Japanese drumming seems like an odd production to have at a well renowned dance theatre. But bear with me – it is not just drumming.
My interest has always been grabbed by Asia, especially Japan. Last year I visited Tokyo and saw what we all think of in Japan – a mixture of tradition and unusual things. My very small and brief cross with Japanese drumming was at the Robot Cafe where giant drums played by smiling men and women in bright clothing came inches away from my face.
So my expectation was a little different – I expected something more traditional and more quaint I suppose. I was surprised, shocked and entertained like never before.
Yamato bring the essence of Japan – the curiosities, the tradition and the uniqueness. The performers throw their all into each performance; they smile, they have fun, they engage with us and play with us but there are times of what would seem like ritual and tradition.
They show the mixture of something so old with the way they play, the instruments and their movements – being very low squatted and grounded. But also they enjoy what they are doing, bouncing from one area to another, dancing to accompany the music but also doing comedic moves that everyone relates to and so it then makes sense that this is at a dance theatre.
What I found intriguing is the mix of performers. Both men and women played the same instruments – there was little sexism in what they wore, what they were capable of and it felt like a very equal participation-something much of the British theatrical scene could learn from!
While its evident their English is very small, we engage with them in universal movements and find comedy in actions rather than words. We do not feel so far apart from their culture as we may anticipate.
Yamato is heaps of fun and extraordinary – as a drummer I found their skills astonishing but even a novice would do so. They are so perfected and fantastic, it would be hard to attend and not to come away smiling.
On such a tragic day, when London is in a state of terror, the production of E15 by Lung Theatre is more poignant than ever. A community joining together to stand strong and still invite others to London.
Based upon the social housing crisis, E15 brings a documentary style of theatre with true stories from true people and their struggle and fight for basic rights that all humans should be allowed.
As a previous private resident of Newham when I first moved to London over 2 years ago, I was aware of the poverty of this area but no idea of this movement. This production fully opening our eyes to the crisis. London is known as a welcoming city, with the recent Brexit vote forcing people to announce that London is still welcome. Yet it seems we can hardly cater for even local people, those who seek asylum – anyone who needs help.
The stage being plastered in protest flags, chalk writing on the floor, campaign voices over the microphone, we are put in the essence of this struggle. And all the rest is the perfection of the performers.
Their truthful, natural and passionate narrative is poignant and emotional. But strong. Strong voices. Strong men and women and their ability to tell this tale with added theatricality made something true and political stand out.
Some say that theatre should stay out of politics but with theatre like E15, the only helps the cause and puts it on the radar of the public.
A very important and creative production – a must see!
A almost crazed episode in American history, a NASA funded project during the 1960’s involving trying to make dolphins speak English is controversial and a shocking era. Based upon training scripts, Breach Theatre aim to discover what really happened, indulging in the pure animal cruelty and madness of the scientists involved.
A theme of water is obvious and consistent – the performers continue to hydrate from a water cooler in the corner, almost filling themselves with the tale.
https://vimeo.com/181211245
By posing our dolphins in human form, we see the general cruelty, the unpicking in a discussion by the performers of what would be happening, arguing and then agreeing on events, on emotions, feelings, what may happen, what may not- a worst case and probable truthful telling of behind the transcripts.
This soon comes into physicality of the dolphins, still humanised to not only mirror what the scientist are cruelly trying to achieve but also to give us a connection and really how we would feel if this was done to a human.
The performers are relaxed, casual and act as if ad libbing despite us knowing this can only be well rehearsed. They manage the right balance of comedy, of shock, of metaphor and lead us down a shocking and disturbing road.
Breach Theatre have managed to create a piece unlike any other and such uniqueness needs to be seen and celebrated.
Hi Connor great to meet you, can you give our readers some background information on yourself please?
Hi there. Honour to be here. I’m an actor and a writer based in Wales. I was born and raised in Newport. I trained as an actor at Trinity Saint David in Carmarthen and graduated with a degree in 2013. Since then as an actor I have worked in both theatre and TV with companies such as Taking Flight Theatre, BBC Wales, Fluellen Theatre, National Theatre Wales, Sherman Theatre and more recently Omidaze.
Connor in As You Like It, Taking Flight Theatre Company .
Photo by Jorge Lizalde
As a writer I have been commissioned by National Theatre Wales, Dirty Protest, Avant Theatre and No Boundaries. I am a member of National Youth Theatre of Great Britain, a member of National Theatre Wales’ TEAM Panel and I’m also the winner of the 2015 Welsh MonologueSlam run by Triforce Creative.
http://monologueslamuk.com/monologueslam-uk-comes-to-cardiff/ So what got you interested in acting?
I think it was the chance to play different characters and explore, create and escape to new worlds whilst in my late teenage years. I had a lot of anger and frustration back then and drama gave me a creative outlet. A way to channel that into acting. You are an actor can you explain how this role operates within the creative team on a theatrical production ?
On a theatrical production an actor is the one that brings the characters to life and speaks the words written in the script. They bring the characters from the paper to the stage. We attend rehearsals and work with the director and other members of the team such as vocal coaches, choreographers, lighting and sound designers, stage managers and many more to rehearse the piece for a certain amount of time and bring it all together so it’s a polished piece ready for audiences. You are currently working on a new version of the classic play Romeo and Juliet which is being produced by Omidaze Productions. Do you think Shakespeare is still relevant to todays audiences?
The Romeo and Juliet Company in rehearsals
I believe Shakespeare is still relevant. He was a playwright and wrote stories with various themes and many of those stories still resonate with audiences today, the themes remain and we still experience them (Wether you are dealing with grief like Hamlet, Prejudice like Othello, Betrayal like Macbeth or falling in love like Romeo.)
Take Romeo & Juliet for example, yes it’s the classical love story of two young lovers but amongst that we have two families who have been feuding for years. That conflict is still relevant to today’s audience. Be it not between two families but even two countries. All you have to do is pick up a newspaper or turn the TV on and conflict is among us. People rebelling, people fighting and just like in Romeo & Juliet, unnecessary people get hurt and dare I say killed as a result of that conflict. The more you delve into Shakespeare’s stories the more you unlock and the more you then find that you can relate to on a human level. We are all human after all and we all feel emotion on different scales. Shakespeare highlighted many issues which I believe are still present in today’s society that why his stories still get told.
The Romeo and Juliet Company in rehearsals
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?
Theatre is a reflection of life and every life is different.
Not every life is white.
I recently tweeted #walestheatreawardssowhite which was the case (and my frustration at the time) as the last three awards now since 2015 have had all white winners in all the acting and directing categories. I would like to delve deeper into my reasons for this. I think Alexandria Riley this year was the first BAME nominee in a lead actress category (and rightly so!) but that in itself is wrong because there is an abundance of BAME talent here in Wales and it isn’t being utilised. I obviously realise that this issue goes far beyond awards and is a reflection of something greater in society.
For me diversity and representation is so much bigger than just skin colour. It’s gender, sexual orientation, disability, social status and more.
We live in a multi-cultural world and this isn’t being represented on stage. We need audience members from different backgrounds and generations to go to the theatre and see theatre they can relate to. 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.
Every life is different after all.
To quote Viola Davis (who is an actress I am hugely fond of)
“The only thing that separates women of colour from anyone else is opportunity:you cannot win an Emmy for roles that are simply not there”
For minority actors to be considered for awards they have to be cast in productions. So it stretches to the casting directors, directors, theatre companies to be imaginative and widen their casting pools. Think outside the box when it comes to casting. BAME playwrights to write more stories so their voices are being heard. Their voices need to be heard for the work to be made. And once the work is made they can be in contention for things like awards.
Connor in Bird, Sherman Theatre/Manchester Royal Exchange
It’s the vision of bold people like Directors Yvonne Murphy, Rachel O’Riordan, Elise Davison and Casting Directors like Sophie Parrott that allow me to stand here today fulfilled with the opportunities I’ve been given so far in my career.
Directors Yvonne Murphy, Rachel O’Riordan and Elise Davison
It’s the vision of these people and many more that break these boxes and allow diversity and representation to flourish. They don’t see risk, all they see is talent. And we need more people to think on that same wavelength for real change to occur.
Diversity has become this big taboo as of late and all I see it as is the ‘why cant’. Why can’t Iago be a black actor?(which has happened now to some criticism) why can’t Juliet be a disabled actress? Why can’t James Bond be an actor of colour? or Doctor Who be a woman?
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.
Young people are the next generation. The next generation of voices to be heard. The next actors, directors, playwrights and producers. If they don’t have anything to relate to when they watch the arts then how can we inspire them to be the next generation of change? We have to inspire them. We have to empower them and by doing that we secure a fighting chance for a diverse and equal future in the arts. Do you feel the situation is the same for English speaking Welsh actors?
I feel there is a lack of diversity for English speaking Welsh actors especially on TV but I feel it’s different from Welsh language actors. I can’t comment too much as I’m not a Welsh language actor. But even in Wales there is more English speaking work being produced than there is Welsh speaking so Welsh language actors are already at a disadvantage. If you were able to fund an area of the arts in Wales what would this be and why?
If I were to fund an area of the arts in Wales it would have to be showcasing new writing from younger talent of all backgrounds (say 18-25) as I believe they have so much to say about the world and at times not the tools necessary to get their voices heard. The fund would allow them to all come together in a space once a week for let’s say four months. Partnered with an arts organisation or producing theatre or even just a group of actors it would give them the tools to be mentored by experienced professional writers, hone their craft, get their voices heard and shake things up drastically with their take on the world. It also gives them the chance to hear their text spoken by actors and try new ideas out to see what works and what doesn’t. At the end of the four months the theatre would showcase their writing with a series of performances to paying audiences. It would give actors the chance to work on new, fresh writing and younger generations of writers to be nurtured and mentored along the way by having more established writers like your Gary Owens’, Katherine Chandlers, Matthew Bulgos, Kelly Jones’ and Nicola Reynolds’ running sessions with them about writing stories and what that entails. Ultimately it’s giving the next generation a great stepping stone into the industry and new voices are given a platform.
Writers Gary Owen, Katherine Chandler, Matthew Bulgo, Kelly Jones’ and Nicola Reynolds.
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 excites me has to be its potential. There are such great companies and artists making great work at the moment like Gary Owen’s return to the Sherman with Killology, Hijinx and their unstoppable MeetFred, National Theatre Wales taking over Cardiff with the City of the Unexpected and the Other Room going from strength to strength with every show they do. Even smaller companies like Critical Ambition, Avant Theatre and No Boundaries are all striving forward and raising that bar. All this gives me confidence for the future of Welsh arts and for the next generation of artists in Wales because right now Wales is living up to its potential of being a beacon of influential, thought provoking work that will inspire and mesmerise audiences.
Tour Dates for Romeo and Juliet
Mold Theatr Clwyd 5-8 April
Llanelli The Ffwrnes 12 April
Brecon Theatr Brycheiniog 23 April
Cardiff WMC 27 April-14 May http://www.omidaze.co.uk/artistic Thanks for your time Connor
Up above the mid afternoon Sunday lunchers, a performance that makes you giggle, makes you feel your emotions and come away feeling more culturally enlighten is performed.
One Last Thing (for now) features quite a large cast for such a small performance space. The play looks at the lives of several different people, across time and across the world and the importance of communication to show love in times of war.
The storyline chops and changes from different eras and even to different places across the world with ease and with constant intrigue. One tale is not given all at once, we have to fight through the different tales of woe, hardship and pain to get to the end of each interesting piece.
The performers are always well engaged, always part of the story or set and draw our attention well to the action by showing interest themselves – it feels as if the performance is the first or second time they have done it, despite being a week into the run.
At times accents can be a little ropey, losing the narrative a little. But it is picked up well with their general performance. Their physicality and interesting use of bodies for staging and different characters are interesting and well constructed.
And while it did not make me cry, there were some in the audience that the stories really touched. Perhaps some of the energy was too impactful to give us time to process the stories before another came along.
Never the less, it is refreshing to see a production so full of life and so well invested in by the performers that you fail to come away without a smile and an after thought.
I don’t know very much about ballet. In fact, this was my first time ever seeing one. I was completely swept away by the beauty and the elegance of it.
I did manage to follow the story. Although at first I was definitely a little lost. I did pick up the conflict between choosing passion or choosing love, and the eventual consequences that come to light as a result of the character’s decisions.
The dancing was gorgeous. Every single person on stage managed to look beyond elegant, and way beyond beautiful. The music alongside was amazing to see. Everything was so in sync and perfectly aligned, like the cat wasn’t well-practiced, but more like dancing to it was intrinsically within them and not something they had to even think twice about. Like I said, I don’t know very much about ballet. My eyes aren’t critical to the specifics of the dances, but I was unaware of mistakes and critiques in a borderline blissful way. I enjoyed something pretty and stunning. And I really, really liked it.
The setting was cunning, and extremely clever. There were things I didn’t expect to be used at all – like shadows, or smoke, the front of a train, audio of clapping – which I did mistake for the audience – and so forth. The ideas behind the production seemed big and well-thought out. Something daring but equally safe.
Get the Chance have been announced as runners up in the Celebrating Diversity Award at the 2017 Epic Awards organised by Voluntary Arts. The ceremony took place on Sunday the 19th March at the Sage Gateshead as part of BBC Radio 3’s Free Thinking Festival. The Epic Awards were set up in 2010 by Voluntary Arts, an organisation that works across the UK and Republic of Ireland to promote participation in creative cultural activities. They celebrate the amazing contribution voluntary-led creative groups make to their communities. https://www.voluntaryarts.org/epic-awards
The Celebrating Diversity Award is selected from across the full shortlist of 32 groups by a panel of judges representing teams in each nation. This award celebrates groups that have taken an innovative approach to highlighting the positive effects that come from living in a diverse society and is something that is central to the work that Voluntary Arts does all year round. Get the Chance were unanimously praised by the Epic Awards judges for
“The project’s unique approach to encouraging a diversity of voices” Guy O’Donnell, Director of Get the Chance said;
“Get the Chance is honoured to be selected as runners up in the Celebrating Diversity Award. We strive to reflect the diverse nature of society in our voluntary membership. We learn from our team about barriers to sport and cultural provision and seek to work together to provide responses which are representative of all citizens in the UK.”
https://www.voluntaryarts.org/epic-awards-2017-winners Membership of Get the Chance is free for further details please contact Guy O’Donnell, Director of Get the Chance getthechance1@gmail.com
getthechance.wales
Back at the Battersea Arts Centre, it seems with their jam packed season, they may as well provide a bed for me! A busy season is always fantastic with the different art that is created and performed here.
The company Massive Owl have travelled from Bristol for their one night show Castle Rock, based upon the Stephen King novella The Body and the 1986 film Stand By Me. We see the character of Ray and his enthusiasm for boxing but with the need to feel invincible. This narrative evokes a technical and physical abstract show showcasing the stage in his life and events that pass.
However, I came away not being a huge fan. The performance was at one, slow pace for the hour duration, feeling a lot longer, and not in a positive way. I kept waiting for something to happen, to get fast paced, to change the dynamics, a shock twist but nothing did. Arguably there was a small crescendo nearer the end but it felt displaced.
Technically – the use of projection, microphones and a loop peddle was interesting and added some interest to the stage presence. Not to rely on prerecording always shows a new talent to a production.
Majority of the production saw physical theatre, which I’m always a fan of. And you could see what they were trying to achieve but unfortunately it just did not hit the peak. While what was enjoyable was a little bit of comedy from the character of Ray from his dialogue which was witty without needing a huge monologue to get there. He had a twinkle in his eye that felt could have been harnessed more.
Castle Rock felt very much still in a scratch phase and with guidance needed to hone what the company wanted to achieve. However, any artist can see the hard work and direction they wanted to go and that in itself is something to commend.
(4 / 5)
Gaslight is a psychological thriller and focuses on the behaviour and sanity of Mrs Bella Manningham. Jack Manningham, is a subtle and clever manipulator who is controlling his wife by questioning her mental stability Indeed it is he who has engineered her current fragile state of mind and preys on her insecurities using the knowledge that she is haunted by the facts that her own mother had what was termed a ‘weakness of mind’ and ended her days in the ‘mad house’. It is clear from the opening scene that she is a woman who is living with a roller coster of emotions, her behaviour is constantly being questioned by her husband.
Whilst most evenings Jack Manningham is out pursuing his own ‘interests’ Bella is left alone in the house. Lonely and fearful and with items mysteriously being removed for which there is no explanation, she believes that there is someone else in the house. The dimming of the gaslight and footsteps from the rooms above at the top of the house, which her husband insists is not to be entered by any of the household and the doors remain locked, only serves to heighten her fear and anxiety.
Bella’s eventual salvation comes in the form of a detective, Rough, who has an ongoing interest in both Bella’s husband and the house in which they now live. With the aid of Bella’s maid, Elizabeth, Rough visits the house to investigate the unexplained happenings, discover the truth and save Bella from both insanity and her husband.
Rupert Young’s portrayal of Jack Manningham is skilful and disturbing. From the moment we first see him with his wife, the hairs on the back of the neck stand up. Jack clearly has an agenda in which his wife no longer serves a useful purpose so he plans to be rid of her. Young’s skill and ability to transform from a caring and compassionate husband to a calculating and manipulating bully make for uncomfortable viewing as he plays on his wife’s insecurities and her fear for her own state of mind.
As a cad and a rouge Young’s performance was confident and calculating. His stage presence and arrogant posture made his character believable and that as a man living in a male dominated society he could do what ever he wanted without reproach.
In contrast, Keith Allen, the man who we remember most in the mad and bad roles gave us a wonderful performance as the seasoned detective Rough. He brought the character alive from the moment he sets foot onto the stage, with a commanding confidence that makes the audience warm to Rough immediately. His delivery of Rough’s humour engaged the audience and his on-stage presence brought the play to life. During a scene when Jack Manningham return home early and unexpected there is almost a hint of a farce as Rough hides in a dressing room and just for a few moments we almost forget the dark subject of the play. Allen outstanding characterisation gives us a view into the compassionate and understanding side of Rough’s character as he endeavours to uphold justice and save Bella from a situation in which she has no control.
The play was staged on a single set, the drawing room of the house, which was designed and lit beautifully creating a style of Victorian elegance which was in keeping with story telling. There was a particular attention to the lighting as the name of the play would suggest, Gaslight, and these were given by two elegant lights either side of a large over mantle mirror which also gave an additional perspective during the scenes where Jack Manningham was addressing his wife as his reflection could be clearly seen although his back was to the audience. The atmosphere of the set was also enhanced by the use of lighting outside the room, which we were to believe was from the street outside, casting shadows of the players against the back drop of the drawing room doors, and also from what has to be the most realistic fire I have ever seen on a stage.
The costumes were as expected of the period in which the play was set and gave an overall feel of authenticity and drama which followed throughout the performance.
The play is a tale of crime and domestic abuse. Jack Manningham believes in ultimate power and control over his wife. His behaviour is now recognised by society and the law as what is now referred to as ‘coercive control’. When Rough suggests to Bella that her husband is not all he seems and is creating the problems she now faces, she is resistant. Clearly a woman of low self-esteem she clings to what she knows, her role as the loyal wife to a man who loves and protects her rather that being able to accept that truth of the situation unfolding around her. Her need to be loved blinds her to the realisation of what her husband is capable until the end. It is only the maid, Elizabeth, who sees Jack Manningham for who he really is and it is her intervention that draws the story out to a successful conclusion.
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
(5 / 5)
(4 / 5)
(2 / 5)
