Uncle Vanya was first published in 1897 and had its premiere in Moscow in 1899, performed by the Moscow Art Theatre under the direction of Konstantin Stanislavski.
The play focuses on the visit of an elderly professor and his young wife Elena to the rural estate which supports their city dwelling lifestyle. Two friends, Vanya-the brother of the professor’s late first wife and the controller of the estate and Astrov-the local doctor, both end up falling for the charms of Elena. Sonya, the professor’s daughter by his first wife, is hopelessly in love with the doctor but her feelings are unmatched. Tempers flare and drama ensues as the professor announces his plans to sell the estate allowing Vanya to spiral into a madness offering tormented bawling and even a gunfight!
This new production written by Peter Gill and directed by Tamara Harvey of Chekhov’s doom-tinged comedy is set in the round, allowing for the feeling of immersion as an audience member, particularly during each characters’ soliloquy. We feel we are let in on the action, surrounding the players; close emotionally as well as physically. Each scene cleverly switches from outside to in and we are treated to some glorious pieces of silent acting as the characters themselves subtly manoeuvre the set to allow transitions (for example we hear claps of thunder and rainfall and a handful of actors swiftly grab chairs and rugs to ‘save them from getting wet’). The design of the piece, in this way, is very simple and yet we could look so much further into its meaning. Throughout the entire production there is an overhanging tree which could have been placed simply to remind us where we are. Could it, on the other hand, be symbolic of the overhanging, inevitable destruction in the piece?
The destruction of man and oneself is reflected in the frequent discussions of the desolation of the Earth’s forests. We cannot fail to spot the implications that humankind may not be KIND at all and that the dissatisfaction in our lives comes not only from ones own failings but from the failings of others to encourage success and happiness. We see love in all forms; love for family (as much as we may often speak ill of them or even wish then ill!), the love of nature, love of home, romantic love and even love unrequited but it appears that love brings with it sadness, frustration, sorrow and even utter despair!
Despite this, the play provides many moments of humour-mainly gleaned from the excellent characterisation of the title character by Jamie Ballard who portrays Vanya with just the right amount of comedy and tragic poise. This production has been cast superbly but special mention must also go to Rosie Sheehy as Sonya who plays the innocence and the pain of unreturned love beautifully, to Shanaya Rafaat as Elena who we are able to empathise with despite her somewhat ignorant demeanour and Oliver Dimsdale as Astrov who is both physically and mentally handsome-the stage often brought to life with each appearance.
This production of Uncle Vanya allows the stunning properties of Chekhov’s text to be fully appreciated as part of an up to date design. Despite it keeping its original 1890s setting we are able to relate the themes of the piece to our modern lives.
Category Archives: Theatre
Review This Evil Thing, Sherman Theatre by Roger Barrington
(4 / 5)
This didactic play tackles the controversial subject of conscientious objectors during World War One.
Conscientious objectors, or CO’s as the play’s devisor Michael Mears refer to them are those people who for various reasons refuse to fight or even engage in any activity that contributes to the promotion of warfare. These reasons may be religious, political or idealistic or a combination of more than one of these factors.
The most prominent character portrayed in the play is a man named Bert Brocklesby who was born and brought up near Doncaster as a Methodist but who had also interests in the Quaker and Baptist church movements. In fact, he eventually became a Quaker who are the religious group mostly closely associated with Conscientious objecting.
It is not the first recent play that focusses upon the CO’s during WW1. Both of these play examine CO’s within a regional basis, in contrast to “This Evil Thing” that examines a national set of affairs. In “Devils on Horseback”, a 2017 production by Goldsmith College, the trials of CO’s in Deptford are shown, based upon research of historians at the College. “England Arise” by Bent Architect portrays the activities of CO’s in Huddersfield. In fact, Yorkshire was a hotbed of co activity during WW1. This play has been criticised as feeling a little overlong, albeit the running time at 75 minutes is the same as the play under review here.
Positioning myself at the end of a crescent shaped set of rows at the Sherman Studio Theatre, I was easily able to notice my fellow audience member’s level of attention, for a play that demands it, and I am impressed by how riveted they were, which is testament to the engaging nature of this play. Mr Mears, at the end of the performance complimented the audience on their level of attention.
Michael Mears is a well-known and award-winning figure on the Fringe Theatre circuit for largely his one-man plays which he both writes and acts in. “Soup” another one-man play has won the Scotsman Fringe Award” which examines homelessness.
“This Evil Thing” was first performed at the Edinburgh Festival in 2016, and was well received.
“A thorough and at times gripping account of an important subject.”
4 out of 5 stars – The Scotsman
“Mears is an animated and engaging presence throughout, his faithful delivery of others’ words accommodating many a naturalistic flourish. Entertaining as his show may be, his gratitude and outrage remain very much to the fore. This is important, vital polemic.”
4 Stars out of 4 Fest (Edinburgh Festival magazine)
In an interview for the Stratford-upon Avon Herald in January this year, Mr. Meyers was asked the question how he would describe this play.
He replied, “It’s the compelling and rather shocking, and also inspiring, story of the First World War conscientious objectors (CO’s) in Britain, which has rarely been told or even talked about. In this period of commemoration of the war there’s a lot of focus on the battles, but I knew there would be plenty of material on that and wanted to write about something else. My grandfather fought in the First World War and my father in the Second but I don’t seemed to have inherited the genes, I’m a pacifist — so it seemed appropriate to focus on that. The full interview can be found here.
I would entirely agree with this.
Image Simon Richardson
The design of the production is sparse in the extreme. Nine wooden boxes of different sizes, a wooden post and a bag amount to the set’s design. This minimalist approach works well, as due to the play’s physical nature, it allows Mr. Meyers to energetically move around the set. The boxes are used very creatively. For instance, they transform into a lectern, stretcher, bed, window, bench, representations of human figures in a military tribunal, coffin and even simulating gunfire by their sudden collapsing.
Image Simon Richardson
The play opens with a very effective use of lighting depicting a CO who was being punished by having to stand upon a box for hours upon end in a pit which has water lying at the bottom. The box protecting the prisoner from having to stand in the water. The only lighting on a totally dark stage coming from directly above. The play ends with the same scene. This very symbolic use of darkness and light can be interpreted in different ways which are not difficult to work out.
Over the course of the play’s seventy-five minutes, Mr. Meyers plays over fifty characters. An impressive feat, and I wonder whether the performer ever lapses into using the wrong voice, e.g, whilst playing a sergeant-major he slips into using a plummy public accent typical of a British army officer. His use of so many diverse voices and accents is one of the highlights of the play, as this compilation of scenes taken from the play illustrates.
The sentiment of the play is totally one-sided. Mr. Meyers is a committed pacifist and in a way, the play suffers from this one-dimensional view.
This is clearly depicted in the promotional flyer and poster.
The eponymous poster of Lord Kitchener pointing his figure towards all men able to fight, “Britons Wants You”, is mutilated by the red-cross, (symbolising blood), which intersect over the mouth, thereby gagging the message.
In a post-performance forum, I asked whether Mr. Meyers accepted that being a CO was essentially a selfish act. Naturally, he disagreed and the discussion was somewhat diverted into a matter of courage rather than the question I posed. My reason for implying this statement is that the CO’s were buoyed by their own strength of conviction, whereas his family were usually ostracised for his refusal to fight, with an inevitable implication of cowardice being the motivating factor. Contrast this to Junior Officers who suffered the highest casualty levels in WW1 over the men they led and their senior officers who were often protected well being the Front Line. Posing the question why these officers were prepared to die with almost an submissive inevitably, I suggested that largely it was due to protecting the family honour, thereby sacrificing themselves to protect the humiliation of cowardice from their loved ones.
Also, a scene where Bert Brocklesby refuses to peel potatoes because he was helping to prepare a meal for officers and men, on the basis that he would not help in any way the progress of war, I found to be trivial. However, I would concede that Mr Mears is only portraying the facts of a real life character, and others such as the eminent philosopher and later CND co-founder Bertrand Russell and Prime Minister H. H. Asquith also feature.
Mr. Mears is an engaging figure, both on and off stage. He is clearly fired up by the message he is bringing and totally committed to it. An interesting character in his own right, he is an active long-distance walker, which would aid his fitness level essential to his own brand of physical theatre.
This message is a worthy one. As to its relevance today is another matter. I cannot foresee, due to the technical advance of weaponry, a situation where conscription will ever be re-introduced. In today’s world, blessed by 75 years of involvement in international conflict on a national level, our attitudes towards CO’s has softened. The play reminds us that these men possessed a different type of bravery in swimming against the tide, and should be remembered with compassion and understanding for doing that.
On the performance I attended, the 100 seater theatre was just over half full. This is a sad reflection on the demands of theatregoers today. Many, it seems, see the role of theatre to be solely based upon entertainment factors, thereby omitting an essential aspect of theatre which should be to educate. The concentration ability in today’s world would appear to have been irreversibly damaged through instant revelation provided through technology. I compare it to 20-20 cricket as compared to a test match. Although, I will happily concede that there is a place for both, I fear that the relentless march of entertainment musicals, (whilst acknowledging their financial input often sponsors drama), may mean such important plays such as “This Evil Thing” will become a rarity.
Sherman Theatre is the opening venue of a two month tour which returns to Wales on :-
11th November 2017 Galeri Theatre, Caernarfon
24th November 2017 Aberystwyth Arts Centre
Full dates can be found here
“This Evil Thing” performed and revised by Michael Mears.
Directed by Rosamunde Hutt
Performed at Sherman Studio Theatre Cardiff 25th and 26th September 2017
Review, Uncle Vanya, Theatr Clwyd by Gareth Williams
(4 / 5)
Prepare yourself for an immersive experience in the Emlyn Williams Theatre as Uncle Vanya kicks off Theatr Clwyd’s Autumn season. Having experienced the wonderful space known as the Roundabout Theatre earlier in the summer, it was a pleasant surprise to walk into something very similar here. However, whereas the Roundabout relied simply on the cast and audience imagination, the design wizards at Theatr Clwyd, led by Lucy Osbourne, have produced some spectacular scenery, enhancing the audience experience further. Walking in through the entrance, it is like Alice Through the Looking Glass. You are stepping into another world, almost literally, as you make your way across the fairly detailed set to your seat, a magnificent tree branch overarching through the roof above. It really is something to behold. The atmosphere before curtain up only added to the anticipation. There was a certain buzz around the place. Like never before have I known this place to feel so alive.
I believe that director Tamara Harvey has made a very inspired decision in performing Uncle Vanya ‘in the round’. Throughout the play, the close proximity to the audience of the actors made for an intensity of drama and emotion that would not have been so keenly felt in a proscenium. It was, in some ways, a unique experience to witness the faces of these characters so closely and to see their emotions clearly. Even now, a day later, as I am writing this, I can’t believe that my memory is able to evoke Oliver Dinsdale (Astrov) in such detailed fashion. Was he really that close to me? Yes, and what a difference that familiarity makes, not only in the moment but in the recollection too.
It truly is an evocative experience. Being ‘in the round’ helps enormously to achieve this, but it is also enhanced in a number of ways. Firstly, the costumes are of such fine and exquisite detail, perfectly suited to the period in which Vanya is set. The props only compliment this further, to the extent that it often feels like you are watching through a lens, filming, with your own eyes, a television drama. The most beautiful piece on display is the map that Astrov (Dinsdale) rolls out across the dining room table. Its colours are so striking, so meticulously drawn, the sense of realism is startling. Osbourne and her team deserve a standing ovation for their work, never mind a round of applause.
This magnificent set would be nothing though without a group of actors to bring it to life. Leading the cast is Jamie Ballard as the depressed and downtrodden, yet very humorous, Vanya. Ballard injects much regret into his character that teases itself out in playful pessimism and childish boredom. It is so easy to fall for him as a character. His well-thought out arguments, witticisms and acute personal observations make him a very likable person. Ballard reminds me very much of Tom Hollander in the way that he fully embodies his character. He is not just playing Vanya here. He is Vanya. Whereas some productions would struggle to fill the void left by such a fine performance onstage, there is no danger of that here. When Ballard is absent, it is not particularly noticeable. This is testament not only to the quality of Peter Gill’s script, but to the supporting cast as well. In particular, I would like to pick out Rosie Sheehy whose performance, as Sonja, was achingly beautiful. You could not only see the unhappiness etched on her face, it was possible to feel it too such was the intensity of her presentation. To communicate so affectingly reveals the strength of her acting skill. She was simply superb.
Uncle Vanya has certainly left its mark on me. It is an experience that will stay with me for a while yet, I’m sure. It shows that this production is an affecting piece of theatre, and its immersive set and talented cast only serve to make it so. Tamara Harvey has delivered on many levels, taking Anton Chekhov’s original work and producing something fresh that does not feel over a century old. She has also helped cement ‘in the round’ as my preferred style for performance theatre. Uncle Vanya is definitely worth checking out.
https://www.theatrclwyd.com/en/whats-on/uncle-vanya/
Review We’re Still Here, National Theatre Wales by Kevin Johnson
Over a year ago Port Talbot steelworks were put up for sale by Indian owners Tata Steel, threatening not only thousands of jobs but the future of the town itself. What followed was a campaign to save the last part of heavy industry in South Wales by people from all walks of life.
Rachel Trezise
This story has now been turned into a play by Rachel Trezise, in collaboration with the National Theatre Wales and Common Wealth Theatre Company. Set in an old factory that was once part of the steelworks, this is promenade-style theatre, where you ‘wander through’ the play and it happens around you. There are seats if you need them, and good disabled access, but at around 80 minutes, the play is brief enough to endure, yet long enough to shock.
Sam Coombes (Lewis)
With a core cast of five including real-life steelworker Sam Coombes as Lewis, this is both spacious and intimate. The cavernous building is juxtaposed with the intimacy of the workers, who tell their stories, and confide their fears, amidst the jovial banter. Also roaming among the audience are actual retirees, who share true stories about the works, and the oft hidden cost.
Jason May (Rob), Siôn Tudor Owen (Mark) & Simon Nehan (Kevin)
In the interests of full-disclosure I should mention that I was born here, and as a local the steelworks have always been a big part of my life. As one of the actors says:’if you can smell sulphur in the air, somebody’s getting paid’. Both my parents worked there, so in a way it paid for my upbringing. Steel is in our blood here, and with so many accidents over the years, our blood is certainly in the steel.
Designer/Dylunydd Russell Henry, Choreographer/Coreograffydd Vicki Manderson, Directors/Cyfarwyddwyr Rhiannon White & Evie Manning
Co-directed by Common Wealths Evie Manning & Rhiannon White, music, song, comedy and monologues are used to create an enthralling and fascinating piece of theatre. Watching so many people coming to my ‘home’ to be entertained, gave me such a feeling of pride.
This threatened closure is the latest in a long line of body blows that have hit Port Talbot, brought home by the scene where the names of some of the 750 already made redundant are read out. A litany of damaged lives, counterpointed by the children the workers can’t see, ghosts from a lost future.
Sam Coombes (Lewis)
This isn’t sugar-coated either. At one point, in a gladiatorial arena of chairs shared by cast and audience alike, grievances are expressed with a violent passion. Characters turn on each other, unsure of the best course of action to take. One blames the union organiser, who then quietly reveals that his marriage has become a hidden casualty of the fight.
That’s a key element here: how long do you keep on fighting? When do you know when the cause is lost? What if all you have left is the struggle? The whole play roars a magnificent defiance at the world, but beneath that you can hear the scream of a wounded animal.
Ioan Hefin (Adrian) & Jason May (Rob)
If the steelworks closes it’ll be devastating to the town and its people, should that be allowed to happen? I’ll give the last word to Dic Penderyn, a local martyr hanged for rioting in the 1830’s, who’s last words on the scaffold are quoted in the play:
“O arglwdd dymma gamwedd, O Lord, what injustice.”
http://nationaltheatrewales.org/were-still-here
An interview with Emily Wilden creator of ‘Sunday Night Stories’
Hi Emily great to meet you, can you give our readers some background information on yourself please?
Hi, I’m an actor and voice artist originally from Carmarthenshire. I studied acting at the Italia Conti Academy of Performing Arts and it was after graduating that my interest in voice over and audio editing started to develop. I began to record and edit my own work using home recording facilities. I enjoy performing and workshopping pieces from new writers and I’ve also worked with theatre in education and run workshops for children.
So what got you interested in theatre and the arts?
I had an interest in performance from a young age, but it wasn’t until I joined the Swansea Grand Youth Theatre that my passion for Theatre and the Arts started to grow and I decided I want to pursue acting as a career. Joining a youth theatre was a great opportunity for me to meet new people outside of school. It really built my confidence and brought me out of my shell; it’s something I would encourage all young people to do even if they don’t have an interest in being a performer, as it helps with confidence, and communication.
‘Sunday Night Stories’ is a project you have developed yourself which features stories/plays/poems by talented new writers. It provides a platform for new writers to get their work heard. Can you tell us more about this initiative please?
I started Sunday Night Stories after taking part in a few different new writing projects in Cardiff. I have always enjoyed taking part in new writing events and as I am also a voice artist I thought it would be an interesting idea to combine the two.
New writing events are incredibly rewarding and helpful for the writer, actor and director but I thought by recording the pieces and turning it in to a podcast/having an audio recording, you are opening yourself up to a much wider audience. Also, by having an audio recording you are able to listen back and make edits and also use it to showcase your work.
I really wanted to create a useful platform for all writers, no matter what qualifications or experience they may have so they can gain feedback and the exposure they deserve.
I’ve recently partnered up with writer Darius Nash for a Sunday Night Stories Special of Hamish and Bob, a radio play written by Darius about a young boy with autism and his dog. It’s going to be a challenging piece but we are really excited to develop and share it.
Hamish and Bob in development
Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists/creatives?
I was lucky enough to be a workshop facilitator for Omidaze Theatre Company’s recent production of Romeo & Juliet, running workshops on Shakespeare and politics for primary and secondary school children.
Schools workshops for Omidaze Theatre Company’s production of Romeo & Juliet.
This really highlighted for me how little opportunity there is for children to experience theatre and the arts, whether it’s the cost, content, or just a lack of interest. During the workshops the children were excited to be getting up on their feet, performing, playing and actively working through and understanding (quite complex) text. It helped them use their imagination and recognise that theatre is for everyone. I felt this was incredibly important and is something that needs to be developed and offered more to children, helping them to explore all aspects of theatre and the arts.
There are a range of organisations supporting Welsh and Wales based theatre companies, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
After working in London and now Cardiff, I have found that there is a great support system available in Wales and a sense of community with Welsh artists in general, as there are lots of opportunities to create and it’s improving all the time. It would be great to see more workshops available for all aspects of performance, and for there to be more casting opportunities in Wales for Welsh actors.
Monologue Slam UK 2015 supported by NTW Team
If you were able to fund an area of the arts in Wales what would this be and why?
As I previously mentioned I think it’s incredibly important to develop more opportunities for children to experience theatre, not only by going to see it but also through creating it themselves.
I also think it would be great to encourage more new writing projects in Wales, encouraging people who have the urge to write but maybe not the confidence to do so. There are so many great companies around at the moment producing work from new Welsh writers and I think it’s something we need to continue to encourage and develop.
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
What really excites me about the arts in Wales is how welcoming and accepting everyone is to new ideas. There is such a sense of community, and you truly feel like everyone is willing to share, offer advice and help each other along, which is what being an artist and performer is all about and is the main reason I started this project. It’s really great to have such a range of writers share their work with me and let me give a voice to their stories; it just highlights how important community is in theatre and the arts.
Thanks for your time Emily
Website – www.sundaynightstories.co.uk
Facebook – @sundaynightstories
Twitter – @sunnightstories
Review Around The World In 80 Days by Jane Bissett
(5 / 5)
By Jules Verne
Adapted by Laura Eason
Phileas Fogg is a mysterious and wealthy man who while at his London club wagers his life’s fortune that he can circumnavigate the globe in 80 days.
Joining him on this mad cap and most impossible adventure is his loyal french valet, Passepartout. Leaving Victorian London behind they race against time and tide to fulfill their undertaking and to ensure that they return home in 80 days to the hour for Fogg to win the wager.
This production is a wonderfully funny romp around the globe with Fogg as our leader and Passepartout as our guide. From the exotic subcontinent to the American Wild West over land and sea there are laughs a plenty and audience participation. The fast moving pace leaves you almost breathless and it is impossible to believe that the 125 characters you see on the stage are only played by a cast of eight!
The energy of this magnificantly talented cast is inspiring as they move from trains to boats, across land and even travel by elephant!
There is also a daring rescue,four fights, three dances and two circus acts and they even manage a wedding!
The highly skilled performances for the non-contact fights including slow motion was punctuated by sound effects and comic timing which looked effortless. This was stage craft at its very best and the action just went on and on.
Director, Theresa Heskins, has achieved the impossible by bringing the world to the stage and the cast and creative team rose to the challenge of bringing it all to life by the use of stage, props, lighting and sound.
Whilst this was truly a whole cast performance, Michael Hugo as Passepartout was outstanding. He had the audience joining him on stage and off to great effect laughing at him, with him, and also at themselves.
This is a truly enjoyable show for which you need to take along your inner child and leave your inhibitions as home.
Prepare to go on a journey that will see you laughing your way around the world and leave you wanting more.
At the final curtain, when the cast returned to the stage the beaming smiles were a clear indication that they, the cast, had enjoyed performing as much as the audience had enjoyed the performance.
Around the World in 80 Days plays at Cardiff’s New Theatre from;
Tuesday 19 September – Sunday 24 September at 7.00pm
Thursday, Saturday and Sunday Matinees at 2.30pm.
For further details or to book tickets call the Box Office on 02920878889.
Review Us Proclaimed/Clywch Ni, Mess Up The Mess, Wales Millennium Centre by Kevin Johnson.
Aged from 11-20 plus, Mess Up The Mess Theatre Company make ‘awkward and brave theatre by, for and with young people’. Their new show ‘Us Proclaimed/Clywch Ni’ features over a dozen actors at the Wales Millennium Centre, Dance House.
It starts with a line up of the cast, who then turn their back on the audience, before assembling in a series of ‘scales’: alphabetically by first name, surname, home, then things start getting more honest, revealing, and then raw.
They line up in scales of sexuality, gender, feeling anxious, optimistic about the future, all while explaining what THEY think, stripping away the hypocrisy of the ‘real’ world, and showing us what’s actually real to them.
The honesty of this cast is humbling: personal stories, personal feelings, personal ‘secrets’ even, are not just divulged but proclaimed. Sometimes in simple words, sometimes with songs, or even comedy.
My personal highlight was young actor Ciaran Fitzgerald with cerebral palsy wearing a T-shirt stating ‘I don’t have cerebral palsy, I’m drunk’, explained later when he recounts being refused service at a pub because the barmaid thought he was drunk.
Perhaps a little blunt at times? I’m not sure, sometimes bluntness is called for. ‘We don’t want to preach’ they sing at the start, but they certainly make many good points.
Above all else they are wary of the future, some are worried but most are positive. Having seen – and more importantly listened – to them, I’m feeling a lot more optimistic about the future myself.
Review The Wipers Times by Jane Bisset
(4 / 5)
By Ian Hislop and Nick Newman
Based on a true story from World War I, The Wipers Times is an insight as to life and amazingly laughs in the trenches.
Following the discovery of a printing press and indeed paper during an advance, Officers’ Captain Roberts and Lieutenant Pearson decide instead of allowing it to be smashed and pieces used to bolster trenches that they would use it to produce a publication and bolster the moral of the men instead.
The publication, The Wipers Times, quickly gained notoriety and a following in the trenches which in the dreadful and soul destroying conditions the men were in must have been a tonic in itself.
There is something typically British in the way that the men went about ensuring that the Times was printed no matter what and despite disapproval by the senior officers it became something for the men to look forward to and for the editorial team and production team something to lift spirits and keep going for.
Ian Hislop and Nick Newman must be commended for the wonderful way that they have brought this story not only to the stage but also into the public consciousness. Roberts and Pearson were real people who certainly made a great contribution to the moral of the troops and did by the vehicle of their publication encouraged many soldiers to write.
Hislop and Newman take little credit for the written material of the play. Instead they let the content of memoirs of the men who were there and the Wipers Times tell the story for them.
The set was atmospheric and with minimal and slick scene changes were accompanied by the men singing war time song, which were actually poems that has been published in the Wipers Times set to music.
James Dutton and George Kemp gave credible performances as Roberts and Pearson, that said Officers’ are only as good as the men they command and the cast brought the soldiers from the past to the stage to warm our hearts and to believe that in the face of adversity their strength of character and determination was what got men through these most dreadful of time.
Dora Schweitzer (designer), James Smith (lighting), and Steve Mayo (sound) are to be commended for an exceptional job of giving us a true feel of life at the front line which was believable and bearable.
War of course is not clever, not funny and is certainly not a holiday destination. In the blackness of war The Wipers Times was an antidote to the reality of the horrors surrounding them and the awfulness of everyday life. In true British style humour is what keeps us going and the more inappropriate and condemed by the ‘establishment’ the better we like it.
At the beginning of the evening I felt a little uncomfortable in even considering the war to be funny but as a true brit it wasn’t long before I, along with a packed auditorium, was laughing and indeed wanting more.
After the war Roberts and Pearson returned to civilian life and to occupations they were both familiar with.
The Wipers Times is their legacy of life and laughs in the trenches. The discovery of the printing press was by chance but the production of the paper was a concious decision to try to make best of things and to improve the mens’ moral.
It is thanks to Hislop and Newman that these two men will be remembered and after far too long Roberts and Pearson were recognised by the Times broadsheet newspaper when they published obituaries for the men.
Us Brits are a strange breed and our humour often does not transfer to other nations well. However, amidst the laughter, we must be thankful for all those men who gave their lives so that we can enjoy the freedom to laugh at the things we do.
And to people such as Messrs Roberts, Pearson, Hislop, Newman and all the anonymous men who have produced humour in uniform, we salute you.
Would you like to join us for a creative conversation?
Image credit: Barbara Lavelle
Would you like to join us for a creative conversation?
Saturday, 23rd September, Central Cardiff.
We welcome your thoughts & insights, and value your opinions.
You are invited to join us LIVE in Cardiff at 2.30 – 4.30pm GMT
or on FB Live at 14.30 – 16.30 GMT; 09.30 – 11.30 EST; 06.30-08.30 PST.
Dress Code: Up to you.
RSVP (Places are limited)
Purposefully, I deconstructed our activities and found creative listening rose to the top of our raw materials. The critiquing and response to Arts and Culture requires sharp and sensitive listening first and foremost.
We are thrilled to bring you Wales’ first Hot Tub salon. The topic: Creative Listening. Brought to you by Get The Chance, delivered by Third Act Critics, and presented as part of the Gwanwyn Festival of Creativity for Older People in Wales, funded by Wales Government and the Arts Council of Wales.
Creative Listening follows Advantage of Age’s successful season of hot tub salons in London. A of A received funding from Arts Council of England and were recently featured in The Sunday Times and is, for all intents and purposes, the launch of Advantages of Age Wales. Thanks to Suzanne Noble from Advantages of Age for her support.
The event is also partnered with NYC-based producer Jonathan Pillot, who will launch the NYC Advantages of Age on Sunday, 17 September. If you’re in NYC, all the details are here Thanks to Jonathan for his support, too.
I took inspiration from his project Listening to America in the run-up to the US Presidential Election. Pillot took a Studs Terkel-esque road trip and produced a series of unscripted interviews with real people in the uneasy weeks running up to the November 2017 election. The election campaign really split opinions in the USA; at the same time BREXIT was splitting opinions in the UK. It left me pondering on the necessity of listening as a critical tool to progressing big ideas and forging change. I endorse promoting big ideas and forging change, and I believe in doing so by starting in a small, slow and steady fashion. I sensed a Listening to Wales project would be a powerful way to reach people here. Creative Listening is a small step in that direction.
Advantages Of Age’s hot tub salons were set up ‘as a platform to curate and host a series of performance salons incorporating an array of creatives united in their refusal to ‘grow old gracefully’ and to challenge the mainstream narrative of age. The events featured an array of creatives celebrating alternative narratives of age through creativity, querying, and rebelliousness.’ Creative Listening echoes those sentiments and explains why we are getting into a hot tub here in Cardiff, Wales.
I do not have a degree in Listening; I am not an expert in the field. But I am a human being — who has lived on this planet for 50+ years. For that reason alone, I believe that I and those others who fall into that broad category, have something to offer a conversation on listening.
To put a finer point on it, I have trained and studied performing arts and worked in the creative industries and the media throughout my life and career. Purposefully, I deconstructed Get The Chance’s activities and found creative listening rose to the top of our raw materials. The critiquing of and responding to Arts and Culture requires sharp and sensitive listening first and foremost.
We will be a gathering of human beings investing a few hours on a Saturday afternoon in September sitting in and around a hot tub exploring what creative listening means. I hope it doesn’t sound too banal. If it does sound banal to you, and you can’t be bothered to actually be there, perhaps you will check it out on the FB Live stream, and join us that way. That would be less of an investment in time and effort, so perhaps you will get something out of it via this alternative option.
I am excited by it. If you are excited by it, too, but cannot make it on the day, you can join us on the FB Live Stream, from anywhere. Hosted by Advantages of Age, the FB Live Stream will enable you to stay dry and still participate. Your contributions will be welcomed and valued, and our social media monitor will be sharing as many of your views as possible.
JOIN THE CREATIVE LISTENING FB PAGE AND WATCH FOR DETAILS ON HOW TO JOIN THE EVENT VIA LIVE STREAMING.
When I conceived of the idea for an event called Creative Listening, I thought I’d made the term up. I had no idea that there were so many different types of ‘listening’ out there, including ‘creative’, which had already been coined. ‘Creative’ I found was only one of a number of nouvelle and trendy labels for this very primitive activity. Other labels such as Deep Listening and Active Listening indicate that what might previously have been considered passive was being re-evaluated and now required energy, (the definition of active is ‘ready to engage in physically energetic pursuits’) and was making a profound impact (the definition of deep is ‘very intense or extreme’).
I was motivated by the amount of relevant material I was finding on this topic, and I knew that there was much to explore. Whilst working on the event, I was further motivated by the realisation that creative listening has a strong relevance to other themes I am inspired by and a synergy with other projects I am working on. If they are fusing together it has to be more than a coincidence. It is more likely because it is meant to be.
A final word about Get The Chance. I’ve really enjoyed and benefitted from being a Third Act Critic and being associated with Get The Chance for a number of years now. When I left my full-time career in the creative industries (for personal reasons) at the turn of the century, I did not realise it would be so difficult to return and especially to return with the status I had worked so hard to achieve. There is something very wonderful about being given a chance. There is something very powerful in a community-based social enterprise that supports you to get a platform to do what you really want to do. That there is a mutual benefit, and that the rewards are reciprocal, is even more rewarding.
Leslie R Herman
Producer
9 September 2017
Review Benny by Helen Joy
(4 / 5)
CHAPTER IN ASSOCIATION WITH GARETH JOHN BALE AND OWEN THOMAS
This is very uncomfortable viewing in a very small intimate space. We are witnesses to a private life in a public space.
Laughing at jokes our present vox populi disdains. Awkward. Funny. Have we forgotten that some things are just funny? Not sexist, dirty, grubby, misogynist, vile, elitist. Just funny.
From the mid 1980s onwards, we start to judge. We start to create a view of things humorous according to an assumed view of things social, socially acceptable. We start to judge a man according to his popularity, his means. Mean, they said. Was he?
Was Benny even half the terrible things we said he was? How refreshing to get another view.
Not mean but normal. Not lecherous but admiring. Not base but witty.
Hugely popular for years, a hard-working comic who paved the path others trod. A quiet man. A man who sat in his chair and who we all like to think died in shame and misery and silence.
Silence, yes. Peace, yes. The peace of his own home, his own chair.
Why do we fear being alone in death so much? What else have we, the populi, also lost along with our ability to judge individually and in context?
Our vox seems louder than ever but is it shouting down the debate and silencing the dissenters? Uncomfortable viewing indeed.
An outstanding, enjoyable, humane performance by Liam Tobin. Clever direction, clever script. Enough hopping back and for through time to make it theatre, not so much as to make it contrived.
I absolutely loved the final scene – the main man, the person, Benny, playing out of the television and over his room, his chair, his body. Playing that tune, that background music to life as we know it.
Very, very good stuff indeed.
It is a grey audience tonight. How would a younger audience react, I wonder. It would be interesting to show a Benny Hill programme beforehand. Even more interesting to get each member of the audience’s honest reactions.
Could be a shocker!
Oh and I sat next to someone who knew someone who knew one of Benny’s Angels… and she had had a blast!
Performed by Liam Tobin
Written by Owen Thomas
Directed by Gareth John Bale
Reviewed by Helen Joy, 3rd Act Critic for Get the Chance, Friday 9th September