Category Archives: Theatre

Theatre

An Interview with Director Julia Thomas

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Hi Julia great to meet you, can you give our readers some background information on yourself please?
I’m from Llanelli and have been working as a director for a few years now. I trained as an actor originally at Drama Centre London and this gave me a solid foundation in understanding how to work with actors and writers. My curiosity for directing was ignited when I went on a course with Living Pictures lead by Elen Bowman. As the week went on I found myself gravitating to the director’s side of the room and shuffled away from acting. I’m currently based at Leicester Curve and have been developing some new initiatives to build relationships with the local community and look after new writing and Writerslab. I’m about to direct a promenade production of A Clockwork Orange at Curve. Before arriving in Leicester, I was Resident director at the National Theatre Studio which was an incredible opportunity to be immersed in an environment dedicated to enabling the spark of an idea to be made into a theatrical form. I’ve been able to continue my relationship with the NT through being the Leicester gatherer on My Country, a Work in Progress and I am also a Director for NT Connections and will be co-ordinating the Festival in Aberystwyth next month.

So what got you interested in the arts ?
When I was younger I spent a lot of time with my Grandmother who was always telling me stories and teaching me songs. We spent hours watching MGM musicals on the television and I loved imagining that I was Doris Day or Judy Garland. Coupled with the fact that my box of Lego was also at my Grandmother’s house, I had the ability to make anything with bricks that my imagination would allow and as I was very shy it was a real story telling haven. When I was ten I went to see my sister perform as King Herod in a brilliant show called ‘Follow the Star’ with Llanelli Youth Theatre. I was so bowled over that this was actually my older sister, she was hilarious and unrecognisable. I joined LYT for their next production which was Gypsy. I found lifelong friends and a love of theatre that brought me out of my shy shell and all of that story telling that had become a part of me finally had a place to be nurtured fully.
http://www.llanelliyouththeatre.co.uk
You are a theatre director can you explain how this role operates within the creative team on a production ?
My role as director is to bind every person and every element of the production together. Quite often you will hear the phrase ‘the director’s vision’ to describe the idea that the director thinks about what it should be and gets everyone on board to realise that. I think that it is more than vision, the director’s role is to think about the audience’s experience which must encapsulate all of the senses to be truly engaging. This can only be achieved through creative collaboration with the performers, composers, designers, producers, technicians and magicians (well in this instance!)  My aim is to tell the story in the most exciting and dynamic way possible and to make the best use of the wonderful skills and talents of everyone around me.

You are currently directing a brand new version of the classic legend Jason and the Argonauts. This sounds exciting! Can you please tell us more about your role on this production?
I started working on this brilliant play in January. I have wanted to work with Mark Williams (the writer) for some time as he has an amazing ability to write for families and takes epic stories and makes them feel current and fresh. Mark and I had two weeks in the Park and Dare Treorchy with actors, our designer Charlotte Neville, Composer Dan Lawrence, Illusionist Neil Henry and Fight Choreographer Sam Davies. At this stage my role was to try to solve some of the challenges of the play such as ships crashing, Skeletons coming to life and various articles exploding. The ideas generated in that time had me in fits of hysterical laughter and it was a really joyous and playful process. It culminated in a ‘toga ban’ which helped set the tone of the production. Everyone has been working away to prepare their element of the production and when we get back to rehearsals we will fuse all of these elements together.
Jason and the Argonauts sounds perfect for families who might enjoy films like Star Wars or Lord of the Rings. Do you think live theatre can compete when it comes to offering cultural experiences for audiences?
Absolutely. Because of our obsession with screens we are becoming more isolated. Theatre lets us share an experience as a community where we hear the laughter or gasps of amazement of others and feel that we belong. Jason is made for all of the family to enjoy, it isn’t a show for children that adults are made to suffer. There is genuinely something for everyone and to be able to share that across the generations will be thrilling. It’s good to get out too isn’t it?

How are the classical stories of Jason and the Argonauts relevant to todays audiences?
Jason has to do the right thing in order to become the hero that he longs to be. He fails in his first attempt to get the fleece but gets a second chance and learns that power isn’t the most important driving force. I think that in the current climate of uncertainty globally, we need to be reassured that human beings can do good. We can be selfless and fight on behalf of those who are vulnerable and exploited. We look for unlikely heroes and long for adventure. Classical stories give us that in abundance. This version will be advocating the toga ban and so the characters will feel more contemporary.
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?
I think that we are a country that should acknowledge the class barriers that have fuelled prejudice and disadvantage for centuries. We like to pretend that class doesn’t exist or that it has something to do with poverty. But just doing the odd project here and there isn’t going to stop this injustice. Self belief is the key to enabling people to achieve what they want to achieve and to live happy and fulfilling lives regardless of this no entry barrier. It is about a change of attitude and quashing of assumptions from those ‘in charge’ that will bring about social equality.
If you were able to fund an area of the arts in Wales what would this be and why?
I would fund Youth Theatres across the country so that within a 30 mile radius of every part of Wales a young person could participate for free in a company. Joining Llanelli Youth Theatre was a pivotal factor in the building of my self belief and I learnt so much about working with others, speaking up and having an opinion as well as working on productions (On and off stage). It was a training ground for life. It baffles me that funding for Youth Theatre isn’t a priority. Only those who can afford to pay for Stage Schools are getting this opportunity and that saddens and worries me.
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?
I think what excites me the most is that National Theatre Wales established a Community of theatre makers and that not a week goes by when I don’t hear about this writer working with that film maker or that director working with a choreographer. The mix up of how people work together is exciting and unique to Wales. When I arrived in Leicester, I was like ‘where is everyone then?’ Being so used the tight knit arts community it became my mission to bring everyone together to forge collaborations.

Images for The Nether, Killology and How my Light is Spent.

Now that I’m back in Wales for a little while, Productions that I’m looking forward to are The Nether at Chapter (I saw the original production in London and  I am keen to see how this can be done without the heavy use of digital technology). I’m also looking forward to How my Light is Spent and Killology at the Sherman. What a treat to have two new plays by Wales finest writers on in the next couple of months.
http://www.chapter.org/nether
http://www.shermantheatre.co.uk/performance/theatre/killology/
http://www.shermantheatre.co.uk/performance/theatre/how-my-light-is-spent/
Many thanks for your time Julia

Theatre

An Interview with playwright Mark Williams

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Get the Chance values the role playwrights living and working in Wales bring to the cultural life of our nation. Here is our third interview in this series with playwright Mark Williams.
Hi Mark great to meet you, so what got you interested in writing?
I’ve always loved stories, and was a big reader of books and comics from an early age. I had a great teacher in primary school, who encouraged me to let my imagination run wild in creative writing lessons. I remember vividly the moment when I realised that in a story, you could transform the world, in any way you wanted to. As I got a bit older, I became interested in the ‘behind the scenes’ world of TV and film. Magazines and movie tie-in books often had interviews with writers, and that opened up the idea that writing was a process, and something it was possible to do as a career.
You are a playwright can you explain how this role operates within the creative team on a theatrical production ?
So far, every production has followed a slightly different model. Sometimes my role has more or less ended when rehearsals began. Other times, I’ve been more actively involved, right up until the show opens, and during the run. There can be lots of factors determining the writer’s role, ranging from how the director likes to work, to the needs of the producing company, or your own time commitments on other projects. Ideally, I love it when the process is as collaborative as possible.
You are currently working on a brand new version of the classic legend Jason and the Argonauts. This sounds exciting! Can you please tell us more about your role on this production.
 ‘Jason’ was first commissioned by the Courtyard Hereford, and undertook a short English regional tour in 2013. This new production of the play developed from meetings with Sharon Casey and Angela Gould (at co-producers Blackwood Miner’s Institute and RCT Theatres). They’d enjoyed my family play for Theatr Iolo (‘Here Be Monsters’), and were keen to develop work for that audience. I’d always wanted to return to ‘Jason & The Argonauts’, as I felt it had the potential to have a further life. This new version is a very collaborative production. Two development periods explored elements such as music, set design, and how to really push the ‘legendary blockbuster’ feel of the story. I worked with one director (Owen Lewis) on an initial R&D, and then in a second development phase this year with Julia Thomas, who is directing the finished production. I’ve redrafted the script several times, as a result of the constructive feedback of the creative team – taking on board suggestions and new ideas, and then filtering them back into the script. Ultimately, my role on this production is to work closely with Julia, to ensure that none of the exciting new ideas are lost, but also that the spirit and tone at the heart of the story is retained.

I believe this new version of the story draws on the original interpretations of the tale, as well as modern stories inspired by Greek myth – from the Marvel Comics Universe, to Star Wars, The Lord Of The Rings and beyond. Do you consider audiences when you approach work of this nature.
Yes, absolutely! Director Julia Thomas is very audience-driven in her approach, and we’ve both had a family audience firmly in mind, at every stage of the process. A modern audience’s expectation of the story was a big part of my inspiration, right from when I first started working on the script. When you mention the title, most people think of the animated skeletons in the 1963 movie! So you’ve got to try to deliver those classic monsters and mythic heroes – but in a theatrical way, with a cast of four brilliant actors. In a wider sense, audiences (myself included!) are just as likely to know the stories listed above, as they are the legends that inspired them. There’s no “standard version” of Jason’s story, and there’s a great creative freedom in seeing it as taking place “out of time”. Our version of Jason’s ship The Argo could be a space-ship, just as much as a sailing vessel. I’m also constantly reminding myself that this adaptation should be a fun and exciting story – one that also hopefully has something to say to a modern audience, about what it means to be a human hero.
The marketing materials for the production reference lots of popular culture and films. With increased competition for live performances from on demand TV like Netflix. Do you think theatre can offers something different for audiences from film and TV?
I do! Modern audiences are very sophisticated, and well-versed in a wide range of storytelling, with a lot of entertainment competing for their time and money. But what theatre has is its immediacy and communal atmosphere – the excitement of taking people on a journey, together, in a live setting. We’ve approached this version of Jason & The Argonauts as being a fantastical playground, where we can have fun with all the theatrical tools at our disposal – music and sound, imaginative set design, stage combat and effects and illusions.

Here Be Monsters, Theatr Iolo

You have written a range of family production ranging from Horrible Histories, Here Be Monsters for Theatr Iolo to this new production of Jason and the Argonauts. Family productions are often many audience members first points of access to live theatre. Is this something you ever consider when writing and developing your work?
Very much so. I went to a Family Arts conference last year, and was struck by the statistic that most families only go to see a live theatre show once or twice a year. Which is not so surprising, when you consider how expensive a family night out can be. So you really want to push value for money, as much as possible. We’ve approached every scene as almost being a mini-story in itself, asking questions like: “what are the big set-piece moments?” and “what do we want people to be buzzing with excitement about, after the show?”
If you were able to fund an area of the arts in Wales what would this be and why?
 Increasingly, a lot of my work is inspired by my native Pembrokeshire, and I’d love to see more funding for the arts there, to expand on the great work already being done in the local arts scene. I’d also love to see more promotion of, and focus on, genre writers, particularly in sci-fi, fantasy and horror. Wales has produced some brilliant and prolific authors in their field, writers like Tim Lebbon and Jo Walton, and I think we should champion them a lot more than we do.

 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? 
 I love the diversity of work, how eclectic it is. How we can produce world-class plays, music and opera; brilliant comedy like The Harri Parris and the Mach Comedy Festival, and innovative productions at The Other Room, that transform a small space with flair and invention. Lucy Rivers’ recent Sinners Club was brilliant – wonderful writing and performance. I loved the Llawn Festival last year, an eclectic mix of lovingly-curated art, taking place in Llandudno. And I’m a huge Meilyr Jones fan – his live shows are incredible, and I can’t wait to hear what he comes up with next.
www.jasonandtheargonauts.co.uk
Jason and the Argonauts, tour dates.
April 2017
The Park & Dare, Treorchy
Friday 7th 6pm
Borough Theatre, Abergavenny
Monday 10th 2.30pm
Maesteg Town Hall, Maesteg
Tuesday 11th 2pm
Theatr Brycheiniog, Brecon
Wednesday 12th 2pm & 7pm
Blackwood Miners’ Institute, Blackwood
Thursday 13th 1pm & 4pm
The Weston Studio,
Wales Millennium Centre, Cardiff
Friday 14th 7.30pm
Saturday 15th 2.30pm & 7.30pm
Torch Theatre, Milford Haven
Tuesday 18th 1pm & 4pm
The Welfare, Ystradgynlais
Wednesday 19th 2pm
The Hafren, Newtown
Thursday 20th11am & 1.30pm
Neuadd Dwyfor, Pwllheli
Friday 21st 2.30pm & 7.30pm
The Met, Abertillery
Wednesday 26th 1pm & 7.30pm

Theatre

Get the Chance to be a Theatre Critic with Taking Flight Theatre Company

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Get the Chance to be a Theatre Critic with Taking Flight Theatre Company
Are you aged 16-100?
Interested in theatre, dance, visual art, gigs, poetry, film and more?
Want to access a free workshop which will give you an insight into the role of a critic?
Then, this is for you! The workshop will be BSL supported. It will be suitable for D/deaf, hard-of-hearing and visually impaired participants.
All participants will be able to access the workshop for FREE and see Taking Flight Theatres new production for FREE
You’ve Got Dragons
“A delightful tale of one child’s journey to come to terms with their inner dragons. ”
A fully accessible intergenerational show featuring creative captioning, BSL and audio description

Audio flyer below

http://www.chapter.org/youve-got-dragons
What’s involved?
You will take part in a 90 minute workshop with Guy O’Donnell Director of social enterprise and online magazine website Get the Chance getthechance.wales
During the workshop you will be given an insight into the role of the arts critic. You will be given instruction on how to create a review and upload your response online. Participants will look at blogging, video, social media and much more! All workshop participants will get the opportunity for their reviews to feature on the Get the Chance website.
If you have one please bring a laptop, tablet and/or smartphone.
The workshop is limited to 10 places. All participants will be expected to review the production
The workshops is on Thursday the 13th of April at Chapter Arts Centre, 40 Market Rd, Cardiff CF5 1QE


http://www.chapter.org/your-visit
Schedule
4:30- 6pm Workshop
6pm break
6:30-8pm Performance of You’ve Got Dragons
Post show talk
To book please email
getthechance1@gmail.com

Theatre

Review In Other Words, Hope Theatre by Hannah Goslin

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out of 5 stars (4 / 5)

In the top of the Hope and Anchor, one of my favourite venues displays yet another interesting and ground breaking piece of new writing.

Matthew Seager, who also stars as our main man in this duologue of a production, debuts his writing in the form of a tale about a couple dealing with the slow deterioration due to age and dementia.

We run through, back and forth to the past, the present and an almost out of body experience of the couple looking back on their life, giving a narrative to their own torment. Coming into the production itself, the couple interact with us, become playful with each other, and when relating the narrative to us, we are brought in, trusted and engaged with. This in itself connects us and makes us feel as if we have known this pair our entire lives.

The slow deterioration is not referred to by name until near the end – dementia. Without prior knowledge, we can only guess what they are referring to and so it comes as a surprise to us, as it does to the characters despite our inner guesses and assumptions. With only two characters, the character of the Doctor is never seen and this draws us into the couple more, intruding on their thoughts and feelings.

Seagar is a loveable goon. We fall in love with him, just as his character wife does, and so to see him become something unlike himself it painful to us. Using his voice, his facial expressions and the change in his posture is natural and painful to watch but very like an older person conforming to dementia.

Celeste Dodwell is also a natural triumph. I had previously seen her only a week before in Testament by Old Sole Theatre. In the previous production, she also plays a character with an upsetting storyline. However, and it is not just because a change of accent from American to Australian (although her Australian accent in In Other Words is very subtle) but comparing the two approaches to the characters, she sure shows talent, showing such a difference between the two. She draws us in and we soon feel her pain, her thoughts and so the story soon becomes not about a man and his dementia, but how they both cope with the change.

With a basic staging, little props and beautiful old school Sinatra and changing in lighting to flag up a new scene, there is nothing fancy taking away interest from the writing but only adds to the theatricality of the play.

Looking around the audience, not a dry eye was in the house – men who in the queue to enter looked strong and alpha, are reduced to tears and myself… well… my sleeve was soaked with drying my eyes at the end. In Other Words takes on a new approach to the subject and is beautifully tragic.

http://www.thehopetheatre.com/productions/in-other-words/

Theatre

An Interview with Lynwen Haf Roberts

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The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to Lynwen Haf Roberts. We discussed her career to date, professional development opportunities in Wales and Memory Jar / Jar Atgofion at the Sherman Theatre on Thursday, March 16.  An event to showcase new writing in aid of the Alzheimer’s Society.


Hi Lynwen great to meet you, can you give our readers some background information on yourself please?

Lynwen with the cast of Deffro’r Gwanwyn/Spring Awakening by Theatr Genedlaethol Cymru

After graduating from Trinity University College, Carmarthen in 2010, I started my career as an actress in Theatr Genedlaethol Cymru’s touring production of “Deffro’r Gwanwyn” (the Welsh translation of Duncan Sheik and Steven Sater’s musical “Spring Awakening”) and haven’t looked back since. I’ve been fortunate enough to have worked with some of Wales’ top theatre companies, including Theatr Na N’Og, Fran Wen, Arad Goch, and more recently with The Other Room at their “Young Artists Festival”. I was also a series regular on Welsh soap opera “Rownd a Rownd” for 2 ½ years.
So what got you interested in the arts?
The arts have always been a part of my life – I can’t really remember a time when I wasn’t performing or taking an active interest in the arts! In the area where I was brought up in Montgomeryshire there was a great interest in Welsh culture and the arts, and so the local Eisteddfodau became my stomping ground, and gave me the opportunity to perform and practice my craft. It also helps that I’m a massive show off – there are stories of me re-enacting scenes from Disney films in the living room!
You are producing an event called Memory Jar / Jar Atgofion at the Sherman Theatre on Thursday, March 16 at 7:30 PM – 11 PM. Can you tell us more about this event?
Memory Jar/Jar Atgofion is a bilingual script evening that will be held in Sherman Theatre foyer. Four stellar playwrights – Chris Harris, Susan Kingman, Carys Jones and Matthew Bulgo – have submitted four brand new 10 minute pieces for the event, which will be directed by Chelsey Gillard and Izzy Rabey, and performed, script in hand, by a handful of local actors. It’ll be a relaxed and intimate evening of new writing, that’ll also serve as a fundraiser for a charity that’s very close to my heart, the Alzheimer’s Society.
Why did you choose Memory as a theme?
This event is part of a wider fundraising campaign for the Alzheimer’s Society – in October of this year, I will be partaking in a charity trek for the Society along the Great Wall of China and have a target amount that I need to raise prior to that trek. In order to tie the event into my fundraising efforts, it made sense for me to choose Memory as a theme. It also intrigued me how the playwrights would deal with said theme – although the event is a fundraiser for a very specific charity, I didn’t want the pieces to all be an analysis of Alzheimer’s and Dementia; I wanted a variety of plays to be presented, and the theme of Memory offers a wide scope, I think!
https://www.justgiving.com/fundraising/Lynwen-Haf-Roberts
How can we buy tickets?
Tickets are available on the door, so there’s no need to pre-order, however, should anybody want to show an interest in attending, I encourage them to visit the Facebook event page :
https://www.facebook.com/events/1301902726522457/
If you were able to fund an area of the arts in Wales what would this be and why?
Without a doubt, I think that we need more support for new and emerging talent, both on stage and off. In particular, I feel that there’s very little encouragement for people to pursue careers as producers, artistic directors and casting directors; people who understand what’s going on locally, and who could really sound the trumpet for local, undiscovered talent. More money could, for example, be utilised to set up training/shadowing schemes in the above fields, which could, potentially, give enthusiastic young artists the chance to be paired up with established names and learn their craft from people within the industry.
What excites you about the arts in Wales?
I feel that, especially over the last two years, many grass roots projects are being set up and filling gaps in the industry that have been over looked of late. For example, having The Other Room as a sort of “home” for fringe theatre has inspired many smaller companies to follow suit and start producing new, cutting edge work, while projects like Leeway Productions’ “10 Minute Musicals” and Dan Fulham’s “Hello Cabaret” evenings are creating a platform for musical theatre performers and composers that has been non-existent until now. And that’s even before we start mentioning the national and international connections that are being forged by theatres such as Sherman Theatre and Theatr Clwyd, which means that Welsh work is being presented to audience over Offa’s Dyke and beyond. Nowadays, it’s not necessarily the case that you HAVE to be in London to see or be a part of great theatre – we in Wales are more than capable of producing top quality work, both on the fringe scene and the main stream circuit, and that, to me, is truly exciting.
What was the last really great thing that you experienced that you would like to share with our readers?
I think it’s difficult to think of a piece that both delighted me and horrified me in equal measure as much as “Looking Through Glass” did last December at The Other Room. It was manic; it was sadistic; and it was deliciously dark. I loved it!
Thanks for your time Lynwen.

Theatre

Review Show Me The Money, Paula Varjack, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (2 / 5)

A major and rising issue in the Arts industry is funding. Funding your art, your life, somehow becoming a fully fledged artist. It’s something we have all encountered –  myself hindering to this especially from coming back from a short stint of travelling to find myself on benefits with endless applications, interviews for jobs I am more than qualified for but not meeting the fine margin in the big City that is London.

While Paula Varjack predominantly focuses on those making theatre (a choice of a hiatus of theatre making made by myself due to trying to pay the bills) and other forms of art, rather than a broader range of the arts sector, she brings up points and an exploration that can be related to for all roles in the industry.

As a solo performer, she uses a range of mediums to express this. Some are through music, sound bites, interviews with other artists projected on the screen – we are back to the theatre genre I have recently discovered in previous Battersea Arts Centre shows such as Hairpeace and Live Before you Die, that is more a presentation that a show. Never the less, it is not any less of an interesting approach to performance art.

Much of the production was Varjack reiterating her well rehearsed scripting – however in comparisons to times of ad lib, it definitely felt scripted, rehearsed and lacked personality and warmth that we would expect from an issue so close to the heart.

While all the concepts are there, and she brings up lots of very good points that we relate to, the piece still felt in the scratch phase. It felt like something more ‘polished’ was lacking – while if we are realistic, theatre is known for never being perfect but always striving for more; more definitely being needed to make this piece ready for stage.

I found it personally hard to relate to at times. Not only did her background sound well supported which many artists do not have the luxury of (and I have no doubt this was unintentional an opinion) but also a stress was put onto the hours put into a show and a sense that this dragged. Again, while I feel the approach was meant to be positive, showing the hard working aspect of art, it felt more cynical, regretful and a sense of boredom in making the piece despite the modern dance music playing in the background.

With a lot of respect for Varjack and understanding and appreciation of what she is trying to achieve with Show Me The Money, it just felt a little lost at times and confusion in the point being made. However, she does bring a matter of fact expression to the topic at hand which is always welcome in contesting current art politics.

https://www.bac.org.uk/content/42639/to_archive/show_me_the_money

Film & TV, Theatre

An Interview with Rachel Williams Development Producer, BBC Writers room – Wales

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The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to Rachel Williams, Development Producer, BBC Writers room – Wales. We discussed Rachel’s career to date, opportunities for Welsh and Wales based writers and the exciting new plans for BBC Writersroom Wales.
Hi Rachel great to meet you, can you give our readers some background information on yourself please?
Hi , I grew up in Church Village and went to primary school in Treforest, Pontypridd. I did a degree in English at Birmingham University and started out working as a music writer and journalist, and music radio producer before moving into factual television and directing on documentary and Arts series such as The Culture Show and Channel 4’s Cutting Edge. When I had my first child I came back to Wales and moved into TV development – I was Head of development for BBC documentaries where amongst other things I developed Factual drama including Jack Thorne’s ‘Don’t Take My Baby’ for BBC3. Telling fictional stories appeals to me for many reasons but mostly because you can go deep into the story and structure. I feel very privileged to be able to read scripts and work with writers as part of my day job – and also to have licence to  watch drama box sets guilt free!
So what got you interested in the arts?
I think my primary school St Michaels in Treforest first sparked a love for the Arts – I still remember my inspirational English teacher Mrs. White and the inventive way she taught creative writing and poetry. I think the Eisteddfod was another huge influence – I was billeted with a family in North Wales to perform at the national Eisteddfod – which was an amazing experience and my first exposure to the Welsh language. I think it’s great that Wales has such a strong culture of valuing and supporting the arts.
You are coordinating the BBC Writersroom Wales, what are the plans for this new initiative?
Writersroom Wales has been set up with the aim of developing new and established writing talent in Wales, to find tangible opportunities for writers across the genres and to help develop more diverse stories about contemporary Wales on network drama and comedy. I started in the role just before Christmas and we are also looking to appoint a freelance script editor/ producer who can work across Welsh language submissions. One of my first jobs is to set up the first BBC Welsh Writers Festival – an event that will bring together the Welsh writing community and launch the Writersroom in Wales. We are also planning an inventive launch event and writers workshop in North Wales in the summer in partnership with Radio Cymru and other partners. We hope to have regular one off writing events, writers residentials for writing commissions. We are going to set up a Writers development programme and work closely with Arts organisations from National Theatre Wales to Fio to It’s My Shout to support and develop writing talent.

You have organised a Writers Festival on Friday the 24th of March at Chapter Arts Centre, I wonder if you can tell us more about this event?
This is the first BBC Welsh Writers Festival and is modelled on the annual BBC TV Drama Writers festival. We wanted to gather the Welsh writing community together and give them some inspiration, ideas and information about opportunities and also to announce that the Writersroom has landed in Wales. We are putting on a mixture of craft and Q&A sessions giving writers an introduction to everything from Children to Comedy, Radio drama and TV drama. Andrew Davies will chair the day with a Q&A on his writing career followed by a craft session on adaptation, talking about War and Peace. We will also have a Q&A from the brilliant Lucy Gannon who will talk about her writing career across TV and radio. We have sessions on everything from Dr Who to Casualty and Welsh language drama like Hinterland. I’m really excited about the sessions on Comedy Drama and Representing Wales at the end of the day which will be a vital chance to hear from writers and programme makers about the current landscape and hopefully provoke some lively discussion.
http://www.bbc.co.uk/writersroom/opportunities/wales-writers-festival
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’m not aware of barriers,  although arguably there is always a class barrier to becoming ‘a writer’ in the first place. I know there are people in Wales doing brilliant work with under represented communities. The Iris Prize in particular is a fantastic success story that has an international reputation. But I do think there’s a sense that English language drama about Wales has not always reflected the diversity of contemporary Wales. It would be great to see some more diverse stories of Wales on screen – whether that’s about the Somali community in Bute Town or the Italian Welsh community in the Valleys – from a wider range of perspectives. The Writersroom have just produced a second series of the Break for BAME writers – and the next series is coming out of Scotland. It would be great if it could come to Wales the following year.
http://www.bbc.co.uk/mediacentre/latestnews/2016/the-break
http://www.bbc.co.uk/writersroom/successes/the-break
There are range of organisations currently supporting Welsh and Wales based writers, have you met with any of them? How do you see BBC Writersroom Wales working with the current support network for writers?
In the first few months of the job I’ve tried to meet as many dramatic writing related organisations as I can from Ffilm Cymru to theatrical institutions such as Theatr Clwyd and National Theatre Wales. There are already people doing brilliant work in terms of writer support and development such as the Sherman Theatre who run a well respected writer development programme – we don’t want to step on any toes and duplicate work that is already being done. The question for me is how can we work and support existing structures and is there a need for something else that is not currently being addressed? Identifying that need is the sweet spot for the Writersroom – we are here to help fill that gap. But the key thing for us is that any initiative we set up has to have a tangible outcome for the writers at the end of it – whether that it is a slot on radio, TV or online.

Director General of the BBC Tony Hall

The deficit of English Language drama produced by the BBC reflecting the diversity of the citizens of Wales is a cause for concern. Is this something you will be tackling in your new role?
This is an issue that has been identified by Tony Hall and this is partly why BBC Writersroom has been set up in Wales – to nurture and develop the next generation of story tellers writing about Wales. The recent announcement of an additional £8.5m funding for programming in Wales – as well as a new £2m development fund for comedy, drama and factual in the Nations – should be a real boost and help generate new drama and comedy coming from Wales.
http://www.walesonline.co.uk/news/wales-news/bbc-announces-50-increase-investment-12636991
If you were able to fund an area of the arts in Wales what would this be and why?
We already have brilliant writers here working in theatre and radio – what would be great is if there was a vehicle for talented new writers to develop and hone their writing. So much of good writing is about craft – understanding story telling and the beats that make good drama – and this is definitely something that can be refined. Russell T Davies talked about learning to write on daytime drama The Grand – for the first time writing a scene entirely in subtext. I know these sort of long running drama strands are expensive but perhaps we could experiment with form – do it online or in a drama podcast?
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?
I love the vibrant theatre scene in Wales, which is full of talented actors and writers. I recently saw Lucy Rivers’ Sinners Club at the Other Room – visceral, immersive ‘gig theatre’ that told a factual story in a clever and layered way. She wrote and performed it – and for what was essentially a monologue the pace never lagged. It’s going to be showing at Theatr Clwyd next. Watching theatre at the Other Room always feels like a treat, as it’s such a small intimate venue.

https://www.theatrclwyd.com/en/whats-on/sinners-club/
Thanks for your time Rachel.

Theatre

Review The Testament, Old Sole Theatre, Vault Festival, The Vaults by Hannah Goslin

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out of 5 stars (4 / 5)

Down in the sub-terrain of The Vaults, we are transported for one hour to the Bible belt of America, to hear several peoples stories.

A very basic set – we enter to a small group singing harmonic Christian music on a small stage, titled by a large fluorescent cross above their heads. Our seating is set out just like a church – wooden, uncomfortable pews instantly implementing us into the whole church-like atmosphere.

Our performers range in backgrounds – a normal looking business man whom we can imagine with a white picket fence, wife and kids in the suburbs, a sister duo who are very close, housewives with working husbands and young children, a young man in an orange jumpsuit who is in prison for his crimes and finally our main songstress, a soulful lady who we also get the feeling of her presence being in a councillor/priest type role.

Each story is delivered by these people – starting out with a normal tale, which slowly becomes more serious, more emotional and more negative. Two of the three stories present tales of abuse, and the other of an accidental event. However they all have a common link – God.

This basic and very powerful production, set in a Church, sets out to contradict and challenge the Christian belief in the eyes of the abused, the hurt and the unjustified. Somehow they either come back to God despite these awful events, or are being made to repent when they pointedly ask the main question of – why should I when he has let this happen to me? They show just how the ideal of Christianity hides these issues and gives a false sense of security when one doesn’t know where to go.

The performers themselves are so invested in their stories that it’s hard to believe that such terrible stories are a work of fiction. While totally plausible and most probably similar to many true tales, the way they present them is so emotional, expressed  in their trembling voices, their tearful eyes, their stiff and shaking bodies. And of course, by cleverly presenting the stories from positive view before quickly deteriorating, we are thrown into constant shock at how detailed and truthful these tales are being presented. For performers to do this so easily, with perfect accents and to make us feel a roller coaster of emotions is a triumph.

Of course one cannot write a review and not mention the music. There is no organ, or pre-recorded music but pure acapella which helps with the atmosphere but also push the essence of escapism through religion. Once a story is told, the songstress addresses it vocally and we see the performers comforted. As if their story suddenly does not matter because they have God.

No frills, no fancy sets or lights, The Testament presents stories of turmoil in an honest and raw way, while challenging religion without the obvious finger pointing.

Written by Tristan Bernays
Presented by Old Sole Theatre Company
Directed by Lucy Jane Atkinson

http://www.vaultfestival.com/event/testament/2017-02-23/

Dance, Film & TV, Music, Theatre

BSL Video, Why not join Get the Chance? with Steph Back

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This video features Get the Chance member Steph Back inviting you to join our team. The BSL transcript is below.
Hi my name is Steph Back.
I am a member of Get the Chance. Get the Chance support members of the public to access sport and cultural events such as gigs, the theatre and performances. The members then review the activity they have attended. All of the reviews are posted on the Get the Chance website getthechance.wales
Get the Chance wants to support new deaf/hearing impaired critics. Get the Chance can run free workshops teaching you about how to be a critic.
If you are interested in getting involved you need to contact Guy O’Donnell, The Director of Get the Chance.
You can email him at odonnell.guy@gmail.com or text him on 07703 729079. Get the Chance also has a Facebook group and you can get in touch there as well.
https://www.facebook.com/groups/GettheChance/
Thank You.

Theatre

Review Bucket List, Theatre Ad Infinitum, Battersea Arts Centre by Hannah Goslin

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out of 5 stars (4 / 5)

When we think of a Bucket List, it tends to be what we want to do before our final ending.

Full of ideas of endings, Bucket List at the Battersea Arts Centre takes on a fictional tale which is very much transferable to modern day.

Based in Mexico, we meet a little girl who goes through a traumatic short life. Basing it upon political issues between the USA and Mexico, we see many disastrous events from pollution of Mexico, to the corrupt ‘policia’ with suspicious deaths, rape and drug use. Milagros witnesses all these awful and terrible events and decides after finding out that she is dying, that those responsible must pay.

A small group of performers, all female, bring a strong cast to this stage. Ranging in ages, each of them present such interesting and energetic performances. The main cast double up on characters which are seamless and well- constructed – ranging from children to adults to different genders. To help with this, occasionally a prop or piece of costume is used but while this aesthetic is welcomed, it isn’t always necessary.

My only issue with this was with accents – throughout the production it was evident that the English native speakers were able to adopt a Mexican accent, but for whatever reason chose not to for some main characters and when changing to another accent, managed this with no issue. It was slightly confusing when this became a revelation as it felt slightly inconsistent.

What struck me however was the level and grace of the physical theatre involved. Much of the production used this technique to change places, to represent different events and feelings and it was fantastic. The performers had so much energy, were able to move seamlessly and almost seemingly with little effort and this as a performance itself was as intriguing as the narrative.

Live music and singing was also a great addition – a simple drum set and percussionist providing some of the background and a guitarist and phenomenal singer at times providing a singing narrative, becoming the corrupt characters in her androgynous style, made this production a little bit more special than it already was.

Bucket List is raw, exhilarating, intelligent and fantastic. And with the current political situation in America and Mexica, very poignant and modern.

https://www.bac.org.uk/content/42644/whats_on/whats_on/shows/bucket_list
https://youtu.be/CxlFNcpcYv8