Category Archives: Theatre

Review The Wipers Times by Jane Bisset


 
 out of 5 stars (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


 
 out of 5 stars (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

Review hang, The Other Room


hang is a play that I don’t think I’m going to be able to escape for a very long time.
 out of 5 stars (5 / 5)
 
It’s audience are hooked, latching on blindly to the arbitrary snippets of circumstance that debbie tucker green permits; pounded and cemented by the horror enchaining the character ‘3’ – played and endured by Anita Reynolds; writhing in the uncomfortability and awkwardness of lapsing social formalities; and laughing throughout.

The Other Room unwaveringly, and continuously are staging ground-breaking and bold theatre in Wales. In this partnership with Run Amok it is no different. Izzy Rabey’s direction is playful, fearless and truthful.

With an all Royal Welsh trained cast,  performances are dependably spellbinding, spirited and exploratory and harmoniously attuned in this weighty three-hander. Seren Vickers’ breezy and oblivious brashness is wondrously complimented by Alexandria Riley’s  assured discipline; eventually unravelling, grasping for an established formality. 
But, Anita Reynolds is exceptional – and a f******g heavy weight. After running into her a few days after the performance I could not believe that she was not, a) suicidal, b) homicidal, or c) a moody bitch – she was delightful as normal. Her transformation, the truthfulness of her performance with modesty, respect and introspection – I was in awe to see her practicing what she preaches from ‘the church of Anita!’ – exclusive to YAS students at Royal Welsh.
Although minimal, technical aspects were similarly attuned and sensitive in the baring of characters. Set by Amy Jane Cook was successfully dull and abrasively unsympathetic
.
hang is a play about boundaries, and morals, and empathy – and its limits – loneliness and entrapment and pain and consequence. I think it’s quite important; so book your ticket, head down to Porter’s a buy yourself an alcoholic drink, and enjoy.
by Lauren Ellis-Stretch

Shows to see this autumn.


The team at Get the Chance choose their own personal highlights of autumn 2017
Gareth Williams
Kate Rusby
Storyhouse, Chester.

Kate Rusby is the undisputed queen of English folk music. With her immense songwriting ability and beautiful voice to match, she is undeniably one of Yorkshire’s greatest treasures. This short 25th anniversary tour will see her delve into an extensive back catalogue of songs. She will also perform material from her latest album Life in a Paper Boat. She demonstrates, time and again, an unrivalled knack for producing new and inventive interpretations in the folk tradition whilst remaining faithful to its roots. She has such a down-to-earth and whimsical personality that is gently infectious. Instantly likeable, this comes across naturally in her oft-acoustic performances. If you are looking for the perfect soundtrack to a clear autumn night under the stars, look no further. Within the close and intimate setting of Chester’s brand-new theatre, this will be a magical evening with one of England’s brightest and best musicians.
Helen Joy
Benny
Chapter Arts Centre, Cardiff.

Benny Hill was fun, Sunday evening viewing when I was growing up.
His programme was a silly, light-hearted view of the world through the eyes of some potty characters.
I don’t recall any sense of malice behind the scenes and I often refer in life as having the Benny Hill theme tune running behind it…
However, times have changed. It feels as if everything we grew up with in the 1970s has to be disregarded at best, vilified at worst. Sometimes with good reason.
I am curious. Who was the man behind the little round specs? Why do we judge the past, our past, so sternly?
Karis Clarke
The Rise and Fall of Little Voice
Theatr Clwyd,Mold.

Little Voice at Theatre Clwyd. I am a fan of musicals in general and enjoyed the movie version with Jean Horricks. My appetite has already been wetted with the theatre showing tweets of the large cast taking residence in the theatre.
Gemma Treharne Foose
Wizard of Oz Orchestra (St David’s Hall), I am a Poetato (Sherman Theatre), Slava’s Snowshow (Wales Millennium Centre) and finally – Aladdin (Park and Dare).

My choices this Autumn are all family choices, I see a lot of shows by myself but for me the absolute best experience is seeing my daughter get completely absorbed in theatre and enjoy it as an art form. Her highlights so far over the last year have been Hairspray at the WMC, the Borrowers and the Hunting of the Snark at the Sherman. Slowly, I’m expanding the type of shows she sees to include poetry and dance – but I think musicals are our absolute favourite! I feel lucky to have so much amazing family theatre on our doorstep – and we feel it’s not really Christmas unless we’ve seen Frank Vickery dressed as a pantomime dame at the Park and Dare – that always tops off the year for me and puts a spring in my step! During the last panto at the Park and Dare, the two dames had my husband up on stage dancing and taking selfies with him, my daughter was delighted – I think it’ll be hard to top that one!
Donna Poynton
Follies
NT Live

I love the concept of National Theatre Live; bringing top quality theatre to the masses without the cost of a trip to London and a full price ticket. Live broadcasts from our local cinemas immerse us in the theatre’s atmosphere and allow us to view productions that may previously have been off our radar.
Stephen Sondheim’s legendary musical follows the Follies girls (played in this production by Tracie Bennett, Janie Dee and Imelda Staunton) thirty years after their final performance at the Weisman Theatre in New York as they gather to share drinks, tell stories and sing a few songs (accompanied by a 21 piece orchestra!)
With a fabulous score and stellar cast I am excited to see this NT Live production this November.
Lauren Ellis Stretch
hang
The Other Room, Cardiff.

The home of Cardiff’s first fringe theatre, The Other Room are continuously showcasing sharp, fearless, contemporary theatre. debbie tucker green’s ‘hang’ premiered at the Royal Court Theatre in 2015, the piece will be making its Welsh debut with a cast of exceptional, home-grown talent. It’s one not to be missed!
Barbara Elin
Rip it Up
St Davids Hall, Cardiff.

I’ll be seeing Rip it Up in St Davids Hall on 9th October, it features Strictly stars Jay McGuinness, Louis Smith and Natalie Lowe – I’ve been a Strictly fan for ever and Jay and Louis were both my favourites of their respective years, and now they’re in Cardiff I can’t resist the chance to see them live.
Debbie Johnson
The Cherry Orchard
Sherman Theatre, Cardiff.

The Cherry Orchard at the Sherman. I’ve chosen it in the first instance because (too many) years ago it was my set text in A-level Theatre Studies. I found it really challenging, and eventually rewarding when it ‘clicked’.  The idea of Gary Owen adapting this play feels like an absolute minefield-which I am sure with Rachel O’Riordan’s direction will bring something to the stage which would make any student now picking up the text completely inspired.
Emily Garside
Heisenberg
Wyndham’s Theatre , Covent Garden

I’m excited to see this new play from Simon Stephens (which had it’s debut last year in New York) not only because a new play by Simon Stephens is always worth seeing, but because this is the first production from Harper-Elliot Productions. With director Marianne Elliot at the helm this new prodcution company sees Elliot (previously artistic associate at the National Theatre) promising to put women’s stories at the forefront. For this play in particular I’m excited to see this multi-layered play about the nature of relationships with the brilliantly talented Anne Marie Duff in the central role.
Charlotte Clark
Wind in the Willows
Sherman Theatre,Cardiff.

I am  looking forward to seeing The Wind in the Willows this autumn at Sherman Theatre. This is for a number of reasons. Firstly, it is a classic that I love and would love to see performed on stage. Secondly, as a Cardiff student, Sherman Theatre is a very practical location for me as it is close by and therefore makes it easy for me to see something local. Thirdly, as it is a Christmas time production it falls perfectly for me amongst my other workloads and commitments; by Christmas time I will have the holidays to commit to my university work and so won’t have too many deadlines to stress me out!
Vicky Lord
Blood Brothers
New Theatre, Cardiff.

I’ve chosen this performance not only because it is a production with absolutely stunning music. This production really does show the vital importance of story and character in combination with the music. I love the story of twins who are born and died on the self-same day. However, my favorite character is the narrator as he represents an amazing opportunity to really dig deep into the symbolism of certain aspects of the story. This is also one of the first productions which I reviewed last time it came to Cardiff’s New Theatre. It was also Marti Pellow’s performance in this production which really showed me the symbolic potential of not just the narrator but of characters and theatre as a whole.
Danielle O’Shea
Cilla The Musical
New Theatre, Cardiff.

Cilla the musical at the New Theatre in Cradiff. I am going to see this production as the reaction to the death of Cilla Black showed how valued she is in contemporary British culture.
Catherine Parkinson
John Hegley The Sherman Theatre
Slava’s Snow Show The Wales Millennium Centre

John Hegley The Sherman Theatre
Slava’s  Snow Show The Wales Millennium Centre

Review Swarm, Fio Productions by Ann Davies


The rendezvous was made; a meeting with others. The night was dark and dank as the drizzle stormed down on our gathering. Black Gothic gates barred our entrance to the large stone building. We waited patiently. We were all strangers, curious about what lay ahead. We didn’t know just what to expect.
At last, the clanking sounds came of the gates being opened; we were told to assemble in straight lines. It was almost as though we were awaiting some sort of detention duty. A loud cry went out as another person came scrambling out of the darkness crying “My child, please see to my child” as uniformed personnel rushed around, issuing orders for us to enter asking questions “Were you followed? How many? Are there any more?” “My wife, my child” were the only words that the man managed to utter within his sadness. Lost in explanation, a large door began to open to a warehouse type area; as one, we were herded into its vast inner sanctum.
Slowly, we became aware of our surroundings. We came under an incredible amount of scrutiny from a multitude of people, and saw children huddled together in one corner, as if afraid of our arrival. “We have a few supplies and blankets, please share the blankets” the voice on the speaker announced. Some people came forward as if on a welcoming bid, imploring details about the outside. The man and child were rushed to an enclosed area with a Red Cross embellished on it.
“For fear of disease” the voice continued “you will have to be examined. Your photograph will be taken, a detailed form will need to be completed; you will then be assigned a number “.
The air was stifling; people were talking wildly about their relatives and whether anyone of us knew anything about them. Hands were inspected and washed; we were each issued with toiletry samples. The siren shrieked shattering our thoughts, as the lights dimmed
“Get down and remain still!” the urgent command drilled.
We all lay prone on the hard floor using the blankets provided.
Repeated blows on the door followed as security personnel entered, they were looking for certain people, but received only a stony silence. A child cried out in pain “There is nothing we can do” a medic announced as the man walked aimlessly around.
Fear held us in its grasp. Notices on the wall were adorned with desperate messages; missing people cried out to be found. You could almost reach out and touch the growing mania of panic and distress of what we were all witnessing.
This was an experience that we had not only watched; we had participated in a human drama.
“You’ve got a swarm of people coming, seeking a better life” A play had been performed but we were also the actors, the performance may disappear but the crisis of the refugees would not go away. It was an experience driven by conflict, of painful human reality of what is actually happening. The play was called ‘The Swarm’; the company were the Fio Productions and it was staged at the Pop Factory, Porth.
It was not a tale of the unexpected. At its conclusion it was a diverse platform for the further discussion of ethical and political issues.
The truth hurts.
 

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


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

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

Review: Hairspray, Wales Millennium Centre – By Eloise Stingemore


 out of 5 stars (5 / 5)
Hairspray is back and bigger than Tracy Turnblad’s hair. It’s louder than the Corny Collins show at full volume. It’s a big bouffant of a musical!
Set in 1962 Baltimore, Tracy Turnblad, a big girl with big hair and an even a bigger heart, is on a mission to follow her dreams and dance her way onto national TV with The Nicest Kids In Town. Tracys audition not only makes her a local celebrity, she sends sales of Ultra Clutch Hairspray through the roof and bags local heartthrob Link Larkin. However, when Tracy uses her newfound fame to fight for equality, it puts her at loggerheads with Velma Von Tussle the producer of the show but also mother of the show’s “star” teenager, Amber Von Tussle, jeopardising her place on the show and her freedom.

From the opening vamp of “Good Morning Baltimore,” to the final chorus of the finale, “You Can’t Stop the Beat,” the shows score a mixture of bubble-gum pop to rhythm and blues is irresistibly catchy. Rebecca Mendoza shines in her professional debut as Tracy whereas Edward Chitticks plays Link Larkin with the right amount of cool that manages to capture your attention and make your heart flutter every time he is on stage. As for Layton Williams who is best known as Stephen Carmichael in the hit BBC Three show Bad Education, he presents a dazzling array of dance skills all whilst crafting a touching relationship with Liard-Bailey’s Penn. However, it is the coupling of Mat Rixon and Norman Pace as Edna and Wilburn Turnblad that gives the show a fantastic comic spark. Their duet of “Your Timeless To Me” was delivered to perfection and Pace body language had the audience in stitches, which makes it shame that the audience saw so little of the two together during Kerryson’s production.

The show features an impressive variety of costumes by Takis from the fabulous ’60s fashions Tracy and Edna get from “Mr. Pinky’s Hefty Hideaway”, to Corny’s comical red sequinned suit, and, of course, the giant hairdos sprayed with the titular product. However, Takis’ reliance on a projected backdrop to capture the Civil Rights protests meant at times the stage felt slightly bare but nevertheless did an excellent way of demonstrating the two sides to American society at the time.

Hairspray is full of colour, soul and free spirit that defined the 60s. It is the ultimate feel good show and judging by the amount of smiles in the foyer as people left the venue they didn’t want the beat to end.

Hairspray opened in Cardiff on August 16, 2017, with a tour around the UK until June 2018. Tour dates and ticket information available can be found here: http://www.hairsprayuktour.com/tour-dates/
 
 
 
 
 
 

An interview with Matthew Bulgo


Hi Matthew great to meet you, can you give our readers some background information on yourself please?
Hello, I’m Matthew Bulgo and I mostly split my time between being an actor and playwright. I also do some work as a dramaturg…and when I’m not doing any of that I’m also an Associate Director of Dirty Protest.
So what got you interested in writing and the arts?
I first got interested in theatre when I was in school. My school didn’t have a particularly good drama department but through the school I got involved in my local youth theatre (WGYTC) and it was a hugely formative experience.

I joined the company when I was 13 and continued performing with them until I was 20 and I still work with them regularly. The company exposed me to a massive range of skills and genres of theatre and it was being involved in the company that encouraged me to audition for drama school and pursue a career in theatre.
https://wgytc.co.uk
My interest in writing sort of came as a by-product of that. I only really started writing around 5 years ago. I’d dabbled a little previously but 2012 is when I decided to try and make a go of it and strike a balance between acting and writing. For me, the two areas sort of spoke to each other. I like to think I write plays with the performers process very much in the forefront of my mind. I like to make sure that my characters have really satisfying journeys and that their actions and their motivations and psychologies are really water-tight and fleshed out.
You are an actor as well as a playwright. I wonder if your knowledge of both disciplines cross-pollinates when you are working in both different disciplines?
Ha! I think I maybe just answered that one about. Whoops. Yes, I think so. A lot of my favourite writers were actors at various points in their careers – Pinter and Albee are two big influences on me. Then more recently writers like Anna Jordan who trained at LAMDA around the same time as me before going on to be a Bruntwood winning playwright.

#YOLO was commissioned by National Theatre Connections for this years festival. Each play is specifically commissioned for 10 leading playwrights by the National Theatre’s literary department. The plays are written with young performers in mind. Can you tell us more about this process?
The first thing I’ll say is that the process was such a joy from start to finish. I was given a lot of free rein to really write about what interested me. The parameters were really liberating. It’s very rare in Wales to be asked to write a play that has more than about 4 or 5 characters in it so to be encouraged to write something for a big ensemble was not only a big challenge but also a real gift. It was also really exciting to write a piece knowing that it was going to be interpreted and realised in numerous different ways. I think this encouraged me to write a piece that had a lot of leeway in it, a piece that could be owned and customised by each company that performed it.

Each production I saw was bold and brave and full to the brim with vigour, enthusiasm and creativity. I left each performance with a spring in my step thinking about those young people. I have a huge soft spot for youth theatre. I’d love to write more plays for young people in the future.
The plays are then performed by youth theatre companies in regional/national competitions across the UK. Did you Get the Chance to see any of these performances?
I really wish I could’ve seen them all! I think I managed 8 or 9 out of a possible 25…so not bad going really! I travelled as far north as Newcastle and as far south as Chichester. I saw a fantastic production at the Bristol Old Vic which is one of my favourite theatres. And I was really pleased that there were two productions staged in Cardiff at the Sherman Theatre that I was able to catch. One of which – plot twist – was performed by my old youth theatre. There was such a beautiful symmetry to that. If it hadn’t been for that youth theatre, I probably wouldn’t be involved in the industry at all. It’s a really extraordinary company.
The regional/national NT Connections performances are often supported by free additional workshops and skill sharing events, do you think this type of activity is beneficial to youth theatre members? Have you ever been involved in any of these workshops?
DEFINITELY. I think it’s a fantastic opportunity for those kids to work with people who are currently working in the industry and also for them to engage with their local, regional theatre. They’re the next generation of performers and stage managers and playwrights and directors and I think exposure to these kinds of workshops and events at that age is hugely beneficial.

Images from the NT Connections workshops at Sherman Theatre, Cardiff.

After their performance at the NT Connections Festival at Cardiff’s Sherman Theatre, West Glamorgan Youth Theatre were chosen to perform #YOLO at the National Theatre in London. I believe you were a member of this Youth Theatre company yourself? This must have been a proud moment for you? Did you see their performance in London?
I was absolutely over-the-moon for them. I cleared the diary weeks in advance to make sure I could be there to see them performing at the National. I wouldn’t have missed it for the world.
My youth theatre (and I’m sure everyone feels exactly the same way about theirs if they attended one) was very special. It shaped me as a young man – emotionally, creatively and politically. It helped me grow up but also reminded me that to be an artist you have to be an eternal child. It helped me understand the past and hope about the future. I was really pleased they got selected to perform at the NT. I wouldn’t be doing what I do without them. I’ll be eternally grateful. I owe the company so much and this felt like a bit of pay-back.

The cast of #YOLO with past and present West Glamorgan Youth Theatre members at NT Connections, National Theatre, London.

It was so great to see the number of alumni of the company in attendance too from every generation since the company was founded in the mid-1970s. A lot of them aren’t involved in the industry but still feel a huge amount of warmth towards the company. There were people. Di Botcher was rehearsing at the National at the time for their production of Sondheim’s Follies and she made sure to be there. Michael Sheen is an alumni (and huge supporter of the company) and saw the show at the Sherman in Cardiff. He couldn’t quite make curtain-up for the performance at the NT but he arrived in time to greet the young people as they appeared from stage door after the show.

Michael Sheen with the cast of #YOLO at Sherman Theatre, Cardiff.

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 or specifically writers?
I think the major one for writers is age. There are so many opportunities whether it be writing courses or competitions or bursaries that are specifically for people who under-25 or under-30. I didn’t really start writing until I was 32. For anyone who doesn’t fit into those age brackets, it means you have to do things the hard way. I think the recent writing course at the Sherman and also the ‘writer-in-residence’ programme run by Theatr Clwyd are two fantastic examples of development opportunities where your age doesn’t figure in things. They both just want to engage with theatre writers whose voices they’re really interested in or excited by.
There are a range of organisations supporting Welsh and Wales based writers, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
It can always be healthier would be evasion of that question! I think writing courses and workshops and residencies are all brilliant ways to develop writers and there are some brilliant examples of those things happening in Wales…but I think what writers really need are productions at the end of the day. There are so many promising playwrights in Wales and so few opportunities for them to get their work produced on a Welsh stage. So, yes there’s lots of good supportive things happening…but I’d like to see more productions by Welsh playwrights on our stages.
If you were able to fund an area of the arts in Wales what would this be and why?
Youth arts for one. It always seems to be the first thing against the wall.
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?
The fringe scene in Wales is particularly exciting, I think. From companies like Gagglebabble to The Other Room to Motherlode to Fio. Such an eclectic range of companies with really distinctive voices and aesthetics.

Then newer companies like Run Amok, Graphic, Red Oak and Powder House whose work I’m yet to see but I’m really excited to see the contribution they make to the theatre ecology in Wales.

In terms of the last great thing I experienced…I’ll sum it up by saying the Edinburgh Fringe. I have gone to the festival every year for the past decade. If I’m not there with a show then I’ll go as a spectator and just glut myself on theatre. I always come out the other end of it feeling exhausted but really galvanised and really excited to get my teeth stuck into my next project. My highlights this year were Palmyra, Nassim, The Flying Lovers of Vitebsk, Translunar Paradise (the 2nd time I’ve seen it) and How To Win Against History.
Thanks for your time Matthew. Matthew is performing in The Cherry Orchard at Sherman Theatre this autumn.
http://www.shermantheatre.co.uk/performance/theatre/the-cherry-orchard/

An interview with Ciaran Fitzgerald, Mess up the Mess Theatre Company


Image Credit Kirsten McTernan

 Hi can you give our readers some background information on yourself please? 
My name is Ciaran Fitzgerald, I’m 22 and from Port Talbot in South Wales. I’m currently studying scriptwriting at the University of South Wales, going into my second year in September. I have cerebral palsy which effects the way I walk and talk. In my spare time I’m a member of Mess up the Mess theatre company, and have been since 2011 and have performed in many shows with them.

https://messupthemess.co.uk
So what got you interested in the arts? 
I got interested in the arts when I was about 13, I joined a local theatre company for young people with disabilities. After about 2 years I found the group wasn’t challenging me enough as a performer. Around the same time, Dafydd James was developing a play called ‘Click,’ about social networking and the concept of identity and the internet for Mess up the Mess Theatre Company. I played the part of Rob, a character who had cerebral palsy, I really enjoyed performing onstage with a diverse group of young people in a wonderful play. I have been performing, writing and volunteering with Mess up the Mess ever since.

Can you tell us about  Us Proclaimed: Clywch Ni? 
Us Proclaimed: Clywch Ni is a devised play with music which focuses on the life experiences of a group of young people between the ages of 11 & 22. The play explores themes including sexuality, gender identity, disability, mental health issues and also explores what the cast of young people think of each other and themselves. The question the play asks is whether we should seek to escape the difficulties we face in life, by vesseling them into ‘Robots’ or Musical theatre, and masking them in that way, or whether we should face our demons head on, and fully acknowledge their existence. Who do we want to be? What kind of society do we want to live in? These are the questions that the play asks.

Us Proclaimed: Clywch Ni throws a spotlight on the unique identities, perspectives, passions and interests of young people growing up in Wales today through music, comedy, poetry, drama and movement. How did you think the production has managed to capture all the different young people’s voices? 
I would agree that the voices of young people have been clearly received and heard throughout the project, however, not all of these extracts of self-expression have translated into scenes or sections in the play. Every member of the cast does however have a chance within the play to voice their opinions on subjects including, sexuality, gender, anxiety, the relationship between themselves and their parents and so forth.  You may ask whether this play is fully representative of the experience of being a young person in Wales in 2017? I would argue not, and I would also argue that it does not need to be. The play is representative of the company of young people who perform the play, but perhaps not the young people of Wales in general.

There are a range of organisations supporting Young Peoples creativity on this production. I wonder if you feel the current support network and career opportunities for young creatives feels ‘healthy’ to you? Can more be done? 
I think that certainly more can be done. There is definitely a base platform for young creatives within organisations such as Mess up the Mess to exude and foster their creative talents, but perhaps as young people get to the age where they want to make more of a solid impact upon the arts in Wales, there is no solid further platform for them to move on to other than university education, which is no guarantee of a career in the arts. I think that generally, there needs to be more opportunities for young people who perhaps want a career in the arts, but don’t want the pressure or debt that university brings. I also feel that there needs to be more opportunities for arts graduates to attain employment in their chosen avenue of the creative industry. There seems to be an appreciation of the incredible artists, actor, writer and directors that we have in this country who are already proven at the highest level, but less of an incentive to promote the new talent coming through the ranks. Companies like Mess up the Mess and Get the Chance definitely need to be at the forefront of this, and do their best to guide their young people who want a career in the arts along the right paths. There should I feel also be more liaising between production companies and youth arts organizations to offer young people who are interested in the arts, opportunities such as internships and work experience. We have wonderful youth arts companies in Wales, we also have many wonderful professional production companies, we need to bridge the gap between these two.
If you were able to fund an area of the arts in Wales what would this be and why?
If I were to fund one area of the arts in Wales, I would give more opportunities for graduates, or young people making their first forays into the professional industry. Perhaps offering internships or permanent placements for young writers, performers and directors in Wales.
You can catch performances at the dates/times below
Miners, Ammanford
25 August, 7.30pm
26 August, 2.30pm & 7.30pm
Tickets
Ffwrnes, Llanelli
7 September, 1.30pm & 7.30pm
Penygraig
8 September
Tickets on sale on the door through ArtWorks
Dance House, Wales Millennium Centre
16 September, 2.30pm & 7.30pm
Tickets not on sale yet
Thanks for your time Ciaran