Category Archives: Theatre

An Interview with Rebecca Jade Hammond, Artistic Director of Chippy Lane Productions

November 4, 2016 Guy O'Donnell 2 Comments

Photographic Credit Kirsten McTernan

Our project coordinator recently spoke to Rebecca Jade Hammond Artistic Director of Chippy Lane Productions

Hi Rebecca, great to meet you, your company Chippy Lane productions has the mission statement of;

“Our primary mission is to promote Welsh writing and Welsh talent to audiences beyond Wales. We aim to achieve this by producing work across both the live and recorded arts.”

I wonder if you can tell me how you work towards achieving these aims?

“We do this in a number of ways;

By consistently keeping abreast of published Welsh playwrights work and progression.
Encouraging new writing and work from emerging Welsh playwrights.
Social Media/events/building communities of like minded Welsh and Welsh-loving people beyond Wales.
Expanding our events to include rehearsed readings, socials, scratch nights, fundraising evenings as well as performances.”

Following on from those objectives then your company has recently produced a new scratch night to showcase Welsh writing called “Chippy & Scratch” at The London Welsh Centre and “An Evening of Welsh Playwrights” for The Bloomsbury Literary Festival. Phew you must be busy! It sounds like you might be interested in commissioning playwrights and creatives yourself as part of your companies development. Is this something you would like to see happen?

“Yes, and it is one of the main reasons for setting up a twice annual “Chippy & Scratch Night” to seek out new and emerging, fresh Welsh writers who want to progress and take the next steps in bringing their work to the stage. From our most recent event I am currently in talks with potential writers to try and match one of them to a project for 2018, which will be our next project and inspired by the text The Glass Menagerie by Tennessee Williams.”

Your first production to be staged in Wales is “Love Steals Us From Loneliness” by Gary Owen at Chapter Arts Centre in December. Why did you choose this particular play?

“When I set up the company I wanted to create a buzz and to begin my producing portfolio with a real bang. There was no question that I had to begin with the most important and successful playwright to come out of Wales – Gary Owen. The love for his writing is so exciting and he is making a tremendous noise on the London theatre scene with the success of Iphigenia in Splott . His writing is real, raw and has that rarity with most contemporary work to flick from comedic to tragic like the flip of a coin. Love Steals, is by far my favourite piece of his and when I read it for the first time five years ago – I always said “If I ever pluck up the courage to have my own company, I need this to be the first!”

Love Steals Us from Loneliness was first staged by NTW/Sherman Cymru in Hobo’s nightclub in Bridgend Town Centre in 2010. Do you think this play still resonates for today’s audiences?

“Absolutely. I think it’s pretty timeless to be honest. The themes will always be resonant and even though in someways it is aimed at a younger demographic it can still reach further. After all everyone has or will experience, love, loss, grief, and heart ache. Some will battle with sexuality and others will venture down the wrong path or maybe overcome the tragedies in their lives to be successful, happy and content, able to exist and move forward.”

Rebecca you also champion Equality and Diversity in the Arts across the UK. As an activist and committee member for charity Act For Change. How did you become aware of the work of Act For Change and can you give us more information on your work in this area?

“Firstly it affects/has affected me as a female in the arts where women are poorly represented across the board and also as a regional working class Welsh actor. On a wider level it has affected many of my friends and work colleagues who are BAME and working in the industry and it needs to change. The UK is not majority white and English and it hasn’t been for a very long time. AFC was set up in response to an ITV advert run in 2014 “Where Drama Lives” the advert failed to represent any BAME actors and brought together a collective of people across the arts to revolt and campaign for a wider awareness and change to progress diversity and equality across the arts in the UK. Our arts should reflect the society in which we live in – which is diverse and I for one can’t understand why this isn’t currently reflecting across the live and recorded arts. We have a wealth of talent in the UK and opportunity should be available for all who want it. My most recent work for AFC which includes helping with their events and social media was putting into action a fair casting process for Love Steals. I spent four months ploughing through Twitter, Facebook, the internet, spotlight and drama schools to find BAME actors who were authentic Welsh. I’m not going to lie it proved difficult as Wales – doesn’t seem to have many and this is a major concern.”

Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists?

“I went to showcases and performances in and out of Wales to build up a portfolio of actors who were Welsh. Of the 180 that I currently have in my portfolio 35% are BAME and 25% are over the age of 35. Whilst I worked really hard to raise these figures – it isn’t good enough and it’s not from lack of research or trying. I tried to find a fair amount of actors who represented that bracket to go into the casting process, but sadly there wasn’t enough and I’m concerned that it comes from education predominantly.

We need schools to be studying / performing / spreading awareness of stories of BAME communities and we need to take young people to watch these stories being performed. For example The Mountaintop at The Other Room, Cardiff – A teenager of colour might have seen Alexandria Riley’s performance and gone away thinking “Wow – She’s amazing and she looks like me. That story was about a part of my culture, I want to be like her.” Children want to see themselves in the characters in theatre as well as television and film. Give them that, then that seed will grow from a passion to a hobby and then to a potential career giving progression and more diversity in Wales.”

If you were able to fund an area of the arts in Wales what would this be and why?

I would give the funding to primary schools and secondary schools to finance their theatre trips. We need to capture the next generation of creatives at a young age and show them worlds that can only belong on stage and captivate them. Culture them and nurture them to realise the beauty and possibilities of different types of Theatre. By giving them free tickets to the theatre they will experience a different type of education and in light of the wealth of work swelling in and out of Wales at the moment, perhaps they will see a reflection of what they could do or who they could be in those productions.”

And finally what personally excites you about the arts in Wales? Is there a production you have experienced recently that you would like to share with our readers?

“The arts in Wales are changing. It’s not the place I left in 2004, there is wealth and excitement for Theatre that is new, diverse and vibrant. The Other Room, The Sherman Theatre and NTW to name a few are taking enormous leaps producing great work and reaching new audiences and then take this work beyond Wales to engage with other parts of the UK – this is wonderful news.

As for a production I think I would choose the The Weir at The Sherman Theatre. Mostly because it was giving voice to Irish culture and Irish life and that is what I want Chippy Lane to do beyond Wales. Bring a bit of Welsh culture beyond Wales. As an Artistic Director I want to hear as many stories from all around the world as I can and the wonder of Theatre allows you to do that rather beautifully.”

Thanks for your time Rebecca

Theatre

Invite to Kali Theatre Collaborators Tea Party, Sat 12th Nov.

November 2, 2016 Guy O'Donnell Leave a comment

Kali Theatre Collaborators Tea Party 12.30-2.30pm
Saturday 12 November, Wales Millennium Centre, Cardiff.
BSL Supported event

This will be a networking event bringing local practitioners, producers and promoters together for a relaxed afternoon of tea, cake and conversations sharing ideas and opportunities for creating/commissioning new theatre work.

The Collaborator Tea Party will be facilitated by Kali’s Artistic Director Janet Steel inspired by the incredibly successful collaboration between Arts Alive, Black Country Touring and Kali that created My Big Fat Cowpat Wedding. At the Tea Party you can hear all about how we developed My Big Fat Cowpat Wedding into the popular, high quality, sell out show it has become and discover how you can do the same.
It will be an opportunity for Rural Touring schemes, promoters and rural venues interested in commissioning new work for rural touring to informally meet individual practitioners, producers and theatre companies to share ideas and discuss ways of collaborating in an informal and inspiring way. Kali wants to encourage and inspire more collaborative working to create new work specifically for local and national rural and small scale touring.
For more information and to RSVP please contact:
Jonna Nummela, Outreach Project Coordinator
Kali Theatre jonna@kalitheatre.co.uk +44 7879539936
http://www.kalitheatre.co.uk/whats-on/Collaborator%20Tea%20Parties.html

Theatre

Launch of Creative Citizens Cymru

November 2, 2016 Guy O'Donnell Leave a comment

Launch of Creative Citizens Cymru
10-12pm, Saturday 12 November, Wales Millennium Centre, Cardiff.
BSL Supported event
A morning of creative conversation to share your thoughts on ways to support the development of Creative Citizens acting as critics, ambassadors, volunteers, advocates, promoters, workshop leaders and more! A morning of relaxed presentations and conversation.
Please RSVP as places are limited
Guy O’Donnell
Director Get the Chance
odonnell.guy@gmail.com
getthechance.wales/

Theatre

Review, Key Change, Open Clasp, Battersea Arts Centre, By Hannah Goslin

October 28, 2016 Hannah Goslin Leave a comment

(5 / 5)

Key Change

Open Clasp

Battersea Arts Centre

Open Clasp, an all-women’s theatre company are doing and achieving wonderful things in the world of community theatre. Key change is a production based upon previous work with real women in prison – the aim to originally put on a piece of theatre to their peers, Open Clasp has now transferred it to the public with the use of actors.

Highlighting domestic abuse, drug addiction and the mediocre and difficult life sustained by women in prison, this clever company draws upon physical theatre along the use of staging, music and lighting to create violent scenes, verbatim stories and incidences with the ‘inmates’ role swapping to give power to the stories and breaking the forth wall and comical writing to cleverly cut the tension and emotional and powerful scenes.

The performers are excellent – ranging in ages, each one is physically able to move around the space and evidently enjoying doing so. They are also very clever to change their bodies, movement, voices and facial expressions to create different characters – some we hate, some we love. This is done in a way that when we hear the stories of each inmate, we forget when they showed us the wife beater or the times when violence in prison is rife.

Some of it is comical by breaking the fourth wall – we see times where the performers make it obvious that we are in a performance and play upon this for our amusement, but still never breaking character. There’s foul language and slightly rude insinuations but again these either helped with the comedy or pushed the boundaries of these true and horrifying stories.

Key Change is a beautiful piece of work. Open Clasp have given us the right balance in true life stories and issues with a hint of comic relief that is respectful and a truly wonderful piece of theatre. It challenges our stereotypes and beliefs of women ‘criminals’ and gives a sympathetic and realisation to the innocent and self-protecting reasons some of them have been incarcerated.

http://www.openclasp.org.uk/our_work/detail/Key-Change/83

Theatre, Uncategorized

Review Blackbird The Other Room by Kiera Sikora

Image October 27, 2016 Kiera Sikora Leave a comment

All photographic credits Kirsten McTernan

(4 / 5)

Set in an office break room, as unclean as their past, ‘Blackbird’ begins with Ray (Christian Patterson) and Una (Sophie Melville) on opposite sides of the small and intricate room, both wanting to speak whilst both unsure of what to say or where they can look.

With a firstly faltering light and some seriously uncertain small talk, a head-to-head confrontation begins between the two. They tell us of their past, how Una and Ray shared an illicit relationship which began and ended when Una was 12, and Ray 40, and how they both ended up here in Ray’s new life’s occupancy, after Una saw a photograph of him in a magazine. She tracked him down. And the past in put in front of them, staring at them in the flesh.

What’s both horrendous and horribly beautiful about this play is how David Harrower has us question who the hell the victim is here. You see, Ray is not a monster- at least there was no sign of one at The Other Room for me. But his actions are undoubtedly monstrous. To abuse, a word prized from his own mouth by Una, a 12-year-old which has harmed her both emotionally and physically is evil. And there are more than a million of different kinds of evil in this world but I saw not just one on that stage, I indefinitely saw a few more. You see it seems that it is the cruelty of feelings that conjured up these horrendous events and emotional sky scrapers. Ray tells us that it was his genuine, non-tactical and uncontrollable desire to speak to Una. That ‘speaking’ lead to what they ultimately became. He would purposely look for ways and reasons to talk to Una not because he thought profusely about what she looked like naked but because he was emotionally attracted to her understanding of human feelings. Ray is likeable. Disturbingly likeable. You may well sit in the audience and see how he could be a very nice man to have a very nice chat with. He believes that Una ‘understood love’.

But, for Una, it is that understanding of human feelings that could’ve been one of the ways in which she felt that she could and did love Ray. And it could’ve also been the reason why she thought he loved her too. From the beginning of the play we see that she is a girl who feels things on a deep and sensual level. That quality in a person is usually something that when discovered by somebody else can be a quality that helps them thrive together. But we can see here how that quality is what made her bleed for Ray. Una is delicate, a shadow of her youth who, though beautiful, is internally beaten. Seeing her at 27 with her heart pouring out of her mouth allowed us to see her as a 12-year-old. And seeing both her Ray (now 55) in the same room meant that what was put in front of us was two people who share a time that was both forbidden, but almost admittedly for both exclusively sometimes savoured.

This play is in very many senses difficult, wonderfully so under the direction of Rupert Hands who’s delicate and detailed direction compliments the script and its disorientating duologue of wretched honesty. It’s bright, bold and dissimilar design by Ruth Hall, with lighting designed by Alia Stephen and sound designed by Sam Jones commend the intricate space at The Other Room.

Christian Patterson and Sophie Melville are a credit to Harrower’s words making you throw your moral compass in a ditch and leave you wondering to the bar with no way of seeing what’s right and what’s honest.

Blackbird runs at The Other Room at Porter’s until Friday November 4th.

Prepare to be left in a concrete conflict of emotions.

http://www.otherroomtheatre.com/en/whats-on/seasons/autumnwinter-at-the-other-room/blackbird/

Theatre

Review A House Repeated, Battersea Arts Centre, By Hannah Goslin

October 26, 2016 Hannah Goslin Leave a comment

(4 / 5)

A House Repeated

Battersea Arts Centre

In a transverse stage, little set but two chairs and two hospitable hosts, A House Repeated is unlike any other show I have experienced.

Described as a game show piece of theatre, it was as if we were transported into imaginary cluedo. Acting in two teams, we made decisions as a team when faced with choices of direction and actions. With no idea the outcome of this experience, we willingly engaged in a comedic yet creative piece of theatre that could have lasted for an hour up to several.

Unfortunately for this company, two audience members of an older persuasion were not so open and left very quickly. While it would seem this would disturb the piece, the hosts were understanding, the other audience members made this comical and this helped to return to the ‘normality’ that we had been involved in. This was nothing to do with the clever on stage interaction, but a naivety of these particular members to the different between our traditional theatre and the more experimental and immersive theatre that is challenged today.

Beginning in control, we were told mostly what options were available for our movement throughout our imaginary building, we were also told what the building looked like and so little was left to us to decide. We began hesitate, until we realised that the options given to us were not the only options, giving us the freedom to think more for ourselves, warming up to the concept. This is until we were given the chance to decide ourselves. Hilarity and a range of possibilities were open to us, giving us slight control to what we wanted to see and where we wanted to be. Anything was possible and it brought a lot of fun and laughter.

We were given the chance to be a team but let our imagination run – enjoying the mystery and the joy of such an interesting and fun performance art.

Art, Music, Theatre

Review Clear Cut OUT by Kimberley Pennell

October 19, 2016 Kimberley Pennell Leave a comment

After attending the last Clear Cut, I was apprehensive that its relocation to The Globe would negate a little of the intimacy it held in the tightly packed gallery space at MADE. Where the audience, sat at the knees of the performers, were close enough to catch every facial tic and viscera of emotion. Yet, by the end of the night, moving shoulder to shoulder with strangers on a makeshift dance floor, I felt the familiar sense of closeness. The new, rather more auspicious, platform, rather than forcing distance, allowed the artists to explore and subvert traditional space through both their work, and proximity.

Without introduction, two female voices, disjointed and distanced by static, swelled through the darkness. On a continual loop, the cycle of barely discernible phrases and jarring feedback quickly superseded the instinctive need to distinguish language and became a haunting norm, as if it were the voice of the space itself. Heightening the tension, paper aeroplanes poured down from above, which revealed, when unfolded, texts that were as tangled and mired in themselves as the surrounding soundscape. The experience was displacing, emphasised when the performer stepped into, through and over the audience, speaking into a megaphone, becoming the physical manifestation of the voices that both invited and rejected the act of listening, participation and belonging.

Will Salter

The exploration of our transformative interactions space, whether physical, mental or negative, was articulated most convincingly by the poetry of Rosie Bufton. Her intimate portrayal of the truncating nature of prison, stemming from her work with inmates, details the devastation inherent in incarceration. The reality of the lives laid to waste in the “concrete womb,” are made apparent by her references to fathers, brothers and men, that without the possibility of a future, are left to languish inside the structure of the poem, even after we had finished listening. Bufton moved from the physical prisons, to the abstract, but no less damaging, emotional and mental prisons that are built by trauma, and policed by us. Moving and relatable, Bufton urges that despite how trapped we may feel inside our own minds, at least with self-agency, there is hope for breaking free.

Turning Worlds

Turning Worlds, a complex, multi-disciplinary, and ultimately, beautiful performance – both visually and sonically – was so layered upon completion that it almost defies summary. Exploring and deconstructing the stiff structure of formal, and specifically, courtly, dance, Turning Worlds related the subversion of free and fluid movement to a revolt in wider society. The combination of music, spoken word, technology, video and dance worked in perfect symbiosis, culminating in something fresh, exciting and not to be missed.

The similar physicality of Livia Frankish’s clarinet performance of Three Ephemera posed, and answered, the question of how much a performer can give to a pre-constructed piece of work. Watching Frankish lean into her instrument, her chest ebb, her shoulders rise, her face articulating the emotion in each note, the act of creation appeared so intimate I felt voyeuristic watching. With a surprising amount of comedy she exaggerated the toll the piece takes physically to play, eventually superseding the voice of the clarinet with her own, almost tantrum like crescendo of notes, asserting the creativity and control of her interpretation.

A Leap of Faith

Artist Robyn Hobbs took to the stage in what I described in my notes as a “dope ass Mrs Rotherham outfit”. With a heavily outlined nine-yard stare, the collaborative team of artist and band, lead by Ben Thomas, engaged in an elaborate call and response. Hobbs moved from frenetically painting, to enacting a progression of symbols and allegories that turned in tone with the seamless transitions of the music. The Leap of Faith alluded to by its various tropes, was sinister and wild in its expression, a literal and metaphorical precipice exemplified by the near edge of the stage. By the end, both band and artist declined into an entropic chaos, a stream of consciousness both verbal and aural that reflected a fall into a metaphysical madness, creating questions that lasted long after they departed the stage.

Particularly poignant was the collaborative dance and film based piece, Knots Cymylau. The film made visible the struggle of a body working through the trauma of mental illness. Heavy with the metaphor of its proximity to the cliffs edge, the camera work contrasted the vastness of the landscape, versus the macro shots of the body stretching and recoiling, emphasising the instability of identity anxiety with pulsating music and red screens. Especially when, perhaps unintentionally, it was followed by our compere’s poem, begun with repeated “shhhhs.” Reflecting the stigma that often dogs conversation of mental illness.

Nevsky Perspective

Finishing, was the atmospheric, complex and full-bodied music of Nevsky Perspective. Pure vocals looped over industrial beats in an intricately layered soundscape that built and built, until its full weight settled into some sort of profound sonic experience. The set acted, not as a song-by-song showcase, but as an experience in its entirety, moving from hauntingly delicate moments to room engulfing sounds. A slow, aural burn that demands, and is truly worth, your investment.
As ever, no Clear Cut event is ever fully complete without the inimitable Will Salter. The vast spectrum of adjectives I could use to describe his performances will always pale in comparison to seeing the man and his extraordinary enunciatory prowess. Acting as the vessel for a DaDa-ist entity, his guttural and phonetic utterances stretched out of his body in a way that seemed improbable, and, despite our human mouths not being nearly as gymnastic, managed to get the audience shouting along before the first act had even started.
Clear Cut OUT is a unique event that manages to be both magnificently curated, yet totally organic. Consistently constructing programmes that offer a diverse range of experimental performance art, Clear Cut is an accessible and entertaining entryway into the fringe of local and national talent.

Find out more about the event here: https://www.facebook.com/CardiffMADE/

Or have a taster here: https://www.youtube.com/watch?v=JeQJ4MaIVtU

Props to Glyn Owen and Sarah Vaughan-Jones for the images.
Special thanks to The Globe, Sarah Vaughan-Jones and all contributors and performers for the organisation of this event.

Theatre

Review The Weir, The Sherman Theatre

October 16, 2016 Lauren Ellis - Stretch Leave a comment

Valerie – Orla Fitzgerald | Jim – Richard Clements | Finbar – Steven Elliott | Brendan – Patrick Moy | Jack – Simon Wolfe (C) Camilla Adams — at Sherman Theatre.

(4 / 5) The Weir is encapsulating.

On a blustering night deep within the mystic Irish countryside, even in the comfort of community, friendship and booze there is little to be certain of. Conor McPherson’s ‘The Weir’ is a triumph in story-telling, and under the masterful direction of Rachel O’Riordan is not only chilling but compelling.

There is an odd contentment in the solace of shared experiences, and at the Sherman Theatre, on stage or off, the atmosphere was electrifyingly fused – it didn’t seem so nightmarish to be sat with strangers on either side. O’Riordan’s direction is so seamless that it thrusts and drags and clasps you into submission, before any digestion of what is happening. The audience were left desperate, grasping at any silence that could be appropriately filled with laughter.

Finbar – Steven Elliott | Valerie – Orla Fitzgerald (C) Camilla Adams — at Sherman Theatre.

To perform a piece stepped in Irish heritage and folk-law to a metropolitan audience in Wales’ capital, and have it received so graciously is a testament to its actors and their craft in story-telling. It is a two-sided agreement in which audiences must venture beyond ‘Les Mis’ and ‘Grease’, and all that inhabits their comfort zone to access unfamiliar culture. And, equally responsible, the Sherman Theatre, as well as various other art centres within Wales are evolving the country’s arts scene, in their community events and outreach programmes; offering a way out of our ostracised communities, and incestuous thinking.

Jim – Richard Clements | Jack – Simon Wolfe (C) Camilla Adams — at Sherman Theatre.

In Simon Wolfe’s execution of Jack there lies a particular tactful ferocity and subtlety. He is not once stereotyped or pre-empted, he is a man with principals, honour, and regret. Orla Fitzgerald as Valerie is wispy and engaging and proves less is more in her self-contained torture. She is humbling to watch. As a cast, Richard Clements, Steven Elliott, Orla Fitzgerald, Simon Wolfe, and Patrick Moy are sublime, generous and wholly complimenting as one. As each character took to share their own story, all around them would soften and their faces would become beacons in the darkness – you would go everywhere with them.

Valerie – Orla Fitzgerald | Jack – Simon Wolfe – Brendan – Patrtick Moy (C) Camilla Adams — at Sherman Theatre.

Designer Kenny Miller’s staging is bare and simplistic offering comfortability in a no clutter/bull shit ruling for the piece.

The Weir is truthful and raw, and is exactly what is needed to counter-act any audience’s consuming of ‘TOWIE’ or one of the many Kardashian spin-off series. It is a classic of contemporary theatre; empathetic, voyeuristic, and unnerving.

The Weir will be playing at the Sherman until the 22/10/16. It then transfers to the Tobacco Factory in Bristol 25 Oct -05 Nov 2016.
http://www.shermantheatre.co.uk/performance/theatre/the-weir/

ARCHIVE: The Weir

Theatre

Interview with Assistant Director of The Weir, Chelsey Gillard.

October 16, 2016 Lauren Ellis - Stretch Leave a comment

Chelsey Gillard

Get the Chance Young Critic Lauren Ellis-Stretch recently got the chance to chat to Chelsey Gillard Assistant Director of The Weir currently playing at The Sherman Theatre. They discussed her journey and experiences as a young director, generous tipping of bar staff, and the basis of the show itself.

What is the Weir about, for you?

‘Ahh -this is such a tough question. The Weir is such a multi-layered play that covers so many huge topics – the supernatural, grief, the depopulation of Rural Ireland, love…. the list goes on. At it’s heart I feel the play is about the ways we connect with each other as human beings and how we chose to relate to the natural world around us. Little acts of kindness play a huge role in the script and I really think it is telling us to do those things for others when we possibly can.

Through what training and experiences have you come to be an assistant director at the Sherman?

‘I applied to be the assistant director and had to attend an interview. Before this I have directed my own work and also been an assistant director for various venues and directors. This is my first time working at The Sherman on a main stage production. I studied English and Drama at university, all through my degree and in the two years since graduating I saw as much theatre as possible and tried to meet as many directors as possible to ask their advice on how to do what they do. Before that I was also a critic – a great way to see shows and think about them in a considered and logical way.

A video of Chelsey Gillard and Rachel Williams presenting at the National Rural Touring Forum on Bridgend Young Critics Project.

How did you prepare yourself for the role of assistant director on this piece?

‘I read the play – many, many, many times. I made lots of notes on the play looking for any parts that were of particular interest to me. The play takes place in a bar so I also made notes about who had what drinks and who paid for each round and other details that would be useful in the rehearsal room. As the play is also set in Ireland I did a lot of research about the kind of area the characters live in and the folklore that is mentioned in the play.’

Do you have an impressive ‘bar’ story?

‘Oh, I’m not sure. As a young freelance director I have to sometimes work other jobs to help pay the bills, so I will sometimes work as a bartender for one off events. When I was working at a really posh wedding the father of the bride decided he liked me – as my name is the same as his favourite football team. So thanks to my name I left that wedding with a crate of the most delicious red wine I’ve ever tried as well as a great tip!’

Is there anything specific you have learnt and will take from your time working on this play?

‘I’ve learnt so much watching Rachel O’Riordan the show’s director and Artistic Director of The Sherman Theatre in the rehearsal room – she is just amazing! It’s been great to see how to usefully bring lots of research into the rehearsal process in a way that is useful to the actors. I’ve also never worked on a stage the size of the Sherman main stage so that has been a really good chance to pick up tips on how to make a show feel really intimate even when it’s in a big space.’

Artistic Director of The Sherman Theatre and director of The Weir Rachel O’Riordan (centre) with the cast of The Weir in rehearsals.

The Weir will be playing at the Sherman until the 22/10/16. It then transfers to the Tobacco Factory in Bristol 25 Oct -05 Nov 2016.

http://www.shermantheatre.co.uk/performance/theatre/the-weir/

ARCHIVE: The Weir

Film & TV, Theatre

Review ‘King Lear’ RSC Live by Danielle O’Shea

October 13, 2016 Danielle OShea Leave a comment

(4 / 5)

King Lear follows the story of a king who loses power to two of his daughters after banishing his other, his realisation of the wrongs he has committed and his eventual fall into madness and wisdom. It is a timeless story of family, loyalty, how power corrupts and the definition of insanity.

Doran’s interpretation of a Shakespearean classic is ambitious from its minimalist setting to its total reframing of some of Shakespeare’s most iconic villains. As stated in his pre-show interview, Doran saw the play as more political and as a discussion of the human condition. This is evident when he sacrifices some of the family dynamic to give these themes more support; this can be seen when he portrays the characters as ideas rather than as complex individuals.

A talented cast all shone through in this production but particularly Nia Gwynne, as Goneril, who portrayed the character as far more sympathetic than any other performance has. Along with this, the live streaming of the event allowed for quick and easy access as well as the inclusion of events such as the interval feature on the costume design for the feature which reflected the lavish lifestyle and transitions that the characters go through stunningly.

All together a dazzling interpretation of a classic reimagined for such political climates as ours. However, in the first half there is a particular imbalance of light and dark as the attempts at humour often seem out of place but order is restored in the second half leading to a dramatic and satisfying finale. This seemed to be the perfect introduction to such an old and intricate tale.

RSC Live: King Lear
Vue Cinema, Swansea
12th October 2016
Author: William Shakespeare
Director: Gregory Doran
Design: Niki Turner (Theatre Design), Tim Mitchell (Sound Design), Jonathon Ruddick (Sound Design)
Technical: Hannah Miller (Casting), Carl Root (Production Manager), Ed Parry (Costume Supervisor)
Cast: Anthony Sher, Nia Gwynne, Kelly Williams, Natalie Simpson, David Troughton, Oliver Johnstone, Paapa Essiedu, Antony Troughton
Producer: John Wyver (For Live from Stratford-Upon-Avon), Zoe Donegan (Creative Team)
Running Time: 3hrs and 30 mins
Danielle O’Shea

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