Category Archives: Theatre

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

Theatre

BSL Review (F.E.A.R) A Mr & Mrs Clark production at Chapter Arts Centre by Stephanie Back

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Please find below a transcript of the BSL review of (F.E.A.R.) performed by Gareth Clark at Chapter Arts Centre.

Hello my name is Steph. I’m a member of Get The Chance and I am now going to review a performance called (F.E.A.R.) This was performed by an actor called Gareth Clark, focusing on his fears, in society and the differences in this growing up from child to adult.
I arrived at Chapter Arts Centre where the performance was happening. I had been here before so knew what it was like and where I was going so it felt quite relaxed. I went to the desk and asked to pick up my ticket; there was a bit of a communication break down because the lady did not understand me but I wrote it down and it was all okay.
I then went to find the performance space. It looked interesting with big red letters at the back spelling out the word fear. There was a man sat next to this in a crocodile mask, looked good and a bit scary!

I noticed from the start that Alastair,Sill who was audio describing the piece was sat in the audience a couple of seats across from me. I know from previous performances the AD has been hidden in a box behind the scenes and the blind or VIP audience members can access this though headsets. I appreciated that the audio describing was not hidden away and that (apart from the Deaf obviously!) all the audience had access to this.

At the start of the piece Tony Evans who was the BSL interpreter let us know he would be moving. I have been to many performances before where the interpreter is placed to the side of the stage and you have to look back and forth in order to access this. I thought this will be interesting to see how this works. It was really clear. And really easy to follow. It was clear it had been well planned and thought out. There was even a moment where Tony put his hand over Gareth’s mouth and it was nice to see this interaction between the character and the interpreter. This relationship worked really well and benefitted the performance. I felt more part and more included in the performance because of this.

The match between the interpreter and performer also worked really well. The age was similar, look was similar and the portrayal of emotion matched up much better. Because they grew up around the same time this similar experience they had added to the performance. If for example it had been a young woman interpreter the story would have come across much differently.
Seeing both the actor and interpreter on stage also highlighted that (F.E.A.R.) although experienced differently for each person, is the same as a concept overall. Added a sense of uniting it for all.
At the start, I found I didn’t believe the character portrayal of a child as much as I did the different ages shown throughout the rest of the performance. I am not sure why but it was perhaps because I couldn’t emphasise with the facial expressions or they seemed a little fake in reaction to the fear with the over put on smile.. Having said this from teenage upwards I felt like I could well and truly emphasise with this character. It was like there was this barrier that was destroyed in front of us. There was a sudden onslaught of his experiences and an honest, open dialogue that could make him seem vulnerable to the audience. He said that society told him that it was bad to have sex because he will get a person pregnant at 16 and life will be ruined. And then he asked; what do I do then about this aching in his balls with the natural urge to have sex. That felt so honest and open. And being told that by society is something that I was told too. From there I trusted him so much more because it felt like there were no secrets in that room. The fear was exposed.

After the performance I talked to the Interpreter and audio describer about the performance and they mentioned how access had not been an afterthought. It had been planned and budgeted into the performance. This is really rare. A lot of the time they are brought in last minute and told GO! But it was so clear that access had been thought about and it so much more a better performance because of this.
One thought to improve is that it was unclear at the start as to why the scene remained exactly the same with nobody moving for about two minutes. I understood afterwards from asking that this was due to allow time for the AD to set the scene. It would have been good to let the Deaf audience know beforehand that this would happen so it is not so confusing when nothing is happening for a while. I feel there could have also been more audience interaction, I know there was some but a bit more to encourage the audience to think more about their own fears perhaps.
To conclude. I really enjoyed the performance and really appreciate how much the access was thought about. I felt I could connect so much more to the piece because of this.
Thanks you for watching.
http://www.chapter.org/fear

Theatre

Review The Understudy, Canal Cafe Theatre by Hannah Goslin

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Images courtesy of Simon Annand

out of 5 stars (4 / 5)

Known as the American Season at the Canal Café Theatre, The Understudy written by Theresa Rebeck has been brought to the UK stage at the top of this busy pub theatre in Little Venice.

Taking a comical look at contemporary theatre, the story of The Understudy, while based in America and on the Broadway circuit, presents a story that is relatable to all performing arts professionals in the industry, within every country.

The story features three characters – a Hollywood film star, brought into this theatre production to up ratings, The Understudy to him who is a typical struggling actor trying to find his big break and our stage manager, a former performer who fell into the role when money got hard. Set in the round, we see the play unfold on the ‘stage’ of this theatre, an imaginary weed smoking enthusiastic lighting and sound technician who is only referred to and spoken to with no answer and a backstage area we never see, only for performers to exit through a curtain.

The performers are hilarious – bouncing off one another, they do well to build relationships in front of our eyes. Some interactions are to do with the production; some personal; some 6 years ago. This triangle of talent does well to be as dramatic as us performers can be, and to illustrate the irritation of the industry – the performances that make way of talent for the ‘star’ to bring in the cash. The dreams that are sometimes given up because you have to eat and pay bills. The performer who cannot stand Hollywood (mostly through bitterness of failed auditions) and wants to stay true to the essence of theatre. But somehow, they all are very similar.

The relationship between this three that we see unfold in front of our eyes is constantly intriguing. The performers evidently enjoying their performance and the themes which only helps bring understanding to the production and the humour. They are able to ‘ham up’ their performance to be satirical of the industry but without melodrama and without taking away some of the naturalism of the piece.

The Understudy is honest, comical and a brilliant play. A play within a play can sometimes be slightly dreary but with this production, it is seamless and abundant in irony.

Theatre

Helen Joy, I am a 3rd Act Critic because……..

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Get the Chance works to support a diverse range of members of the public to access and respond to sport and cultural provision . 3rd Act Critic Helen Joy gives a personal response in the video and article below on her reasons for being a member of our team.


Hi ….. can you give our readers some background information on yourself please?
Crikey, here goes: after first degree in Geography and politics aeons ago, was self-employed as a graphic designer and printer in Cardiff. This went wrong. Very wrong. After a bankruptcy and divorce and the completion of Foundation Arts and Design, I then joined a contact centre answering calls for National Rail Enquiries and ended up working for this international contracts organisation for 12 years, eventually leading their off-shoring programme to India.
Some time later and for reasons various, I returned to South Wales, took a Masters in Fine Art at Cardiff Met Uni and started keeping pigs.
So what got you interested in the arts ?
Nothing got me interested in the Arts – I was always drawing, making and painting for as long as I can remember. But, like many of us, I followed other people’s dreams and not my own for much of my life. I dipped in and out of the Arts at points but it is only now that I feel able to justify spending so much more time as a fine artist, writer and illustrator. I also work as an artist-facilitator, specialising in art classes for older people.
How did you get involved with 3rd Act Critics
Through a community arts project run by A3, I met Guy O’Donnell and saw his work on encouraging young and old to become critics and reviewers in Wales, fulfilling a national need. This opportunity to start pulling together the skills I had acquired over the years with my love of all things arty was too good to miss.
It has given me the confidence to produce articles on smallholding, arts and life in general for publication. Through this, in part, I have had invitations to speak at events, collaborate on books and exhibit my own drawings.

Helen participating in a playwriting workshop at the Wales Millennium Centre

Get the Chance works to support a diverse range of members of the public to access cultural provision . You as a 3rd Act Critic are one of the groups Get the Chance supports. Are you aware of any barriers to equality and diversity for either Welsh or Wales based critics?
I think that it is hard to break in to the Arts when older; and also as a Welsh person who doesn’t speak Welsh. Language can be used to exclude and deter. I also think that assumptions are made about people who appear to be privileged in some way and they too are disadvantaged. Prejudice is subtle.
 If you were able to fund an area of the arts in Wales what would this be and why?
Older women. We are often treated as a bit of a joke, we seem to have comfortable lives and seen to have had our chances; we are the invisible glue of local communities, giving our time and expertise with humour and hope but with little acknowledgement or reward. It is assumed that we have incomes, partners and that we are in the Arts as a hobby, for play. We are the ones who will develop the young, mentor the adult and encourage the old. We do not qualify for much by way of support and yet we keep it all going.
What excites you about the arts in Wales? 
There is a lot going on; at last craft is seen as having a value almost on par with fine art. Ditto participatory and community art.
What was the last really great thing that you experienced that you would like to share with our readers? 
Training to produce radio where I hope to interview people about their lives, all great and none small.
Check out 3rd Act Critic Helen Joy’s reviews for Get the Chance at the link below
getthechance.wales/?s=helen+joy