The National Youth Theatre of Wales isn’t a company like other theatre companies, so its work can’t be lined up against standard productions. It’s more akin to a BTEC Performing Arts course in which the end-of-year show is designed to give all students an equal opportunity to participate.  Because of this, there aren’t individual stars whose performances can be picked out.  In The In-Between, the main plotline features a heroine but she is played by different performers at different times.

Reviewing is not course moderating.  Reviewers can’t comment on the process that lies behind the end product, even though the workshopping will have been a key part of an educational process and will be very valuable to the student. The performance is only the tip of an iceberg, however exciting it may be.

Equally, you can’t say much about the script, which is specially worked up for this production and which may never be used again.  So, there are difficulties reviewing The In-Between. 

To stick to facts, the production features twenty-three performers, backed by a creative team of twenty-five.  It’s no small undertaking. The combined work of these people (assisted by staff at Theatr Clwd) is compressed into a fifty-five minute, single act showcase.  The linking theme is the story of Fay, a student on a performing arts course who is considering dropping out.  The show starts with Fay’s failure to hand in her homework, or perform ‘her’ song for her lecturer.  It ends with her predictably deciding to stay on and at the end, supported by the entire cast, she sings what is quite an effective pop song, celebrating the state of being in between training and working.

As Fay’s story unfolds, group activity is choreographed around a series of small sketches.  There is a constant supply of business, much of which centres on a stolen letter.  This handwritten letter, in which Fay tells her lecturer she is dropping out, is recognised as being an anachronism and a bit of a joke.  Dialogue throughout is in English but it’s peppered with Welsh in an evocative way.  Overhead screens carry the script, like subtitles, and a signer works at the side of the stage for deaf members of the audience.  There were a couple of fluffed lines and the screens seemed to get stuck at one point but generally everything was done enthusiastically and well.

– Only I did want a bit more.  I wanted more character acting, allowing a dramatic penetration of Fay’s crisis of confidence.  The self-conscious conversations about the problems of working in the industry didn’t achieve this in any depth, since students really know little about what awaits them down the line.  There might have been a second person, a friend, who does leave the course, recognising that there are other things in life beside the performing arts. (Sacrilege!) The snatches of character acting there were – like the cameo of a grandmother and the emergency call handler who breaks out into ‘Staying Alive’ to demonstrate the kiss of life (!) – were delivered properly, making you think the cast members could easily have done more of the same. 

Perhaps I wanted more conventional acting because I don’t greatly like musicals, even though I recognise their popularity and their economic importance for theatres and for television.  Unless there is an exceptional score, as in West Side Story or Mac The Knife, personally I never feel musicals rise above the level of light entertainment.  I prefer shows that make a demand on my intelligence rather than ones that aim to make me tap my feet.  I like plays where verbal control and projection goes into lines rather than songs and when physical agility is present in movements and gestures and not just in dances. 

I am also intrigued by work where the two genres overlap.  However, in The In-Between there is no question but that music theatre is the be-all and end-all.  It comes with the fairy tale suggestion that fame and fortune do wait around the corner for the girl who is determined to make it come what may. I didn’t engage with this idea.  I wasn’t bothered about whether Fay delivered her course work or not.  I started thinking instead about the cast and the fact that there were more than four times as many young women as young men performing.  A BTEC computer course would probably reverse this statistic. (In contrast, the production team is almost evenly split and the script was written by a woman and a man.)  Maybe this production could have referenced the social conditioning behind gender imbalances.

I would have enjoyed an exploration of late adolescence in which anxiety really came centre stage.  Anxiety is hardly the sole preserve of those on performing arts courses: it is wide-spread and not just in the student community.  Watching one character overcome anxiety in a convincing way would have been interesting.  Watching another fall victim to it might have been moving.  Could there have been a second half?

You could say my taste means I am not the target audience but another feature of this particular type of work is that it has no target.  It was pleasing to see the large audience in the temporary auditorium at Theatr Clwd  (where the buildings are being redeveloped) was an unusual mixture of young and old and the show did have something for everyone – we laughed and applauded – but it didn’t have quite enough of anything in particular to mark it out.  

Maybe the title – and the subject of Fay’s delayed solo – says it all.  The show itself is in-between genres.  It left me in between admiring it for what it contained and for what it allowed its young performers to do but fussing about what it left out.  For a student show, it was very entertaining. As a piece of contemporary theatre, it fell a bit short.

Hi Chris so to kick things off, what got you interested in the arts?

A passion for books which I’ve never lost. The ideas contained within them have informed everything I’ve ever done. I love words but now I’m just as interested in what lies between them. There lies the drama.

Company of Sirens is working with Sight Life Wales to perform ‘How My Light Is Spent’ at Chapter from the 16^th – 20^th August. It’s a production which is described as “What lies beyond the purely visual?” How did this project develop and what are your hopes for the future?

For me the attraction of working with the blind and partially sighted was to discover what was possible. Lock down was a double whammy for many of them, marginalised by their condition and the pandemic the situation became frightening as their interactions shrank further and for many disappeared totally. The performance tells their experiences of this time.  

Locating the performance in a forest creates an analogy between lockdown and being trapped in a situation you can’t see yourself emerging from. The only solution being friendship, support and in this case the kindness of strangers.

Last November we presented “With Eyes Closed” performed between both lockdowns. This proved a life affirming experience that audiences responded to and identified with.

With this new piece we wanted to look more closely at when and how each person’s sight was lost and how they have reconnected with some of the things that are important to them.

The copy for the work references the Covid 19 Lock Down. With the successful roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will continue to return to venues and theatres. How do you think artists can best share stories of the recent Pandemic?

The pandemic was the seismic event of our time that artists will need to respond to. I believe this creative response will impact upon the nature of the work for some time. This project came from the participants’ need to express how lockdown impacted on their lives to a lesser or greater extent. There is much humor in the stories and definitely hope going forward.

If theatres want to attract audiences post Pandemic , what do you think they should do?

It seems that some of the ways theatre existed mid pandemic are here to stay in some form.

I personally feel separating theatre from a live and present audience response isn’t theatre. A live audience leads, creates and forms a performance. Without it you have only 50% of the experience. That’s not to say it can’t be appreciated online but you lose the power to inform the drama by your presence and direct response.

Company of Sirens have worked with members of Sight Life Wales before, how did this relationship develop and can you tell us about your creative process?

We led taster workshops three years ago in order to gauge interest and explore ways of working. The work is participant led while we as a company allowed their ideas to come to fruition. They learn skills, gain confidence and meet friends, while we explore a new and original way of extending our practice. 

My background stretches back  to working with companies such as Cardiff Lab, The Practice and collaborations and workshops with European artists. It is this visual and exploratory approach we look to introduce to the group.

The concept of people with sight loss participating in a highly visual performance style is an interesting paradox but hugely appropriate. Restricted by visual impairment the performers want the opportunity to move, and beautiful things occur.  

Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers that creatives or audiences in Wales face? If there are any, what might be done to remove these barriers?

I think it lies in the mindset of the creative. We deliver a large programme of work, working primarily with new writers and professional actors and creatives as well as the community and groups with protected characteristics..

I think to be inclusive is to approach each project whoever it may be aimed at with fairness and integrity. It’s a way of thinking that once embedded flows naturally into each process. I don’t believe imposing conditions aids creative work and development. We need to always take risks but that shouldn’t negate inclusivity. 

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

Experimentation, risk and the right to fail, without those factors the arts are a museum and we are treading water.

What excites you about the arts in Wales?

The fact that current directives will, I believe eventually lead to a fairer natural way for all people to experience the empowering nature of the arts, and that young creatives keep pushing the boundaries of what’s possible.

What was the last really great thing that you experienced that you would like to share with our readers?

Working with Sightlife Wales

Thanks for your time, Chris

You can find out more about How My Light is Spent and book tickets at the link below. All performances are Audio Described.

How My Light Is Spent (chapter.org)

companyofsirens.com

(5 / 5)

A Pretty Sh*tty Love – Theatr Clwyd

Actorion – Dan Hawksford a Danielle Bird

Cyfarwyddwr – Francesca Goodridge

Dramodydd – Katherine Chandler

Lleoliad – Theatr Seligman, Chapter, Treganna.

Dyma ddrama hynod bwysig a pherthnasol am drais domestig. Ond nid stori unochrog, ‘du a gwyn’ sydd yma ond yn hytrach stori gymhleth a chreulon dau berson – Hayley a Carl. Mae adegau doniol, tyner a chariadus i’w stori nhw ond, yn y pendraw, y trais, y gormes a’r ymosodiadau erchyll sy’n aros yn y cof.

Mae’r dramodydd Katherine Chandler yn hen law bellach ar greu dramâu bachog a ‘gritty’ am gymeriadau sy’n dioddef o drawma. Sbardun y ddrama oedd hanes personol Stacey Gwilliam merch ifanc a ddioddefodd drais domestig cyson gan ei phartner a geisiodd, yn y pendraw ei lladd a’i chladdu’n fyw ar draeth ger Abertawe. Ond mae’r awdures yn pwysleisio nad ymgais i greu theatr verbatim yw’r ddrama hon  – nid hanes uniongyrchol Stacey a gawn yma – yn hytrach stori ddychmygus sy’n trafod yr un themâu.

Mae Chandler wedi creu sgript arbennig, yn acen Abertawe sy’n llifo’n berffaith o un olygfa i’r llall ac mae’r cymeriadau yn rhai gonest, aml haenog a chymhleth. Mae Hayley’n chwilio am ei thywysog – yn dyheu am ramant – ac yn syrthio dros ei phen a’i chlustiau mewn cariad â Carl. Yn ystod ei monologau, mae’n olrhain ei chefndir teuluol, ei magwraeth a’r adegau o dristwch sydd wedi llunio ei bywyd. Y graith fwyaf yw colled ei thad, i deulu arall ac yna i alcohol. Ond mae’n ferch ddewr a phenderfynol, yn gymeriad sensitif a hoffus. Mae Carl hefyd yn rhannu ei fywyd anodd gyda’r gynulleidfa wrth drafod caethiwed ei fam a’i frawd yntau i gyffuriau. Mae e wedi ei greithio ond yn ceisio palu ei hun allan o’r byd hynny wrth fynychu’r gym yn rheolaidd a chynnal swydd. Ar ddechrau’r garwriaeth, mae Carl yn hynod o amddiffynnol o Hayley ac yn dangos munudau o wir gariad tuag ati. Ond, yn anffodus, mae ei deimladau’n tyfu i fod yn obsesiynol, yn beryglus a chymhellol ac mewn dim, mae Hayley’n cael ei rheoli’n llwyr ganddo. Rydym yn gweld ei bwer yn cynyddu, a’i dymer afreolus yn arwain at ymosodiadau ffyrnig arni ynghyd â munudau o wallgofrwydd llwyr. Ac er bod Carl yn flin wedi’r trais a Hayley’n maddau iddo dro ar ôl tro, yn y pendraw, mae’n gorfod gadael. Mae hyn yn dangos ei chryfder a’i phŵer hithau hefyd i geisio newid pethau. Y tristwch yw ei bod hi’n methu anghofio, a’i bod hi’n cael ei hela a’i herlid ganddo. 

Mae’r ddau actor, Danielle Bird a Dan Hawksford, yn cydweithio’n arbennig ac mae eu portread o’r cymeriadau mor real, bron rydych yn anghofio eu bod yn actio o gwbl. Mae’r cyfarwyddo hefyd yn hynod o gelfydd, oherwydd nid oes llawer o gyffwrdd corfforol rhwng y ddau, yn enwedig yn ystod yr ymosodiadau a’r trais. Yn hytrach, mae’r cyfan yn cael ei gyflwyno i’r gynulleidfa drwy waith corfforol unigol, gyda’r ddau actor yn sefyll naill ochr i’r llwyfan. Mae’r gwagle a’r pellter yn ein hannog ni i greu’r delweddau hyn yn ein meddyliau, ac i deimlo poen Hayley a chasineb Carl. Mae hyn yn hynod effeithiol ac roedd y cyfarwyddo i gyd yn glyfar a dyfeisgar iawn drwy’r holl sioe.

Nid yn unig y sgript, y cyfarwyddo a’r actio sydd i’w ganmol ond hefyd yr ochr dechnegol. Mae’r set yn gyfuniad gwych o ddrysau tryloyw sy’n agor a chau i greu lleoliadau newydd ac ar adegau mae delweddau, negeseuon testun a geiriau allweddol yn cael eu taflu arnynt. Mae’r sain hefyd yn creu’r tensiynau angenrheidiol ond heb amharu ar yr awyrgylch ac mae meicroffonau yn ychwanegu at erchylltra’r trais yn y golygfeydd mwyaf tywyll. Defnyddiwyd tywod  i amgylchynu’r llwyfan ac roedd y traeth, y môr a dŵr yn themâu pwysig drwyddi draw. Cafwyd cyfeiriadau at Chwedl Llyn y Fan Fach ar ddechrau’r ddrama ac roedd hyn yn berthnasol i stori Hayley maes o law. Yr eironi fwyaf yw  bod y ddau gariad wedi cusanu am y tro cyntaf ar draeth Caswell sef yr union le mae Carl yn ceisio lladd Hayley a’i chladdu’n fyw ar ddiwedd y ddrama.

Dyma ddrama boenus a chreulon fydd yn aros yn y cof.  Ond yr hyn sy’n cael ei gyflwyno i ni yw’r ffaith nad yw achosion o drais domestig bob amser yn syml. Ry’n ni i gyd yn euog o ddweud wrth glywed hanesion tebyg …. Pam wnaeth Hayley aros gyda Carl? Pam wnaeth hi fynd nôl ato fe? Beth sy’n bod arni?

Mae’r ddrama hon yn cyflwyno dwy ochr o’r  stori i ni – dau lais,dau fersiwn a hynny yn gelfydd drwy gyfrwng theatrig. Mae’n glyfar, yn dorcalonnus ar adegau ond yn hynod bwerus. Llongyfarchiadau mawr i’r holl dîm artistig.

Cynhyrchiad hir disgwyliedig Canolfan Mileniwm Cymru yw Anthem sy’n cael ei llwyfannu yn y Stiwdio Weston tan Orffennaf y 30ain. Braf yw gweld cefnogaeth i’r Gymraeg a sioeau newydd mewn sefydliad sy’n denu cynulleidfaoedd eang a gobeithio mai arwydd o ymroddiad ehangach i’r theatr iaith Gymraeg yw hon.

Sioe Gerdd a chomedi dychanol yw ‘Anthem’ wedi’i selio ar fformat rhaglenni realiti megis ‘X Factor’ sy’n ceisio dyrchafu pobl gyffredin yn sêr dros nos. Mae chwarae ‘tafod mewn boch’ ar fformat rhaglenni adloniant sgleiniog fel ‘Eurovision’ a ‘Can i Gymru’ yn amlwg yma hefyd, yn enwedig o ran cynllun y set deledu, arddull y sioe a steil y cyflwyno cawslyd o slic. Cymeriadau stoc yw’r dalent sy’n aros i gael eu pum munud o enwogrwydd yn yr ystafell werdd – Teleri (Rhian Morgan), Eifion ac Esyllt (Gareth Elis a Lily Beau Conway), Leon (Iestyn Arwel) a Gerald (Rhys ap Trefor). Mae pob un o’r rhain yn cynrychioli ardaloedd o Gymru ac yn cynnal y gomedi wrth rannu eu bywydau bach pantomeimaidd gyda ni. Mae geiriau eu caneuon unigol wrth iddynt berfformio (a gobeithio dod i’r brig) yn adlewyrchu eu ffantasïau ystrydebol. Mae ochr dechnegol y stiwdio deledu yn siambls llwyr ac yn cael ei redeg gan griw bach hollol ddibrofiad ac aneffeithiol. Tudur y Cyflwynydd sy’n angori’r cyfan, yn ceisio achub y dydd, a’r sioe o ran hynny! – ac wrth gwrs ei yrfa, er bod ei ymdrechion yn aflwyddiannus yn y pendraw.

Yn sgil y rhialtwch, mae gan bob un ei angst personol, sydd wrth gwrs yn ychwanegu ymhellach at y gomedi a’r ffraethineb, e.e. Teleri, sy’n dyheu i gael ei derbyn gan yr ‘in-crowd’ Cymreig ac Eifion sydd eisiau rhedeg i ffwrdd mor bell phosib ohono! Mae’r cyfan, y themâu a’r mathau o gymeriadau yn dwyn i gof cyfresi teledu Cymreig o’r gorffen.

Cafwyd dawnsio a chanu, tantrums a dagre, gyda chydweithio hyfryd rhwng y cymeriadau. Ond mae’r cystadlu bitshlyd a’r antics erbyn y diwedd yn cilio. Yn hytrach mae’r cymeriadau, neu rai ohonynt o leiaf, yn sylweddoli bod eu bywydau bach cyffredin yn ddigon! Does dim angen yr enwogrwydd ffug arnynt i fod yn hapus!

Felly os y’ch chi ffansi noson ysgafn mas mewn theatr hyfryd, dyma’r sioe i chi. Mae’r deunydd yn addas hefyd i ddysgwyr gan fod y ddeialog a geiriau’r caneuon yn cael eu cyfieithu a’u taflu ar daflunydd sy’n rhan o’r set liwgar. Sioe 90 munud yw hon – dim egwyl, ac mae modd mynd a diod gyda chi i’r theatr. Ar ben hyn, mae pris y tocynnau’n rhesymol o’i gymharu â’r prif awditoriwm. Joiwch!

(4 / 5)

OCD, or Obsessive Compulsive Disorder is close to me and the people in my life. Recent theatre I’ve seen and my own work/fundraisers remain in the back of my head. How can we portray this ghastly condition on the stage. Can we truly make people care?

Along comes StammerMouth with an expectedly profound piece, about OCD and those around the people who experience it. Directed by Nerida Bradley with a sharp eye for detail, CHOO CHOO has the snazzy, primary coloured vibe of a 70s children’s programme. Yet, a helping of Don’t Hug Me, I’m Scared and WandaVision peeps through with an angular distortion as the story stagnates. The feelings of isolation and worsening mental states are never far away in an ever increasing bout of anxiety. Both characters of Nye and Duncan have a strong, brotherly bond, leading to some later touching bits. You can only assume they spent lockdown together and this was the catalyst for the entire show.

Nye Russel Thompson (who also wrote the work) has poured his heart out here, the debilitating nature of the disorder constantly compromising his way of life. It’s clear that the condition can convince you making yourself think you’re capable of awful things. A radio set seen on a table spouts bile about a knife next to it and other horrible ideas that are naturally never acted upon. The efforts of fellow performer Duncan Hallis adds a soulful energy to the show, sincere in more sympathetic scenes. Both actors bounce off each other very skilfully, the humour is often solid. Some surreal moments, with dark comebacks remain as highlights. 

Much love needs to be sent to Julie Doyle, the BSL interpreter for the evening. Though she was a slight part in the actual drama, she could have been utilised even more, her loitering of  downstage right apparent throughout. Some sweet moments came when people in the audience before the show would sign with her, with some bouts of laughter. The set as well is simple and effective, white blocks which change colour work very well in the space. The opening song, heard throughout is such a catchy tune, I’ve yet to get it out of my head (speaking of which, the Kylie scene in a manic ). The song itself is a roll call for both guys, Nye’s slipping out of tune and rhythm due to the descent of his intrusive thoughts. 

It’s super to see more theatre being made about mental health, especially after the life altering pandemic, something were not fully out of. I said in another recent review about OCD that “work like this could save lives”. This remains the case with this most recent piece from StammerMouth.   

CHOO CHOO! You are not your thoughts continues at Chapter Arts Centre till 23rd July 2022.