local organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ.
Chapter’s Experimentica, will roll into town again in April and is always guaranteed to raise a smile and challenge in equal measure with a real range of refreshing voices and ideas from the world of live art. NS Harsha,Artes Mundi 3 winner, will return to Wales at Glynn Vivian in Summer 2018 presenting screening printing, installation, sculpture and drawings. Glynn Vivian will also be opening late once a month offering performance, music, workshops as well as curatorial opportunities for young people. Simon Harris, Playwright and Director of Lucid
It would be a bit matey of me to select 2018 highlights from Wales, so the two things outside of Wales that I’d really like to see are Chris Goode’s staging of Derek Jarman’s Jubilee which has been at the Royal Exchange n Manchester and is going to the Lyric Hammersmith. Because punk’s not dead. The other is Dead Centre’s new production at the Schaubuhne of Shakespeare’s Last Play – partly to see the work and partly to go to Berlin as I’ve never been there and I’d like to go before the world ends.
I’m a little overwhelmed by how far away we are from how I’d like things to be in 2018. There’s so much to do in so many areas, it would be easy to give in and give up. But I’m drawn to some of the determined spirits out there and so my main hope for the sector is that we move to a more productive, more innovative, less hierarchical approach to making work. I would like to see some of the fake differences between Arts Council Wales portfolio and the remaining group of artists and companies done away with. I’d like to see individuals and companies allowed to apply for larger sums and for more extended periods of work, instead of one-off projects. Most of all I’d like to some vision that can lead to the release of the amazing potential of artists in Wales and their work. Oh, and a bit more honest dialogue and a lot less self-referential, self-congratulatory bulls**t. Steffan Jones-Hughes, Director Oriel Davies
There’s so much exciting art to see in 2018!
January sees Nova open at Aberystwyth Arts Centre. An exciting exhibition of young contemporary artists originated by the Royal Cambrian Academy. Look out for inaugural award winner Paul Eastwood, and also Catrin Menai, Rory Duckhouse, and AJ Stockwell. Aberystwyth Arts Centre- 25.1-1.4 2018
February I can’t wait to see The Sky in a Room by Icelandic Artist, Ragnar Kjartansson. The exciting performance will see a series of revolving organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ, and will run from 3 February to 11 March at National Museum Cardiff.
Photographer Mike Perry’s exhibition Land/Sea opens at Mostyn, Llandudno in March and the Ffotogallery tour continues to Aberystwyth Arts Centre.
April: the moment everyone in Wrexham has been waiting for: The opening of Tŷ Pawb, the new galleries and market and cultural centre with Dydd Llun Pawb and the launch of “Is this Planet Earth?” curated by Angela Kingston and touring later in the year to Aberystwyth Arts Centre.
June sees The Oriel Davies Open inviting artists from Wales, UK and internationally through Open Call to show work. I’m on the selection panel along with Jane Simpson (artist & Director Galerie Simpson), Matthew Collings (writer and curator), Sacha Craddack (curator and writer. TBC), and Alex Boyd Jones, Curator OD. Oriel Davies Open 2018 23 June – 5 September.
In July Liverpool Biennial is back for a tenth edition with Beautiful World, where are you? Artists and audiences can reflect on a world of social, political and economic turmoil. Liverpool Biennial 2018 Beautiful world, where are you? 14 July – 28 October
The first week of August is always set aside for Y Lle Celf at The Eisteddfod Genedlaethol Cymru held this year at the Senedd, in Cardiff Bay
September at Oriel Davies Legion Projects (artist-curators Matthew Hughes and Una Hellewould) will explore witchcraft through curation of a group exhibition, inviting a diverse set of contemporary artistic practices to respond to key ideas around witchcraft.
Witchcraft project Oriel Davies 15 September – 7 November
October sees the opening of Artes Mundi 8 at the National Museum in Cardiff
My personal hopes are that 2018 will be a time of unleashing potential, harnessing prosperity and celebrating the power of community within society. Paul Kaynes, Chief Executive Officer, National Dance Company Wales
Firstly the home team: NDCW are about to set off on our long Spring tour taking in all of Wales, the UK, Austria and Germany with works by Resident Choreographer Caroline Finn (in Cardiff you have another chance to see her beautiful, haunting FOLK) and the mesmerising Tundra by Marcos Morau – already an international hit. Later this year watch out for a contemporary dance-opera we’re presenting with Music Theatre Wales in October/November. It’s a beautiful work.
But what else? Artist James Richards’ mysterious work for the Venice Biennale last year is coming to Chapter in February and I’m interested in seeing again his exploration of hidden gay histories. Our former dancer and choreographer, Matteo Marfoglia, makes rich work of personal histories full of emotion and surprise, so I’ll be there for any performances. And I’ve already got my tickets for the RSC’s Cicero plays (Imperium) based on Robert Harris’s wonderful books, for WNO’s Don Giovanni in February and BBC NOW’s concert of work by Messiaen and Debussy in March. I’ll have to travel to London to see Ballet BC’s Emily Molnar new work based on works by Emily Dickinson and Jeanette Winterson: sounds intriguing. There’s a new Kate Atkinson novel coming up (always worth it) and a film adaptation of Sarah Waters’ creepy A Little Stranger. 2018 seems like it’s going to be a great year, at least culturally! Politically, all bets are off. Angharad Lee, Theatre Director, Educator, Facilitator and Lecturer.
Cultural Highlights 2018: 2018 London International Mime Festival. Anything and everything that is shown here. Go go go…..
Personal hopes for 2018:
To finally see every organisation in Wales tackling all barriers to access, rather than relying on one or two organisations. Saying this, we have to upskill those creating the work at grassroots level for this to be achievable, so I hope to see lots of money being ploughed into this.
I hope my production of the musical The Last 5 Years comes to fruition and tours Wales Autumn 2018 as this has access at its heart and supports BSL as a culture.
I look forward to seeing our Opera Bites event expanding a little as well as some exciting developments with our 10 Minute Musicals project come to fruition. We have a sharing of this work at Millennium Centre, February 25th, Blackwood Miners Institute, February 27th and then we are sharing it at Focus Wales 2018 which is hugely exciting for this project and all the artists involved.
There is a piece I started to develop last year with Eddie Ladd based on Rapture by Carol Ann Duffy which we hope to pick up this year. It’s a piece very dear to me therefore I hope we make this work for us. Building in this there may be another exciting collaboration with Eddie in the pipeline. Watch this space. Our work compliments each other wonderfully.
I hope to see more of my daughter this year, drink less rose wine and get back into the gym at more regular intervals. I am also hoping to renovate my kitchen and become a better cook!! I have also vowed to explore the landscape I live within this year and reconnecting with nature a little. Bethan Marlow, Writer
2018 feels like a fresh year. There’s a lot of courage in the air, people are standing up and shouting out, dirty secrets are no longer protected and new manifestos are being drawn. I’m crossing all my fingers that this also means that we’ll see fresh and courageous cultural activity all over Wales in all languages.
Some things are already drawing my attention like Mr and Mrs Clark’s “Louder is Not Always Clearer” with Johnny Cotsen
NTW’s Sisters and Common Wealth’s “Radical Acts”. I’m excited that this year promises a lot of developmental support for creatives both new and established with National Theatre Wales’ “Creative Development” and Theatr Genedlaethol’s “Theatr Gen Creu”. And speaking of change, I’m very excited to visit the Eisteddfod Genedlaethol this year with it’s new experiment of having no boundaries which will hopefully create a welcoming and inclusive environment for all of us living in Wales.
I hope we all, and I’m very much including myself here, have the courage to dig deep and create what we need and want to create this year. Not what we think people will go and see or what we think will tick funding boxes but what our guts are screaming for us to make. David Mercatali, Associate Director, Sherman Theatre
I am hugely excited to be working with the fantastic Welsh writer Katherine Chandler and the next generation of acting talent on the world premiere of Buddy. The play is part of NEW:2018 and is a co-production between RWCMD and Sherman Theatre.My wish for the New Year would be for anyone living in Cardiff who hasn’t been to the theatre yet to give it a go! Michelle McTernan Actor and Playwright
I’m looking forward to so many cultural delights during 2018. It starts with an R&D for my first play “Bruises” which won the Script Slam at Pontardawe Arts Centre. Then my husband Christian Patterson opens at The Donmar Warehouse in “The Way of the World”. So I’ll be off to London where I hope to take in a few more plays. Here, I’m also looking forward to seeing The Wood by Owen Thomas, Nye and Jenny by Meredydd Barker and Dublin Carol by Conor McPherson at Sherman Theatre.
My personal hopes for 2018; In light of the funding threats to my local arts centre at Pontardawe, I hope that the people who make these detrimental decisions recognise the importance of the arts and their effect on our wellbeing. I hope that communities begin to make more use of all local arts centres and that artists and creatives have the freedom and funding to encourage and inspire those that are blind to its relevance in our society today. Sharon Morgan, Actor and Writer
Dwi’n edrych ymlaen i weld Y Tad, cynhyrchiad diweddaraf y Theatr Genedlaethol gan Florian Zeller, cyfieithiad Geraint Lovgreen ( Ar daith 21 Chwef-16 Mawrth) gyda Dyfan Roberts yn y brif rhan. Cychwynnodd Dyfan a minnau’n gyrfaoedd gyda’n gilydd nol yn 1970! Hefyd cynhyrchiad Theatr Pena – Women of Flowers gan Sion Eirian ar ol Saunders Lewis (Ar daith 1 Chwef-9 Mawrth) gyda’r anhygoel Sara Lloyd Gregory fel Blodeuwedd. Dwi am fentro i Pafiliwn Bont ar gyfer ail-gread sinematig a barddonol Mike Pearson a Mike Brookes wrth iddyn nhw gychwyn ar brosiect tair blynedd gyda NTW o dan y teitl The Storm Cycle gyda Nothing Remains The Same(15-17 Chwef), a mae nhw’n addo seddau dan do! A tan gwyllt! Mewn cynhyrchiad amserol am ieithoedd lleiafrifol bydd Theatr Gwalia yn cyflwyno Inheriting The Gods Carmen Stephens am berthynas rhwng bachgen ifainc o lwyth y Wampanoag a Cymraes, a mae’r anhygoel Dirty Protest yn dathlu ei penblwyddd yn ddeg oed gyda drama Mark Williams Lightspeed from Pembroke Dock(Ar daith 4 Ebrill- 5 Fai)
Mae son bod cynhyrchiadau newydd ar y gweill gan Mercury, Neontopia a Triongl, a gobeithio bydd Na’Nog yn atgyfodi Nye and Jennie gan i mi ei fethu yn y Metropole yn Abertileri,a pwy a wyr pa ddanteithion daw i’n diddanu pan ddaw’r Eisteddfod i Gaerdydd ym mis Awst.
O’m rhan fy hun mae gen i brosiectau gyda’r Theatr Genedlaethol, Na’Nog, Theatrau RCT a Canoe a dwi’n gobeithio bydd fy sioe un menyw am Rachel Roberts (Yn Gymraeg) yn digwydd o’r diwedd!
I am looking forward to Theatr Genedlaethol’s latest productionY Tad ( Le Pere) by Florian Zeller trans. Geraint Lovgreen (Touring 21 Feb- 16 March) with Dyfan Roberts as the father. Dyfan and I began our careers together back in 1970! Also Theatr Pena’s production Women of Flowers by Sion Eirian after Saunders Lewis (Touring 1Feb-9 March) with the amazing Sara Lloyd Gregory as Blodeuwedd. I shall venture to Pontrhydfendigaid for a poetic and cinematic recreation by Mike Pearson and Mike Brookes as they embark on a three year project with NTW under the title The Storm Cycle with Nothing Remains The Same (15-17 Feb) and they promise seating- indoors! And fireworks! In a timely production about minority languages Theatr Gwalia presents Inheriting The Gods by Carmen Stephens about a relationship between a young man from the Wampanoag tribe and a young Welsh Woman and is touring Feb 26-March 24. The amazing Dirty Protest celebrate their tenth birthday with Mark Williams’ play Lightspeed from Pembroke Dock (Touring 4 April-5 May).
I hear that Mercury, Neontopia and Triongl are preparing exciting things and I hope Na’Nog will revive Nye and Jennie as I missed it at the Metropole in Abertillery, and who knows what delicacies the Eisteddfod will bring when it comes to Cardiff in August!
I have writing and performing projects with Theatr Genedlaethol, Na’Nog, RCT Theatres and Canoe and I really hope my one woman show about Rachel Roberts (in Welsh) will happen this year!
Catherine Paskell, Independent Theatre Director
I’m looking forward to loads of new original performance work happening in Wales this year, but if I had to pick only two, I would choose: Jordan Brookes Body Of Work at Chapter on 2 June. I saw this show in Edinburgh, and Jordan was nominated for the 2017 Last Minute.Com Edinburgh Comedy Award for best show. That’s what the Perrier Award is now called, so it’s a pretty big deal and this was a pretty awesome show. It was one of the best comedy shows I saw in Edinburgh last year when Dirty Protest was there with Sugar Baby. I love Jordan’s comedy – I first saw him when he was living in Cardiff a few years ago and it was fantastic to see his work get the recognition he deserves. He’s on the performance art-end of comedy (but without being up its arse) and he’s one of my favourite weirdos.
Also, I really cannot wait for Split Britches’ Unexploded Ordances at the Wales Millenium Centre for a week this March. Peggy Shaw is a world renowned artist and I saw her show with Clod Ensemble Must: The Inside Story ten years ago at the Edinburgh Fringe. It made an impact on me then as she transfixed a Victorian anatomy theatre with a raw story full of poetry and heart and pain and medicine and art. It’s a real privilege for us to see artists of this calibre creating original work in Wales and this experience will be a must see, or rather as it’s interactive art: a “must do”. Rachel Pedley Miller, Artistic Director, Avant Cymru
In 2018 Avant Cymru are planning a busy year with Forget Me Not in January and Blue Scar in the summer.
We are working with Rufus Mufasa on her album launch on the 16th of January. Looking forward to working with Rufus and Unity further on Welsh Hip Hop projects.
We are also excited to see Sisters Acting Up at the Riverfront this month and Grav at the Sherman Theatre in February.
We are really excited that NTW have launched their new creative development strands, we also are excited to see ehat the NH70 project has to offer. So much is happening in Wales and we are excited to be a part of it. Bring on 2018! Jac Ifan Moore, Director and Co-Director of Powderhouse
Theatre Dublin Carol – Sherman Theatre
Coming up in a few weeks at the Sherman. Connor McPherson, killer cast and directed by Matthew Xia. Come on, what more d’you want? All But Gone – The Other Room
I’m really excited to see what Dan Jones will do now that he’s at the helm of The Other Room. This will be his first production as AD, and it’s a chance to see how he’s going to put his mark on that ambitious company.
Also…
Literally anything that’s on in London International Mime Festival, 10 Jan – 3 Feb, which for my money os one of the best times of year for theatre (don’t be put off by notions of striped t-shirts and glass boxes). Particularly looking forward to Trygve Wakenshaw’s Different Party.
Book Tribe – Sebastian Junger
Collection of essays that span history, autobiography, anthropology and psychology. What we can learn from tribal societies, what we’ve lost, and why in the modern world we’re still craving companionship and meaning.Film
The Shape of Water – Dir. Guillermo del Toro
Guillermo del Toro’s latest film gets its UK release in February, and I’m looking forward to his particular mix of strangeness. Set to the bleak backdrop of 1960’s Baltimore, it’s apparently a love story between a mute woman and a water god. Yes please.
Lucy Owen, Journalist and writer
I’m looking forward to the Cardiff Kids Literature Festival in April this year. There will be loads of events going on and it’s a great chance to meet authors and illustrators and inspire children to pick up a book.
I am super excited that a book I’ve written for 6 – 8 year olds will be published in September too. It’s called ‘The Sea House’ and I’m really hoping children will love all the characters, particularly my favourite – a brave, sparkly little fish called Fabulous! Marc Rees Creator and curator of installation and performance
You might have seen my crestfallen face captured on the news when it was announced that Swansea didn’t win the UK City of Culture crown for 2021? Perhaps if we’d gone with the abbreviated SUKCOC ( Swansea UK City Of Culture ) it might have been a different story?I really did think that it was Swansea’s time to shine and to quote the city’s very own big haired 80’s pop icon … we could have turned it around . However there are still exciting plans afoot and one that is very close to my heart is still under wraps till the end of January but I want to mention it as it’s certainly something that I’m really looking forward to getting my teeth into in 2018.
Essentially it’s an immersive Requiem that will kickstart the Swansea International Festival 2018 – written by a twice Oscar nominated composer with a libretto by a BAFTA Cymru winning writer, sung by a world renowned choir and with a wrap around narrative led by the formidable force that is Eddie Ladd. Watch this camouflaged space.
Details will be announced on 26.01.18 via https://www.nowthehero.wales Alexandria Riley Actress
For 2018 I’m very much looking forward to hearing more cultural stories being told by people of a diverse background. Great things are happening already but there’s still such a way to go. ‘Fio’ are doing some amazing work right now providing opportunities for BAME actors, writers and directors to showcase work and are providing a great accessible outlet.
I’m involved in TWO amazing plays with full diverse teams this year. One of them which tells a story from voices we don’t often hear from. I am working with phenomenal actors all from diverse backgrounds and I cannot wait! The plays are wonderful and I’m really honoured to be a part of it all! The theatres we are performing in are equally brilliant! Wales is a place of character, diversity and rich culture. So I look forward to us continuing to move forward within the arts and really show what we are made of. Keiron Self, Actor and Playwright
I’m very much looking forward to Light Speed from Pembroke Dock, a family friendly and Star Wars friendly theatre show from Dirty Protest as part of their 10th anniversary. I have been lucky enough to have a few pieces perfomed by them and their stalwart crew and have a soft spot in my heart for all involved. I also saw an Rand D of the show and it touched a nostalgic string in my heart, it being about fathers and sons and a certain sic-fi film – essentially a taste of my youth.
I’m also looking forward to films coming out in February The Shape of Water Guillermo Del Toro’s new fantasy masterpiece about a love affair between a woman and a Black Lagoon-esque creature in Cold War America. I’m a great fan of Del Toro, especially Pan’s Labyrinth, and this ranks right up there next to them. Also in February Lady Bird is a film from Greta Gerwig, a fantastic indie actress making her directorial debut with a well observed coming of age talk between a mother and a daughter starring Saoirse Ronan and Laurie Metcalf.
Looking forward to The Dublin Carol at The Sherman and The Wood from Owen Thomas about Mametz, my play The White Feather also about World War One is being restaged by Theatr na nÓg in the Autumn so I’m obviously and selfishly excited about that too. There are many more things to get excited about of course, here’s hoping 2018 provides an exciting buzzy year for theatre and the arts throughout Wales. Lleucu Siencyn, Chief Executive, Literature Wales
I’m very much looking forward to a bumper year of culture in 2018. Many people interested in the arts in Wales will already be filling up their diaries.
One of the events I’m especially looking forward to is the National Eisteddfod (3-11 August, Cardiff), as it takes place this year right outside my office window in Cardiff Bay. For the first time in decades, the “Maes” (the festival site) will not be held in a field, and visitors will be able to come in and out as they chose, paying for each event individually. The “no-fence” Eisteddfod offers exciting opportunities to try out new activities, appealing to a wide range of audiences and celebrating the best of Welsh culture in all its forms.
For a relatively small country, Wales punches well above its weight in terms of literature festivals. As well as the world-renowned Hay Festival (24 May – 3 June), many more have appeared in recent years, including the excellent Cardiff Children’s Literature Festival (21-29 April) and the Cardiff Book Festival (7-9 September 2018). I’m particularly looking forward to the newest addition to the calendar, the Seren Poetry Festival at the Cornerstone building in Cardiff (16-18 February).
But there’s plenty to do outside the Capital, and throughout the year you’ll find literature festivals in Laugharne (6-8 April), Llandeilo (27-29 April), Wrexham (Carnival of Words 21-28 April), Llansteffan (7-10 June), Caernarfon (Gŵyl Arall – July), Penarth (July), Caerleon (Lit on the Lawn – July), Hawarden (Gladfest – September) and Cardigan (Gŵyl y Cynhaeaf – October) – to name but a few! 2018 also sees the return and 25th anniversary of the Beyond the Border Storytelling Festival.
Pembrokeshire should take the prize for being the most bountiful county, with literature festivals in Solva (The Edge Festival – 2-5 August), Llangwm (10-12 August) and Rhosygilwen (PENfro Book Festival – September). These festivals would not take place without the dedicated efforts of community activists who believe in bringing people together and sharing a love for words. And the success of many depend on their brilliant local independent book shops.
If your dream is to take part in one of these festivals as a featured writer one day, then you should consider booking on one of the courses at Tŷ Newydd Writing Centre: www.tynewydd.wales. The many highlights include a Creative Writing for Welsh Learners course (16-18 March with Bethan Gwanas and Eilir Jones), Songs and Lyric Writing (9-14 April with Willy Russell and Stewart Henderson), Poetry: Writing about Life (20-25 August with Lemn Sissay, Sophie McKeand and Zoë Skoulding) and Writing a Novel (24-28 September with Louise de Bernière and Wales Book of the Year winner Alys Conran). There is something for everyone this year at this very special place.
I’m looking forward to seeing the completion of the epic 50ft mural by artistPete Fowler on the iconic Water Tower at Cardiff Central Station. Inspired by the stories of the Mabinogi, the mural is part of the Weird and Wonderful Wales project by Literature Wales and Cadw. The work began before Christmas, but was suspended because of bad weather. The work will continue soon and remain in place throughout 2018, when visitors from all across the globe will see it when they visit Cardiff for events such as the Volvo Ocean Race as part of Year of the Sea.
The Wales Book of the Year award is set to be another great event this year, with the ceremony scheduled to take place in the summer. Announcements will be made in March – so keep an eye out on Literature Wales’ website for details. In the meantime, I was thrilled to see that last year’s winner Pigeon(Parthian Books) by Alys Conran, is being serialised in the Western Mail. Also, the Roland Mathias Poetry Evening will take place on 23 February at The Muse, Brecon, featuring John Freeman, winner of last year’s Wales Book of the Year Roland Mathias Poetry Award, with Jonathan Edwards chairing the event.
Last year the National Poet of Wales, Ifor ap Glyn, with funding from Welsh Government and support by Cymru’n Cofio Wales Remembers (1914-1918), created and toured a multi-lingual multi-media show on poet Hedd Wyn called Y Gadair Wag/ The Empty Chair, directed by Ian Rowlands. It premiered at Yr Ysgwrn, the poet’s home at Trawsfynydd which recently opened as a visitor’s centre. By popular demand, the hope is to tour more extensively in 2018, taking in locations throughout Wales, as well as the UK and Ireland. 2018 will see the announcement by Literature Wales of a new Young People’s Laureate, as Sophie McKeand’s hugely successful two-year stint comes to an end in spring.
2018 marks 70 years since the creation of the NHS, which was established by the great Welsh politician and orator Aneurin Bevan. It’s worth keeping an eye out for cultural celebrations of this significant milestone, including a series of productions throughout Wales by the two national theatre companies, Theatr Genedlaethol Cymru and National Theatre Wales.
In other art-forms, I’m looking forward to the return of Festival of the Voice to the Wales Millennium Centre (7-17 June), the Urdd Eisteddfod celebration of youth culture at Builth Wells (28 May – 2 June), the Swansea International Festival (October 2018) and the international art prize Artes Mundi at National Museum Wales (from 27 October). National Dance Company Wales’ Terra Firma tour takes place in Spring and will be well worth a look. Last year I very much enjoyed the collaborative concerts between the orchestras of WNO and BBC NOW, and I hope to catch a few this year as well. I can also highly recommend Rungano Nyoni’s debut award-winning film funded by Ffilm Cymru Wales, I Am Not A Witch, which will be out on DVD in February.
Like many others, I was very disappointed that Wales missed out on qualifying for the 2018 FIFA World Cup, having enjoyed myself immensely in France in 2016. However, this year I can kick back, enjoy the games relatively stress-free, and pick a couple of nice countries to support. Come on Iceland! Alastair Sill, Audio Describer for Theatre
I’m really looking forward to watching Owen Thomas’ new play, The Wood by The Torch Theatre. The Wood is inspired by a true story and commemorates the centenary of World War I. Yes, I can’t wait for that one. Another highlight has to be the Festival of Voice between 7th June and 17th June, at locations around Cardiff, created by the Wales Millennium Centre. I really want to try and get down to The Other Room this year because there’s nothing else like it in Cardiff. And anything by Gagglebabble is always fantastic!
Then personally first of all, I hope I have a happy, healthy and fun year with my two boys and girlfriend. Second, I hope York City FC find promotion to the National League, the first step back to the football league. And last, I hope to record lots of funny little anecdotes from my two boys and write a children’s story inspired by their unique craziness! Jennifer Ruth Sturt, Assistant Producer, Wales Millennium Centre
Thinking ahead to what 2018 has in store is at once terrifying and overwhelmingly exciting. This year is set to be full on, but hugely inspiring year for us at the Centre. With the launch of two new seasons of programmed work in the Weston Studio and ffresh alongside the return of our biannual international arts festival, Festival of Voice. This year, we’re creating a number of co-productions with some incredible Welsh artists and companies and I’m really proud to be part of the team helping to make them happen. As Cardiff embraces it’s title of Music City, the in-house Festival of Voice team have created a programme of work that really celebrates voice in all it’s guises and alongside an ambitious Creative Learning programme allows us to explore the positive impact of collective singing and creative expression. With just six months to go, I can’t wait for what this year’s festival has in store.
Personally, I’m looking forward to many more adventures in 2018 with plans to travel to New Zealand and Canada, see my best friend get married and all being well, get back out on the road and finally get a half marathon under my belt- fingers crossed. Geinor Styles, Artistic Director, Theatr na nÓg
My cultural highlights would be anything Theatr na nÓg does – obvs… and also the things I am looking forward to seeing and then probably missing because I’ve double booked myself or completely forgotten they were on…
So if someone can remind me then that would be great…
First up is to see the genius choreographer Matthew Bourne’s Cinderella at Wales Millennium Centre in April, he is without doubt the best storyteller you will see in any medium – IMHO.
The second show for me will be the hugely ambitious adaptation of Patrick Ness’s award-winning children’s novel A Monster Calls which will be brought to life at the Bristol Old Vic (31 May – 16 June) by the incredible talented director Sally Cookson. The film broke my heart, so I cannot wait to see it live on stage.
Then the show I will definitely want to see before it heads off to New York, because I missed it the first couple of times round is Grav, an amazing achievement for a theatre company in far west Wales – The Torch to get it to the stage in New York after sell out shows here in Wales and Edinburgh. Congratulations to the creative team for taking a true Welsh hero and exporting it far and wide.
Even though I hate overhyped shows, I must see Hamilton this year. I think the story is incredible and an important one to hear and see in this strange uncertain time. – even though he did the music to Moana!
The Frida Kahlo is a definite must see at the V&A exhibition in London. If I miss this then Coco by Pixar will surely satisfy my Kahlo obsession (yes, you heard it here first)
There will also be a Suffragette exhibition at Swansea Museum to celebrate 100 years of the Women getting to vote. So much has been accomplished and also so much more work to do.
I also hear that Fleetwood Mac are going to tour this year specially for my birthday, so be rude not to! Adele Thomas, Director
The play I’m most looking forward to in 2018 is John by Annie Baker, in a new production at the National Theatre. Annie is probably our greatest living dramatist. She writes with a delicacy and a humanity that make Checkhov look positively cartoonish. Her plays The Flick and Circle Mirror Transformation are amongst my favourite evenings in the theatre, and James McDonald (who directed Circle Mirror Transformation) is directing John, which makes it doubly exciting. I can’t tell you anything about what the play’s about.
My New Years Resolution is “Avoid the Algorithm”. So much internet noise and being in the industry means that by the time you’ve read the endless marketing and faced the constant stream of twitter criticism you go into the theatre too equipped to watch the play. Imagine being in the first audience for Macbeth or The Cherry Orchard or Blasted or Machinal. You would be entering the auditorium with true openness. As an audience member you might be shocked or bored or moved to tears, but your experience would be an truly honest one, a direct and unadulterated relationship between you and the play. What a gorgeous idea Sami Thorpe, co-founder Elbow Room Theatre Company and BSL Interpreter Sami shares her thoughts in BSL in the video below
There is so much to look forward to in 2018. I cannot wait to see Jonny Cotsen’s ‘Louder is Not Always Clearer’, it’s so important to see diverse stories on the stage and, as someone who has been involved with the Deaf community for a number of years, I’m very excited by it. I’m also looking forward to the drag acts coming to Cardiff this year, especially Klub Kids’ ‘The Twisted Circus’, which I shall be fangirling all over!
My personal hope for 2018 is that as an industry we work together to continue to diversify our audiences, sharing ideas and good practice is key. Be brave, take risks, learn and grow. Rachel Trezise, Novelist and Playwright
I’m really looking forward to seeing Dublin Carol at the Sherman studio in early February and also The Laugharne Weekend in early April and obviously I’m very excited about the new Manics’ album, Resistance is Futile, due in April. I’m one of the judges for the International Dylan Thomas Prize this year so I’m looking forward to reading lots of new fiction.
More personally I hope to make some good progress on the house I’ve been trying to build for almost two years so that I get a functional writing space back by the end of the year! Tom Wentworth, Playwright
2018 looks set to be an exciting year. Currently I’m looking forward to two exciting pieces in Wales. Jonny Cotsen’s Louder Is Not Always Clearer – I went to an early sharing and so it will be fascinating to see how it has developed. Also Kaite O’Reilly, Sara Beer and Philip Zarrilli’s collaboration richard III redux [or] ‘Sara Beer [is/not] richard III’ – it sounds as though it will be the most amazing piece performed by one of Wales’ finest actors. Further afield I can’t wait for Simon Longman’s Gundog at the Royal Court. Simon was my mentor and has become a friend so it’s especially exciting to see his work on a big stage.
Personally, I’m looking forward to my new version of Burke and Hare being performed at Newbury’s Watermill Theatre before heading off around Berkshire on tour during April/May; plus I have a short reading at The Bush Theatre in London in March as the culmination of a year on their Emerging Writers’ Group plus who knows? (I’d also like some sleep in 2018 too!) Nickie Miles-Wildin, RTYDS, Resident Assistant Director, Manchester Royal Exchange Theatre
I’m sat at my desk at The Royal Exchange Theatre and there’s so much that I’m looking forward to this year. Being Resident Assistant Director in this amazing building is opening up many great opportunities for me. My highlights are Frankenstein directed by Matthew Xia. 200 years after its publication in January 2018 Matthew is directing a new version by April De Angelis – a writer whose work I enjoy. (Playhouse Creatures is brilliant) Being assistant director on this show I am already in the depths of research and know that the cast is going to truly bring the story to life on our stage.
I’m also looking forward to working with the Young Company up here on their production of Mix Tape. Working closely with Matt Hassall – Programme Leader for the Young Company and composer James Frewer, Manchester will be given its own mix tape.
In the summer I can’t wait to be my alter ego Beryl as I tour a handful of festivals with Bingo Lingo alongside my co-star Daryl and his alter ego Cyril. It’s Bingo on a Paralympic Scale. The Without Walls festivals are an absolute joy to be at and to discover new work.
For me 2018 will be one of exciting creative work indoors at the theatre and a summer of amazing interactive playful outdoor work.
And Deaf actor Nadia Nadarajah being part of the new ensemble company at the Globe. Hopefully we’ll see more Deaf and Disabled creatives leading the way. Matthew Xia, Director
I’m really looking forward to making some work across England and Wales this year. I’m starting with Dublin Carol – the Conor McPherson play about an alcoholic Undertaker being confronted with the life he has lived, and the others he has broken. It’s playing at Sherman Theatre in Cardiff from the 5th of February for two weeks. I then head up to the Manchester Royal Exchange to make a brand new Frankenstein adapted for the stage by April de’Angelis before directing the premier of the Alfred Fagon Award winning play Shebeen by Nottingham writer Mufaro Makubika. The show, starring Karl Collins will be presented at the Nottingham Playhouse and Theatre Royal Stratford East in June.
As far as things on my radar this year I’m of course hoping to catch Hamilton at some point – although not at those prices. I’m hugely excited to see what seasons of work are presented by the new Artistic Directors including Kwame Kwei-Amah at the Young Vic , Nadia Fall at Stratford East and Justin Audibert at the Unicorn. I’m very excited to see Maxine Peak play Winnie in Happy Days directed by one of my favourite directors and humans, Sarah Frankcom at the Manchester Royal Exchange. I’m also thrilled that Roy Alexander Weise is presenting work at the National with Nine Nights. Other theatres worth keeping an eye on include The Yard and The Bush.
My hopes for the year are simple – let’s try not to destroy the planet, let’s remain kind.
For some of us this seems like an easy goal.
Firstly, let’s get this straight. Yes, I love pop music, yes, I love Take That (seen them live 4 times), but no, this won’t be a biased piece.
So when the it came about that the BBC did the show “Let it Shine” to discover the next big boy band for a musical I was curious to see what or how it would all turn out. The band that was created, in probably not too dissimilar a way to Take That (without Saturday night telly) was Five to Five. At the start, people weren’t too sure how this musical would pan out – would it be the story of Take That – or something like Never Forget the other Take That musical – which by the way, premiered at Wales Millennium Centre in 2007!
Actually, it was neither – It’s Manchester in 1992 and its based around five 16-year-old girls for who ‘the band’ is everything. They then reunite 25 years later, and you see how life has taken each girl down a different road.
Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, it’s story is nostalgic and funny. You can’t call it a Jukebox Musical like so many of its type before. It has the same feel as Mamma Mia – the songs you’ll know, but the arrangements can be quite different. The nostalgia you feel could easily equate to how your own life has panned out in the last twenty-eight years. There’s a warmth to each character, and something familiar that feels real.
Production wise it’s brilliant. From the Ceefax screen at the start (How many bands did you get in the word search?), to the aircraft taking off, there’s something new you may never have seen in a touring production before – so much so, there was a technical hitch during the performance that delayed things by about 10 minutes. In all the times, I’ve been theatre going I’ve only seen this happen once before, and it’s a bit of a pain, but sometimes technology is a bugger – and as they say, the show must go on – which it did!
As “The Band”, Five to Five’s performances were good especially the harmonies. They maybe a band created for this production, but afterwards, who knows what the future holds.
Going back to what I said about the warmth in each character, each performance was flawless for both the old versions and young counterparts of each character – just might be possible though for Andy Williams as Dave to have stolen the show with his little moments at several points, and Rachel Lumberg’s performance as Rachel – there was something quite special about that too.
Now, if you do go and see this, which I will heartily recommend, don’t expect what we had at the encore – an actual Take That performance. Mark, Jason and Gary all on stage performing Hold up a Light (one of my favourite TT tunes!) together with the entire company. It made the first night in Cardiff that extra bit special.
Now I could be a little bit cheesy and include some Take That song titles in recommending this musical, but you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world. Did I love “The Band Musical”? Sure! Catch it at Wales Millennium Centre till January 20th 2018 – after which it’s UK Tour continues.
REVIEW: @ImPatrickDownes
Having never been a fan of Take That, or indeed boy bands in general, I was a little apprehensive as to what lay in store when entering the Wales Millennium Centre for the opening night of ‘The Band’.
The night was memorable and the performance totally unmissable!
For the first time in Cardiff, this wonderful new musical by Tim Firth hit all the right notes and pushed more emotional buttons than the audience could possibly have prepared themselves for.
A delightful mix of dialogue and song, the story follows teenage friends, Rachel, Heather, Debbie, Claire and Zoe, as they share their love of music and the same boy band.
The girls are full of life, funny with a deep friendship that binds them together. They share their inner most thoughts and aspirations. Rachel declaring that she wants to marry all the members of the band and Debbie agreeing to be her bridesmaid.
Debbie wins tickets to a concert in Manchester and the girls set off on their big adventure seeing the band, missing the last train home and having to make it part way home on the bus.
This musical is a coming of age story that every teenager has experienced even if musical tastes do change you never forget your teenage loves.
The two greatest sensory markers in our lives are music and smell, they have the ability to transport us instantly to another time and place whilst bringing to the forefront our greatest and most precious memories.
Move on 25 years and Rachel has moved away and the girls have all lost touch. Then Rachel wins a radio competition for tickets to see the band at a concert in Prague and the only thing on her mind is getting the girls back together.
Having made contact the girls (now 41yrs old) meet at the airport and fly out togther on another adventure. Their experiences and revelations in Prague serve to cement their friendship and to change their lives again.
The soundtrack of the girls lives are the songs of Take That, they punctuate the story in a way that gives it depth and meaning.
Five to Five, the boy band chosen through the talent show ‘Let it Shine’ gave an inspiring performance by almost being in the background. There is no doubt of their musical talent and the vocals were seamless and outstanding.
All credit goes to the Creative Team, too numerous to mention individually, who staged and produced this remarkable new musical, one that I am sure will endure for many years to come.
The stage craft of every cast member drew us ever closer to the action. We laughed, we cheered, we shouted, we sang, and some of us even cried.
At the end of the performance the entire auditorium was on their feet, waving lit mobile phones and generally going wild. I can honestly say that this was an experience like no other and despite myself, like everyone around me I just wanted more.
THE BAND plays at Wales Millennium Centre;
Tuesday 9 until Saturday 20 January
For further details about the show visit www.wmc.org.uk or to book tickets call the Box Office on 02920636464
Hi Angharad and Beatbox Tangent great to meet you both , can you give our readers some background information on yourselves please?
Angharad: Hi I am a theatre director, educator, facilitator and lecturer. I studied and worked as a performer before turning my hand to directing. I have worked for many organisations throughout Wales, but am now a freelance director and Artistic Director of Leeway Productions. I am also a mam and the proud owner of cuddles the cat. I love Women’s rugby and until I broke my ankle a few months ago was scrum half for Merched Clwb Rygbi Cymru Caerdydd.
Hi I am Beatbox Tangent I am a beatboxer from the UK, I currently live in Cardiff but I have performed gigs; workshops and collaborations all around Wales. My love of art and music inspires me to create compositions that take vocal percussion to extraordinary heights.
https://youtu.be/DX8W4e1aV-I So what got you interested in performance and the arts?
Angharad : I have always been actively involved in the performing arts since the age of 10. I guess my Welsh language education was quite enabling as I was steeped in the traditions of the Eisteddfod and therefore had plenty of opportunities to perform so to speak. It was a toss up between sport and the arts though as I was a nifty rugby and hockey player, but am glad I choose this path.
Angharad in Hen Rebel Theatr Genedlaethol Cymru
Angharad, Beatbox Tangent has recently been involved in your 10 Minute Musicals initiative, can you please tell us more about this innovative project?
Angharad: 10 Minute Musicals is an innovative development programme to support musical theatre professional in Wales, with a particular focus on the writers and composers. Organised and delivered by Leeway Productions the development project 10 Minute Musicals is held three times a year at The Other Room in Cardiff and is also rolled out across the Regions as a part of our ‘Best of’ project.
We aspire to encourage and nurture new and existing creatives to write for musical theatre in Wales.International collaborations between artists is of huge importance to us. Over the next few months, we will be calling out to some more creatives who are keen to try their hand at writing a musical, and also, more established artists who may want to up skill and network with new creatives and artists. Creative participants can include composers, playwrights, librettists, poets, musician and lyricists.
10 Minute Musicals includes networking, development of current practice and examining and providing the support artists need when evolving, progressing and advancing their writing skills for this genre.
We encourage a continued conversation with creatives and believe that this creative development project is a great springboard towards casting a new light on how you usually work. Leeway Productions provide mentorship support throughout the process, and support artists as they find their way through what could seem like a daunting task. There is a sharing of your work at The Other Room as a culmination to the process and the participants’ hard work. Thanks Angharad, as you mentioned 10 Minute Musicals has supported artists who wouldn’t think of writing for the musical theatre genre. Beatbox Tangent as you have mentioned you are a primarily a beat boxer do you think you have developed new skills through the process of being involved in 10 Minute Musicals? Beatbox Tangent: I think I have to be honest. Collaboration is always an integral part of pushing your practice, so doing different activities and working creatively, especially with my partner on the project Rufus Mufasa has really pushed me as an artist and I’ve explored different avenues of creativity. Also, to break down those conventional barriers and really explore something new and using the Welsh language to do that has really opened my mind up to possibilities of language and music. Musical Theatre as a form is rapidly developing and embracing new forms and styles. Musicals such as ‘In the Heights,’‘Hamilton’ and companies like ’20 Stories High’ are utilising a range of urban art forms in their work. Do you think this can bring new audiences to theatres which might be thought of as predominately white, middle classes cultural spaces?
Angharad: I don’t think we should burden artists with thinking about their audiences when we create work. I think that by activating all forms of culture to write for musical theatre, what willl happen is that the stories they want to tell will resonate with their communities, thus giving context and relevance to the work we create in Wales. We have a terrible habit in Wales of lifting existing models that work outside of our own communities and Country and imposing them onto our own landscapes. What this creates in a standardised approach to the arts. I am not personally interested in building mini London’s and mini England’s within our artistic infrastructure in Wales. We have a terrible obsession with critics outside of Wales, and 5 star reviews, but what about our audiences who are still terribly disenfranchised. So I guess the short answer to your question is, start with a story an artists wants to tell. Throw out all the pre existing models and build our own.
Beatbox Tangent: As an urban artist, I would say yes because the boundaries of Beat Boxing and vocal percussion are being pushed every day. Beatboxing has a very theatrical element to it. We have some great performers now, the likes of ‘Berry Wam’ from France who do all these covers of great commercial songs but some of them are classically trained, and you could easily take your whole family to see one of their shows. So yes, I believe it can pull new audiences in and ‘waw’ them. Beat Boxing is basically vocal percussion and what is musical theatre? It’s using the voice.
Get the Chance works to support a diverse range of members of the public to access cultural provision. Access for diverse citizens is a key priority for a range of arts funders and organisations Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists/creatives?
Beatbox Tangent: We are living in a very interesting time. We are living in a time where, how I like to describe it is a half light environment. We are living in the dark as well as the light when it comes to diversity and equality. We realise it’s important and relating this with music, and Welsh Culture, well…. actually, I believe the Earth is but one country and mankind is a citizen, so I believe I am a World citizen and although I have a nationality I belong to this earth. I think when it comes to arts and music it’s so important that you have that diversity. It’s like a man and a woman are two wings of the same bird and creativity doesn’t rise within one sex or culture. It’s a gift and as long as we have projects that bring different people together from every background I think we can create something so very beautiful and really expand Welsh Culture because we have so much to give.
Angharad: There are many, as there are barriers to a whole host of other provisions in Wales. I am currently working with D/deaf artists developing a musical and the infrastructure to support this kind of work is still very ambiguous and fragile. We have to work with artists who are deemed to have ‘protected characteristics’ (I hate buzz words by the way), in order to reach those diverse members of the public we seem to be forgetting about constantly. If the artists themselves are not represented then why would the audiences come and watch a story which is not relevant to them? Artists need more spaces at the heart of this cultural provision, within communities, to create work in order to reach out to a much more diverse audience. We are still so reliant on venues, and I believe this is a barrier in itself. There is such a drive for ‘excellence’ in the arts at the moment. Well, ‘rising tides raise all ships’ and I don’t know that giving so much focus to our venues helps with this little quote. I am such a believer in this quote and I am very concerned that the divide in this ever confusing world is growing and growing. The arts have a role to play here, because it is through storytelling we find truths and remind ourselves what humanity should look like. There are a range of organisations supporting Welsh and Wales based artists and creatives, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
Angharad ; This is a tough one to answer as it’s such a complex time for funding in particular in Wales.The word ‘career’ in the arts is a dangerous one, because unless you work within an organisation, I don’t know that there is such a thing. Is there? I know of established artists who are still only earning about £13k a year, having worked for years and years. I’m not sure how this is sustainable to be honest, especially when kids come along, so then you get a fall out, and once again it’s all about ’emerging artists’ because all the established artists have had to take other jobs in order to survive, a vicious circle. So at a time when artists are ready to create outstanding work, they just can’t afford to do it. I have no answer, but this is a reality. I think venues have a duty of care towards artists, and Welsh artists, because they are the lifeblood. Jut to add to this also, because funding has become so fragile we don’t seem to be taking risks on those artists who create work that splits audiences right down the middle. That explores the extremes. I would much rather hate or love a piece of work rather than just sit through another piece which panders to the status quo.
Beatbox Tangent: I would like the help to be more visible. More transparent. At the moment, it’s hard to find those organisations. But it’s a learning curve. There are so many schemes at the moment, especially within education, and it’s great for me as a looper, beatboxer to have those opportunities to share my practice within schools, I just wish I could find the opportunities much easier. If you were able to fund an area of the arts in Wales what would this be and why?
Angharad: I would give 10-20 freelance artists a paid yearly salary and give them the flexibility and trust to self regulate the work they do within certain communities in Wales. Simple. No box ticking. I believe this could foster sincere change at grass roots and community level, because they would not be working towards prescribed objectives and would be able to shape shift and respond accordingly to what is in front of them. Artists like to make, I would give them absolute freedom to do just this.
I would also de-centralise our monster cultural epicentre in Cardiff, which consists of the Wales Millenium Centre, The Senedd, BBC Orchestra, Wales National Opera it goes on and on. What’s that all about? Lol. It feels like a case of ‘ all the great and good may reside here’, and I don’t believe that is healthy at all.
Beatbox Tangent: There are more and more different types of creative art forms all making a contribution to Welsh culture and society. This will only increase through social media. I always feel in Wales though that people are not empowered and empowerment is necessary for them to feel confident about their practice. More funding is needed from different organisations to help creative practioners, empower other creative practioners. Thats why the Creative Practioner training is vital as you are linking up with other artists. It gives different artists the change to make connections. I am a beat boxer I might meet a skate boarder how can we work together to create something awesome? The Welsh Government really needs to understand that no matter what happens in our economy if its Brexit or something else, I don’t want to get political but the arts need to be at the forefront of everything in our society, money can be stretched, I believe everything that we have in our society is because of the creative arts. What excites you about the arts in Wales?
Angharad: We are in a privileged position that we can foster relationships and networks which can be cohesive because we are such a small Country. Artists excite me. I have been working as a Creative Agent for Arts Council Wales for three years now and the artists I have come across are breathtakingly beautiful. There are art forms I had never even heard of and a generation who are creating and nurturing new and innovative art forms for themselves. I love this. What was the last really great thing that you experienced that you would like to share with our readers?
Beat Box Tangent : The UK Beatbox Championships were incredible! Foe me personally getting the chance to work with Angharad on the 10 Minute Musical performances have been amazing. I am interested in pushing the boundaries in Beatboxing in Wales.
https://youtu.be/05SfjYBM46s
Angharad: I took my 10 year old daughter to see Slava’s Snow Storm at the WMC. A poetic, visual piece of brilliance when it comes to story telling. My daughter turned to me 10 minutes in and said ‘Mam, there are no words’. I explained that communication is not about words. It is about a visceral tempo rhythm one finds within the piece they watch. That communication begins with a buy in to a moment. She was confused. She kept watching. She came out and she cried. I asked her what was wrong. She said, ‘I don’t know. I just feel really sad’. That’s my kind of theatre. It hit her in a space and place she could not articulate.
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
, it’s been translated into 41 different languages, plus Walt Disney wanted to produce a cartoon based on the Snow Queen for over 70 years. These are just some facts behind the highest grossing animated film of all time, which has now become a musical in its own right.
So whilst in NYC for a few days myself and my girlfriend went to see Waitress at the Brooks Atkinson Theatre. The main reason for this being the theatre was 50 metres away from our hotel (honesty being the best policy I believe). That aside, it also had an extra bonus in that Sara Bareilles – the composer & lyricist was appearing as Jenna.
(5 / 5)
