Category Archives: Theatre

Theatre

Review Ripples, Sherman Theatre, RWCMD, National Theatre Wales by Samuel Longville

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Theatre in lockdown: amidst this unsettling period for the arts, writer Tracy Harris and the Royal Welsh College of Music & Drama’s acting graduates bring original and pioneering theatre into our homes.

Picture the scene. It is 2018, two years prior to the pandemic. I am at a lively Gate Theatre in Notting Hill, having just watched a number of brilliantly talented RWCMD acting graduates perform a collection of new writing. Fast forward two years later and the setting is somewhat different. I am sat on my bed; dinner at the ready and eyes fixated on my laptop screen. I am watching eight of the 2020 acting graduates perform in the same new writing festival but this time the stage takes the form of their own homes. What clearly hasn’t changed under this unusual setting is RWCMD’s ability to produce some of the country’s best acting talent, as well as the Welsh conservatoire’s determination to produce new and innovative ways of storytelling.

Set on an online rehab course spanning ten weeks, Ripples sees eight strangers all suffering with some form of addiction confront the traumas of their past and recount these experiences to the group. Tracy Harris deals with the difficult topic of addiction with great sensitivity, giving way for sprinkles of humour as well as hope. Originally meant for the Sherman Theatre’s stage, the play’s adaptation for screen is innovative and wholly original. The weekly sessions take the form of a ‘Zoom’ meeting, and participants join from their respective rooms in the rehabilitation centre.

Without revealing too much, we see some wonderful creativity in the staging of the production. Matthew Holmquist’s sure direction not only allows the play to run smoothly, but the impeccable timing of individuals joining and exiting scenes (or their Zoom meeting) really plays into the ‘liveness’ of this event. Describing the performance as a ‘play-reading’ would serve to disparage the care put into creating this albeit virtual but very real narrative space. Holmquist’s clear direction, paired with tactful performances from his cast allows the audience to empathise with, and become wrapped-up in the characters’ stories. Ripples proves that it is possible to make high-quality theatre under these current constraints, with the immersive tech surprisingly running with ease, as though the play was in fact made for this digital setting. There is no doubt that Matthew Holmquist’s work with The Other Room, Cardiff, has made him the perfect fit for breathing lively and engaging narrative into such small, confined theatre spaces.

The creative team behind Ripples has produced a piece that sets a leading example to other theatres and theatre companies worldwide. They have proven that during these unprecedented times, Wales can still be a frontrunner in the world of new writing, standing shoulder to shoulder with its inspiring work in the ‘real world’.  

You can catch the RWCMD acting graduates on demand until 16 May at https://www.nationaltheatrewales.org/ntw_shows/ripples/

12 Plays in digital spaces:

National Theatre Wales and Sherman Theatre will work together with a range of independent companies and artists to produce play readings, showcasing the talent of playwrights, companies and creatives across Wales.

The partnership will enable Welsh directors, actors, and designers to be fully supported and funded to deliver the readings, while providing a platform to share homegrown work, alongside contemporary classic titles that may yet to have been performed here in Wales.

Find out more here: https://www.nationaltheatrewales.org/ntw-projects/network/#network_projects

Theatre

Graduate Showcase Carys Haf Williams

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Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.

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

Hi there! I’m a Welsh speaking Stage Manager based in South Wales, currently in my final year studying Theatre Design and Production at UWTSD Carmarthen. 

During my time at university I have undertaken many exciting work experience opportunities –  Theatr Na’Nog, Hay Festival, UWTSD Perfformio, National Theatre Wales and Rondo (S4C).  During my second year I was offered my first professional employment as ASM (Bookcover) with Theatr Genedlaethol Cymru on their production of ‘X’ at the National Eisteddfod in Llanrwst.

I love the theatre and being a Stage Manager.  To tell you the truth I enjoy every aspect of the technical and creative side.  I’m prepared to work hard to learn and develop my skills. I’m upbeat, enthusiastic and enjoy working with others, believing that a positive, understanding work environment is of benefit to all. I am an organised person (I love lists and risk assessments) and always ensure that my job is done to the best of my ability.  I thrive on the challenges and variety that theatre has to offer. You can find out more about me and my work to date here

 So, what got you interested in the arts?

My grandmother and grandfather had a great love for music and theatre.  From a young age they took me to the theatres in London to see shows as they were released.  My parents being a little off the wall took me to shows such as Rocky Horror, Return To The Forbidden Planet, No Fit State Circus, storytelling and I’ve been to many belly dancing haflas (very theatrical).  I’ve loved them all.  

Choosing drama as a GCSE and A Level subject made me realise that I was ‘made’ to be in the theatre, however, maybe not acting.   Although I have taken part in many shows it has always been the production side of theatre that interested me most.

Can you tell us about your creative process?

Being a Stage Manager means that I constantly have to be creative – fitting shows into smaller spaces, sewing up tears on costumes – finding a different way to get information out because of technical problems, the list is never ending and always different.

As a young Welsh artist graduating during a very difficult period what investment and support do you think is required to enable your career to develop and prosper?

I can’t believe how many opportunities have been put online, and being in lockdown has given me the opportunity to take advantage of these.  I have written an online showcase, spoken to several industry professionals and am looking into free online music courses offered by the Open University. All of these provide a great opportunity to get my name known and will be of benefit to my career. 

A range of arts organisation and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

I’ve loved all the different opportunities that have been made available and have found that Twitter is a good resource to get information.

 The Other Room is offering one-to-one zoom meetings with their creatives.  This was a great opportunity where I was able to talk to the producer and ask him for advice. 

Sherman Theatre offer workshops and the opportunity to showcase yourself on ‘Your Platform’ (this is for anyone in the industry not just graduates).  

I’d recommend that everyone in the industry make the most of this time – get out there, learn something new, grab this opportunity while you can!

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

I would like to make the arts, especially theatre more accessible to all by funding shows in deprived areas.  Lets get the whole community involved.  Let’s produce these shows in Welsh and English. 

What excites you about the arts in Wales?

The arts in Wales are diverse – from small rooms at the back of a pubs to the Wales Millennium Centre, outdoor events to festivals. Wales is progressive and vibrant. We’ve got it all and in two languages.

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

I just love the theatre and have loved all the productions I’ve worked on so far.  I was recently the Stage Manager for my Main house module at University.  I worked on the play RAGE directed by Peter Doran and Lynne Seymore. What an experience working with such brilliant directors.  Working on a play so intense and as fast paced as RAGE was exciting and calling a show was a new experience for me. 

Thanks for your time Cays-Haf. Carys-Haf is also on the social media platforms below

Twitter:  CarysHaf1

Instagram: caryshaf_sm

Theatre

Review Ripples – Sherman Theatre/RWCMD/National Theatre Wales, by Richard Evans

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out of 5 stars (4 / 5)

Ripples can be viewed online for two weeks, please note this review contains information about this production.

Is it ever possible to overcome addiction?

Ripples, a Sherman Theatre/RWCMD/National Theatre of Wales production is a story of 8 people who say they have succumbed to addiction as they journey through twelve weeks of group therapy.  Owing to the shutdown of society at this time, the play was presented in a video conference.   Did this detract from the play as a spectacle?

It was a treat to be able to watch theatre having been deprived of it for several weeks.  It is great to see people using their imagination to continue with theatre even though we cannot meet in person.  Ripples is a very good example, an enterprising adaptation of a script due to be performed on stage by graduates of the RWCMD and directed by Matthew Holmquist, written by Tracy Harris.  Of course it lacked the immediacy that live theatre brings.  However I have taken part in a fair few ‘Zoom’ conferences recently and understand the glitchy nature of the system and the awkwardness with dialogue that can arise.  Thankfully the technology worked and the presentation came across as professional and well edited.

The storyline did not make for leisurely viewing, but then again theatre should reflect a range of human experience and this play confirmed that sometimes there are no easy answers and neat endings in life.  It was powerful, personal testimony that explored the extremes of human experience and touched on issues like rape, abuse, bereavement, homophobic violence, suicide, betrayal and forgiveness.  Many of the characters demonstrated symptoms of mental health problems.  These were cited as reasons why people fell into addiction and while some people find themselves in this situation owing to more mundane circumstance, it is a truism that there is a reason why people become addicted. 

The play communicated the awkwardness of starting a group therapy session, wondering what the point is when you perform a seemingly spurious exercise designed to get people talking. It then successfully explored how people found others quite annoying or alternatively warmed to each other.  There was plenty of tension between certain characters but also you could find supportive advice and appreciative friendship.  This reflects the dysfunctional and disrupted lifestyle that addiction can bring and how an addict can need others but also find it hard to form productive relationships

The awkwardness posed questions of such group sessions.  How open should I be? Do I tell the truth?  How much truth do I tell?  These are tough questions for anybody but amplified by the fact that addiction involves living a lie for many people.  The level of conversation was so deep that it brought its own awkwardness as well.  People were sharing at a level normally seen only in a patient/counsellor relationship or with the deepest of friends, yet here you do the same with people who are strangers to each other. 

This rammed home possibly the most salient point in common with people who suffer an addiction, vulnerability. The play did an excellent job of uncovering how each of the characters was vulnerable, both as a reason for addiction and a consequence from it.  It also illustrated that testimony given was a mixture of truth, personal interpretation of events and make-believe.  All of the characters were looking for trust and support, but these attributes were hard to find.  All characters demonstrated the desperation to escape addiction yet many would not have the will to achieve this.

The play had an ambiguous ending.  The lead counsellor did not attend the final session having found the previous too troublesome, when one member after an argument walked out to return to her addictive lifestyle.  In that sense, the group failed and this is a key message.  Sometimes with the best will in the world, addiction is so powerful that people cannot escape no matter how they try. 

However this was only partial failure and certain characters formed relationships that may well endure and stated that they had benefitted considerably from this exercise.  Such is the nature of rehab.  Looking at the optimistic side of the ending, there were plenty of reasons given for people to be alive, dancing, late night conversations, love, sex, laughter, swimming in the sea, music, and perhaps most importantly, faith – generally and in people.  I found this a great thought to be left with.

This was an intense play and watching it onscreen made for a different experience.  Of course it lacked immediacy and it was easy to lose concentration as I was at home with a few distractions around.  It lacked the breadth of action possible on a stage compared to 8 screens on a television, but the static nature of the performance added to the bleak, personal nature of the stories.  I thoroughly enjoyed the production and thought each of the members of the Royal Welsh College of Music and Drama, Catrin Walker-Booth, John Tate, Luke Nunn, Emily John, Shannen McNeice, Mark Henry Davies, Dafydd Thomas and Meryn Davies Williams acquitted themselves with distinction.  Given the topic matter, this play is not for everyone, but those who get to see it will find it a memorable, thought provoking piece of theatre. It is available online for the next two weeks on the AM Channel here.

Richard Evans

Theatre

Review Ripples, Sherman Theatre/RWCMD/National Theatre Wales By Lowri Cynan

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Ripples can be viewed online for two weeks, please note this review contains information about this production.

National Theatre Wales and Sherman Theatre’s premiere of ‘Ripples’ by Tracy Harris was streamed live on Saturday night (May 2nd, 2020).

This was the first NTW Network reading (the new digital programme) and was adapted and re-imagined for a virtual world. This was certainly a ground breaking experiment and a fantastic opportunity for the RWCMD third year graduates to display their talents.

The play was due to be performed in the week that the college went into lockdown and later at other venues, but quite clearly all performances had to be cancelled. The plot worked well as we are introduced to a group of people who are currently in therapy due to various issues. They meet on Zoom regularly to talk through their nightmares and insecurities. Each has experienced a different turmoil and are encouraged to voice their own tragedies in order to share their personal grief.  

This is done well as we are drawn in to their world through the use of flashbacks, which provides a welcome break from the zoom screen formation. For example, a nurse, Lisa, is traumatised by a mistake she has made at work, Brodie has been abused by her boyfriend and is addicted to drugs, and Larry has witnessed his partner being stabbed in a homophobic attack. Every character is damaged in one way or another and each actor gives an excellent portrayal of an individual going through their personal torment.

Performances were both realistic and convincing, enabling us to sympathise and feel their hurt. Ensemble work was interacted well, sometimes as a group and other times in pairs. Their facial expressions and gestures were compelling, allowing the audience to break through the technical barriers. This was an excellent opportunity for these graduates to display their talents at a very strange and difficult time for performers. It certainly was a successful experiment and although a theatre staged performance would have been equally interesting, it just goes to show what is possible to achieve through the medium of streaming within social distancing scenarios.

Congratulations to all involved – actors Catrin Walker-Booth, John Tate, Luke Nunn, Emily John, Shannen McNeice, Mark Henry Davies, Dafydd Thomas and Meryn Davies Williams, director Matthew Holmquist and his talented creative team but especially writer Tracy Harris for her vision.  Good luck to all the RWCMD students on their new journeys and I wish them well in their future careers. The play is available to view on the AM website for two weeks.

Llongyfachiadau

Film & TV, Literature, Theatre

Graduate Showcase Lauren Ellis-Stretch

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Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.

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

Hi! My name is Lauren Ellis-Stretch, am originally from Porthcawl in Bridgend. I am a playwright, theatre maker and some-time critic. I am currently in the midst of, rather abruptly, finishing my studies at the University of Manchester. Approximately, I am only a ‘mere’ 14,000 words away from completing a BA in Drama and English Literature!

 So, what got you interested in the arts?

Well, in highsight I think I’ve always had a penchant for story-telling. I wouldn’t say I lied, but as a child my stories were perhaps always well-embellished… I lied a lot. Then, in secondary school I found Drama and I was seduced by its transformative potential, its collaborative nature, and the magic theatre possesed which I have been chasing ever since. I developed a love for play scripts reading The Tempest, and A View From the Bridge, and other old-exam board favourites. But the seminal moment which transformed my encroaching fascination into true obsession came when we were taken to see A Doll’s House at the Sherman Theatre, in 2015. It was one of the first professional plays I had ever seen, and I just knew that I wanted to make things that made people feel as electrified as that production had me.

A Dolls House, Sherman Theatre, Cardiff. Credit Nick Allsop

Can you tell us about your creative process?

A lot of reading, seeing things, talking to people, quite often it involves ill-timed epiphanies which send me scrambling to find loose paper or the notes app on my phone. I haven’t yet had the pleasure, and perhaps, equally, the horror of working over a long stretch of time on one project. Mostly, the plays that I have written have been churned out in the pressure-cooker of student theatre in which everything is created within a max of ten days, mid-essay deadlines. It has been, on the whole, an exhilarating way to work, and always an intensely visceral process. However, I do look forward to seeing how I can approach writing over an extended period of time in the hope that I will expand, develop, and interrogate the work more thoroughly than ever before.

As a young Welsh artist graduating during a very difficult period what investment and support do you think is required to enable your career to develop and prosper?

I think what is required is guidance. There is going to be a lot of time, which I identified above as something which could be incredibly beneficial in an artists’ process. However, this runs the risk of resulting in a stagnated period of learning about our chosen crafts. If the pace at which you’re working, and trying things out is particularly rapid you will learn what mistakes not to make again, and what is good practice very quickly. To see more mature and experienced artists reaching out to younger artists  (not only in age but in experience) and offering their support and guidance would be particularly beneficial for the individuals; also, on a wider scale, this could assure the emergence of a thriving and innovative, post-lockdown, industry.

A range of arts organisation and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

There is so much incredible content being put online at the moment! I have been thoroughly enjoying watching NT Live productions, and Andrew Lloyd Webber’s musical screenings. I also, recently, enjoyed a very sweaty Frantic Assembly warm-up with Simon Pittman, which was inspired by their show Beautiful Burnout. And, I loved listening to Ashes to Ashes Funk to Funky by Martha Reed on Chippy Lane’s Podcast.

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

I think, biasly (as my passion is for playwriting) that more needs to be done by established theatres to engage with new, fresh and diverse voices in Wales. I think the Welsh industry, in comparison to other theatre ecologies in the UK, is really lacking in a scripted theatre/playwriting culture. I think recent steps towards readdressing this by the Sherman Theatre, Theatr Genedlaethol Cymru, the Other Room, and Chippy Lane Productions has been a step in the right direction but this has to continue. Particularly, there needs to be more effort in engaging with BAME, working-class and womxn writers.

What excites you about the arts in Wales?

Having a theatre scene that is effectively much smaller, and less established than in cities such as London and Manchester means that there is a real sense that anything is possible! Also, there is access to certain resources that in a larger cultural hub would be hard to access. The community, for example, in the Welsh arts scene is particularly inspiring for young artists, I feel. More experienced artists often seem very willing to share their experience and time with you which can be so rewarding when you’re just starting out.

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

Sh!t Theatre Drink Rum With Expats at HOME, in Manchester! It’s not the last great thing I saw, however, it is really really great, and I’d like to put a spotlight on a smaller theatre company. (However, Three Sisters at the National Theatre, and the Royal Exchange’s Wuthering Heights have been other cultural highlights for me, in the past couple of months!) But, Sh!t Theatre Drink Rum With Expats was a piece of theatre that I found so incredibly joyous, thought-provoking, and devastating all at the same time.

It was political, and silly, and they gave out a lot of booze. It was an wholly-encompassing and arresting theatrical experience. I don’t want to say too much about it because hopefully, at some point in the future, they will continue with their tour, and you will get to see it! The reason I think it’s so notable as a great piece of theatre, though, is because for younger theatre-makers it is the perfect example of being anarchistic, daring, and completely unique in your rebellion; and I think that is what will be needed of us in an artistic landscape, post-lockdown, creative rebellion. 

Many thanks for your time Lauren.

Film & TV, Music, Musical, Theatre

Graduate Showcase Francesca Waygood

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Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.

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

Hello, thank you so much for this opportunity! I’m Francesca Waygood, 27 years old from Swansea. After completing a bachelor’s degree in Performing Arts in 2014, I decided to go into teaching and qualified as a lecturer, specialising in teaching performing arts. Although I loved lecturing, I felt I still had a lot more to learn about the performing arts industry; I truly believe the best teachers are ones who have a desire to keep learning and developing their own skillset and so I decided to gain more industry experience by furthering my studies with a masters degree. Today, I am studying at the Canolfan Berfformio Cymru (UWTSD Cardiff), for my Master’s in Musical Theatre. Musical theatre has always been my true love and so, I am very grateful for the opportunity to study here as my learning experiences so far have been invaluable!

You can see Francesca’s Spotlight link here

So, what got you interested in the arts?

My mum (a former dance teacher) initially taught me to dance. Some of my earliest memories are from around the age of 2, where my mum was teaching me good toes, naughty toes, step ball changes and splits in our living room! She enrolled me in ballet, jazz and tap dance classes soon after where I had the opportunity to attend workshops with Wayne Sleep. It was only when I joined the school choir, I became interested in singing. From there, I added musical theatre, singing and music theory lessons to my hobbies and completed exams in these areas. With this came shows and competitions, something which I always really enjoyed partaking in as a child.

Can you tell us about your creative process?

My creative process really depends on what specific skill I may be focussing on. During our course so far, we have had the opportunity to study the methodologies of Stanislavski and Misner. Both processes were totally different, allowing for new creative discoveries to be made each lesson. For example, within Misner, we looked at the use of repetition. I found this process very beneficial for learning text. With Stanislavski, we looked as various tools which included physicalising text with actions. Such methods I will now employ in future work.

As a young Welsh artist graduating during a very difficult period what investment and support do you think is required to enable your career to develop and prosper?

So many virtual opportunities have become available via Instagram and Twitter for artists. There have been so many performers from West End shows / UK tours offering workshops where you can learn choreography from the shows they are in. There have also been casting directors offering to provide feedback on CV’s and showreel material for a very small fee. Talent agencies have been so approachable, and many have specifically asked for un-represented graduates to contact them. I even had one agency who I spoke too, offer to share my details with other agency contacts and casting directors. Personally, I believe it is definitely worth getting involved in all the opportunities that are currently available to us!

A range of arts organisation and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

I’ve seen so many musical theatre performers running online concert events, live from their homes, which audiences can buy tickets for. I think this is a great opportunity for us to support one and other, as well as admiring these amazingly talented performers.  I am also aware of organisations showing performances on their websites for public viewing – making theatre so accessible for everyone to be a part of!

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

I am a strong believer in incorporating more creative methods for learning into education. Everyone has a preferred way of learning; whether it be visual, audio, kinaesthetic or a mixture of these! During my bachelor’s degree, I studied a module called Applied Drama, where I facilitated at 7 primary schools in Swansea, taking elements of the curriculum and supplementing it with more creative features. For example, I can recall one school where the pupils were studying the Romans. Upon an initial meeting with the class teacher, an education pack was supplied which included a series of worksheets for the pupils to complete as part of their study of that topic. A co-facilitator and I leading the project decided to incorporate more performing arts based activates to accompany the pupils learning. For example, the pupils partook in role play exercises such as a Roman march and a roman battle. The pupils seemed to really respond to these activities as it offered a more balanced learning experience, suited to all their learning needs.

 What excites you about the arts in Wales?

From studying for my bachelor’s degree to where I am at now, I have met so many diverse creative people. The arts culture in Wales is constantly changing, it is not all about the larger scale theatres anymore. Some amazing work can be found in the smaller, less known creative spaces. My partner comes from a more contemporary theatre background and he has really opened my eyes to this.

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

Apart from watching Six the musical (UK tour) in Bath which was absolutely incredible, I would probably say performing in Nadolig Big Band Christmas with the university in December 2019 at the BBC Hoddinott Hall – such an incredible space and a wonderful experience for me as a musical theatre performer. Another would be having the opportunity to be a part of a choir recording some of the backing vocals for the film Dream Horse, set to be released later this year. Again, another wonderful opportunity.

https://www.youtube.com/watch?v=ty_DAhC_CLc
Theatre

My Top 5 Showcase: Theatr Clwyd Shows

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In the third part of my showcase series for Get the Chance, I thought I’d share five of my favourite Theatr Clwyd shows in conjunction with their #TCTogether project.

Under Milk Wood

I have this production by Terry Hands to thank for falling in love with theatre in the first place. On a cold February night in 2014, I sat on the end seat in the front row of the Anthony Hopkins theatre and was transported to the wonderful world of Dylan Thomas’ famous drama. It featured an excellent cast of Welsh actors whose delivery of the language created a very vivid experience. I can still see the character of Polly Garter (Katie Elin-Salt) under intense spotlight, transfixed by her plaintive tones as she sang of lost love. A true ‘conversion’ experience for me.

Junkyard: A New Musical

Writer Jack Thorne has gone on to critically-acclaimed success with TV dramas like The Accident. This play came hot on the heels of the first in his National Treasure trilogy, and was every bit as good. Set in an adventure playground, it featured a rowdy group of teenagers led by the outspoken Fiz (Erin Doherty). Doherty led the company brilliantly, giving a pitch-perfect performance in a production that used lighting and music to brilliant effect. Emotive and funny, it shone a light on the overlooked corner of an urban landscape.

https://youtu.be/SgDgNVxkVDg

The Importance of Being Earnest

Anyone who has witnessed the annual Rock ‘n’ Roll pantomime will know that the costume department at Clwyd are a talented bunch. They excelled themselves with this production however, with costumes that were every bit as colourful as the spectacularly rich scenery. Oscar Wilde’s already witty script was brought to life hilariously by the physicality of actors Matt Jessup and Nick Harris in particular. Brilliantly funny, I don’t think I’ve ever had so much fun in a theatre.

Home, I’m Darling

Deservedly winning awards (Best Comedy among them), Laura Wade’s critique of nostalgia and domestication was a beautifully-constructed, well-acted and aesthetically-glorious piece. The bold and impressive scenery – effectively a life-size doll’s house – would have been enough to bowl you over. Thankfully, the acting talents of Katherine Parkinson and Richard Harrington, clearly in their element, brought plenty of humour and vulnerability to their lead characters. It made for a highly original, thoroughly enjoyable play.

Pavilion

I loved this play. Playwright Emily White’s debut is a modern Under Milk Wood, casting a sharp, satirical and dark eye on life in small town Wales. It featured an incredible array of performances from established actors and upcoming talent alike. The true genius of this production was in its realism; the way that White created drama out of the everyday and mundane. The cast brought it to life superbly. I cannot wait for it to be revived for the stage again already.

What are your favourites? Share them using the hashtag #TCTogether, where you’ll also find lots of creative ideas to do during lockdown @clwydtweets.

Written by Gareth Williams
Circus, Dance, Festivals, Music, Musical, Theatre

Top Tunes with James Doyle-Roberts, Co-Artistic Director of Citrus Arts

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Hi James,  great to meet you, can you tells us about yourself and your work?

Hi there, and thanks for inviting me to do this.

I enjoy telling people that I’m quite a good poster-boy for how the arts can save young people who lack direction and, in my case lacked a stable family background.

I fell in love with Hip Hop & Breakdancing as a young teen, and then in my 20’s I discovered circus and aerial work which became my career for almost 20 years. Both things came along at times when I was heading down negative roads. What they have in common are the life benefits of physical training and a strong DIY cultural ethic of just making things happen before seeking permission.

The soundtrack to my early childhood was new-wave punk, Ska, and the early years of Hip-Hop. Breakdancing and the version of Hip-Hop culture that landed in Wales was my path away from the miserable cultural confusion of the 1980’s.

I’ve been lucky enough to live in Manchester at the height of it’s music scene, in London at a time when arts & culture really mattered, and back in Wales to work with NoFit State Circus when they were really hitting their stride.

I’m now Co-Artistic Director of Citrus Arts, along with the amazing Bridie Doyle-Roberts. Citrus have been making shows that combine Circus, Theatre, Dance, and Design since 2009 and we’re based in the Rhondda Valley. We tour shows around the UK and the last few years have seen us championing the hands-on skills that come with Circus life as a way to bring the people of our community together to create ‘Exceptional Experiences for Everyday People’.

 This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to? 

Music is and always has been, a major force behind my path as an artist.

As performers Bridie & I played in plenty of shows where the music felt like an add-on background texture, that’s why Citrus Arts places an emphasis on picking high quality soundtracks and live musicians for our shows.

Bridie & I have two small children, so it’s hard to find time to immerse ourselves in music. There’ve been dozens of times when the boys fall asleep in the car, so we keep on driving, talking about ideas for shows, playing albums, and making major decisions about Citrus Arts’ future as we keep going until one of them wakes up. It costs us a fortune in Ice Cream when we eventually stop to play in a park, or beach for a while before turning back home.

My go-to sounds at the moment all come from the brilliant Late Night Tales series of compilations. The LNT label invites top-notch musicians & producers to curate a 1-hour musical soundtrack for a ‘movie’ that’s never been filmed. My favourite track I’ve discovered so far is “Henry McCulloch” by David Holmes, BP Fallon, & Andrew Weatherall.

https://www.youtube.com/watch?v=K4pYHQyO1Yk

We are interviewing a range of people about their own musical inspiration, can you list five records/albums which have a personal resonance to you and why? 

The Stranglers – ‘All Live & All of The Night’

My first music festival was Reading in 1987, where I saw The Stranglers headline the Friday night there along with The Cramps, The Pogues, and Iggy Pop over the weekend. This album was partly recorded that night. I still love the sound, image, and artistic message of the punk movement, but was just a young lad with a paper round when it had the real power to shock.

The musicianship in this album still stands out as a moment that shows how punk evolved into the more interesting areas of the charts in the 80’s.

https://www.youtube.com/watch?v=tw7csZnaT9c&list=PLBokfEObLPHDJGepB9JCj5uXVh8YPn412

Devo – ‘Q- Are We Not Men?’

I’m still enthralled by how this band made a unique musical, visual, and political style around their image and output. Two brothers in the band made Devo’s pop videos way before the advent of MTV, another member invented the Roland Emulator keyboard/synthesiser, and between them they built a complete and un-improvable artistic world for their music and message.

I love the fact that the lead singer Mark Mothersbraugh now makes music for Marvel super-hero movies.

https://www.youtube.com/watch?v=a8UcpmUQkNU&list=PL8BB5C04D74E255C9

Massive Attack – ‘Blue Lines’

I was working at a big record shop (a “Megastore”, according to Mr Branson) in Cardiff when this came out and nobody, and I mean nobody, from the Phil Collins-loving security guards to the guys in the classical music department had anything but huge praise for this album. For me it was a re-connection back to my years of loving early Hip-Hop, Soul, and Jazz influenced music, and represented a way to cross between tribes of taste and friendship groups.

Every single track is excellent, but the decision to choose “Safe From Harm” as the opener was a masterstroke.

https://www.youtube.com/watch?v=PKtTmZnVhhI

Ted Barnes – ‘Underbelly’

It’s hard to find Ted’s wider work on the usual online platforms, but this album is a great example of his style. Citrus Arts’ first touring show was based around Ted’s music and if you listen to this, you’ll hear why we chose it.

Barnes was Beth Orton’s composer when she rode high in the UK album charts in the 2000’s. My favourite story about this music is knowing that Ted’s father was a Toymaker in the seaside town of Whitstable in the post-war years.

This album sounds like a boy sneaking-in to his Dad’s shed where wood was carved, and tiny mechanical things came to life.

https://www.youtube.com/playlist?list=OLAK5uy_n0KImCLFM8xyhXvvRzR3iMvpKI2RuzAjw

DJ Shadow – ‘Private Press’

Another personal tale coming up here, but this is DJ Shadow’s best album.

In 2012 the Hip-Hop pioneer Afrika Bambaataa donated his personal record collection to NY Columbia University’s Cultural Archive – they were the plates of vinyl that were cut, scratched, and mixed to create Hip-Hop in the yard parties that founded the genre.

DJ Shadow & Cut Chemist were allowed to take those actual records on tour as the Renegades of Rhythm performances where they played them as a set, in tribute to one of the founding artists of Hip-Hop.

I saw the show. I listened to those actual grooves on those vinyl plates that inspired me to take a lifelong journey into physical performance, and the way that communities can make their own lasting mark on what I’m sure wasn’t considered ‘art’ at the time.

https://www.youtube.com/watch?v=sIQAKcHNKMg&list=PLnBkERBAhdxllPNLkqsD22Aa2gDvgIaB-

Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this? 

I feel like I want my own Radio show after doing this!

If there’s one track I’d like to share with you, rather than remember for personal reasons, it has to be Ted Barnes’ “Sting in The Tale”.

Its lush, gorgeous, beautifully crafted music that everyone should try dancing to.

https://www.youtube.com/watch?v=lWzcJz3ETO4

Thanks for your time James

Film & TV, Podcast, Theatre

Graduate Showcase Lewis Parfitt

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Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.

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

Hi, thanks for giving me this opportunity. I really appreciate it. I was born and raised in the South Wales Valleys in a little village called Cwm which is near Ebbw Vale. I’m just wrapping up my university degree now which is at the Atrium studying BA Theatre and Drama.

https://youtu.be/YrIVZ-etnj4

I was meant to be performing Frankenstein in May as a final show where I would be playing the role of The Monster but due to obvious circumstances that got cancelled. The creative team that I was working with on this project was a team of talents that I’ve known throughout my time at the university and I would definitely be interested in still doing this show as a non assessed piece. I have a Youtube channel that I share with my brother called ‘Silent Valley Productions’ where we upload projects we’ve worked on.

https://www.youtube.com/watch?v=-hPNTpgfd0c

We are currently working on a 5 episode web-series thats been in development now for over two years, a very long process but one I’m sure that will be worth it in the end. I also love helping out with the media students with their projects, even though the budget isn’t Hollywood level, they’re all capable of making interesting and engaging stories, and that’s always fun to be a part of. I performed my first musical role in 2018 when I played Mr Sowerberry in Oliver with the theatre group i was with and had to perform my first live song. I also love playing on my PlayStation 4 in my spare time.

So, what got you interested in the arts?

Ive been acting now for about 4-5 years now. it was always a subject I got on well with in school and was really the only lesson I looked forward to. My drama tutors always saw something in me and encouraged me to take it further in my career, so without them I don’t think I would be where I am now. I was, and still am, a huge fan of Doctor Who and growing up I always wanted to play The Doctor and hope that one day i have the opportunity to fulfil this dream or even have a role in it. I always had a imaginative childhood, to this day I still have school friends come to me and say to me how creative I was and I think all of this put together is where I get my passion for it from. 

Can you tell us about your creative process?

It really depends on what kind of project im working on. If its an acting role then I always find it easier to create a scrapbook and look for other characters that could help shape the image that I have for the particular role. I keep a scrapbook in my room for characters that I think are unique and ones that I think could be useful in a future project, so there’s something I always have to go back to and reference to if needed. 

 As a young Welsh artists graduating during a very difficult period what investment and support do you think is required to enable your career to develop and prosper?

I think the support has been really well all round on my behalf, with organisations like yourself giving opportunities which are really useful for people who are graduating to introduce ourselves to the rest of the industry. This situation should be taken to learn a new skill or start something you didn’t have the time to do in the past. At the moment I’m learning to play guitar and really pushing the pre-production for the series I mentioned earlier. I think it would be helpful if we used this opportunity to share these ideas and have different eyes review it.

A range of arts organisation and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

I’ve seen quite a few opportunities arise on Twitter especially. Its My Shout is something that people should look into.

Normally filmed in the summer but now would be a good time to send them monologues and try to apply for their scheme. I’ve been gathering a list of agents from different companies like United Agents and Regan Management. Going back to what I said earlier I think creatives should also take this opportunity to look into uploading auditions and show reels on You tube. Most of what you see on YouTube don’t really have a budget or if they do its minimum, and they get 20 million views due to the entertainment quality. Its a site that hasn’t reached its peak yet and with projects getting 20 million views, I believe it’s the perfect opportunity to show off your talent. Now is the perfect time to start looking into it too. 

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

Off the top of my head I can’t really think. Amateur productions are something that I think should be given a bit more of a funding as the copyright for a lot of shows are really expensive which then makes the budget for the set, theatre booking and costumes a lot more tighter than would it could be. I would like to see some kind of better funding go towards people who want to make short films too,Having known people being in that position, I understand it can be difficult pulling off projects with such small budgets. Some of the ideas I’ve heard of in the past have been really fascinating to hear about but due to the funding, they’re either put on hold or cancelled which is a bit disheartening, especially for the people in that position. So some kind of better funding to help those guys out. 

What excites you about the arts in Wales?

The future of Wales is looking bright for sure! with massive Hollywood films like ‘Dolittle’ with Robert Downey Jr and ‘Infinite’ with Mark Wahlberg, it looks like Wales is finally getting noticed.

Along with the talent, schemes and ideas in Wales, the overall future is bright and I can’t wait to see what opportunities the future holds!

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

There’s a few things that come to mind. I’ve seen quite a few live TV recording’s of ‘The Big Six Nations Kick Off with Gabby and Gareth’ I got the male lead to ‘A Vampire Story’ which was my first time doing a lead in a show. But what stands out the most to me is when I went to New York to see the musical version of King Kong, going to Ellens Stardust Diner, and looking at some of the incredible views from the skyscrapers!

I also went to the Welsh BAFTA’s where I got to speak to quite a few big producers, actors and actresses like Ioan Gruffudd, Eve Myles, Catrin Stewart and Mark Lewis Jones, so that was a pleasure to meet all of them and hear what successful professionals had to say. 

Thanks for your time Lewis

Thanks for the opportunity.

Film & TV, Music, Musical, Theatre

Arddangosfa Graddedigion/Graduate Showcase, Sion Emlyn

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  • Helo Sion braf cwrdd a ti, fedri di roi ychydig o wybodaeth am dy hun i’n darllenwyr ni plis?
  • Hi Sion great to meet you, can you give our readers some background information on yourself please?

Helo, diolch am y cyfle yma. Felly, ar hyn o bryd dwi’n astudio MA Perfformio gyda PCYDDS yng Nghaerdydd. Dwi’n wreiddiol o bentre bach o’r enw Rhydymain, ger Dolgellau, ond nes i symud lawr i Gaerdydd yn 2017 i ddechrau ar fy ngradd mewn BA Perfformio. Dwi wrthi ar hyn o bryd yn ffilmio selftapes ar gyfer showcase ar-lein, yn sgil i’n showcase gwreiddiol ni gael ei ganslo o ganlyniad i’r amgylchiadau heddiw.

Hi, thanks for the opportunity. I’m currently studying MA Perfformio at UWTSD in Cardiff. I’m originally from a little village near Dolgellau, called Rhydymain, but moved down to Cardiff in 2017 to start on a degree in BA Perfformio. I’m currently self-taping for our university’s virtual showcase, as our original showcase was cancelled.

Here is Sion’s Spotlight link – https://www.spotlight.com/interactive/cv/6930-1278-7802

Picture of BA Perfformio’s 2019 production of Cysgu’n Brysur, directed by Elen Bowman, Sion played Cai. 
  • Felly, beth roddodd diddordeb iti yn y celfyddydau?
  • So, what got you interested in the arts?

Fel llawer o’m ffrindiau, fues i’n cystadlu mewn Eisteddfodau ers yn ifanc, canu mewn corau, a bod yn rhan o gyngherddau’r ysgol ac ati. Er nes i fwynhau’r dyddiau yna, yr hyn wnaeth fy nenu ac fy ysgogi i ddilyn llwybr o fewn y celfyddydau oedd ymuno â Ysgol Theatr Maldwyn. Ges i’r cyfle i fod yn rhan o amrywiaeth o sioeau a chyngherddau, gan drafeilio a pherfformio mewn nifer o theatrau gwahanol ar draws Cymru. Mae fy nyled i’n fawr iawn i Penri, Linda a’r diweddar Derec am yr holl brofiadau ges i ar hyd y blynyddoedd.

Like many of my friends, I competed in numerous Eisteddfods, joined choirs, and being a part of school productions. But on top of this, what really got me wanting to be in this industry was joining Ysgol Theatr Maldwyn. I had the opportunity to be in various shows and concerts, and to perform in many theatres across Wales. My gratitude is enormous to Penri, Linda and the late Derec for their work, and the chances I had throughout my years with them.

  • Fedri di son ychydig am dy broses creadigol?
  • Can you tell us about your creative process?

Mae fy mhroses i’n amrywio yn ddibynnol ar y dasg sydd genai. Dwi newydd gwblhau modiwl actio pellach gyda Angharad Lee, ble roeddem yn mynd ati i ymchwilio ac analeiddio darn o ddeialog yn gorfforol, yn defnyddio ‘toolkit’ o sgiliau methodoleg Stanislavski. Fyddai’n siwr o gario’r broses ymlaen i wahanol brosiectau gan ei fod yn diddymu unrhyw batrymau sydd genai, ac yn gwneud i mi gysylltu’n well gyda’r testun.

Angharad Lee

My process varies depending on the task ahead. I’ve just completed a module on further acting with Angharad Lee, where we had to analyse and investigate a piece of dialogue physically, using a ‘toolkit’ of skills from Stanislavski’s methodology. I will be sure to carry on this process onto different projects, as it gets rid of any patterns I have, and helps me to connect better to the text.

Picture of BA Perfformio’s 2017 production of Sweeney Todd, directed by Angharad Lee, Sion played Tobias Ragg, centre.
  • Fel artist ifanc o Gymru sy’n graddio yn ystod cyfnod anodd iawn, pa fuddsoddiad a chefnogaeth sydd eu hangen yn eich barn chi i alluogi eich gyrfa i ddatblygu a ffynnu?
  • As a young Welsh artists graduating during a very difficult period, what investment and support do you think is required to enable your career to develop and prosper?

Mae’r diwydiant yma wedi bod yn dda iawn yn ystod yr amser anodd yma i ni, fel actorion neu artistiaid sy’n dechrau ar eu gyrfa, drwy ddod at eu gilydd a rhoi llawer o gyfleodd allan yna i ni. Dwi’n meddwl fod o’n bwysig i hyn gario mlaen unwaith fydd popeth wedi mynd nol i’r arfer. Hefyd, falle defnyddio’r amser yma i fod yn greadigol, a gwneud rhywbeth megis, darllen mwy o ddramau neu dysgu acen newydd – ond wedi dweud hyn dwi ddim yn rhoi unrhyw bwysau na gorfodaeth i wneud hyn chwaith.

The industry’s been very good during this difficult period for us, as actors or artists starting on their career, by coming together and offering different opportunities for us. I believe it’s important that this caries on when life goes back to normal. Maybe, to use this time and be creative, and read more plays or learn a new accent, but after saying that, I’m not putting myself under any pressure to do anything either.

  • Mae ystod o sefydliadau ac unigolion o fewn y celfyddydau bellach yn gweithio ar-lein neu’n dod o hyd i ffyrdd newydd i gysylltu â cynulleidfaoedd. Ydych chi wedi gweld unrhyw enghreifftiau arbennig o hyn yn gweithio?
  • A range of arts organisation and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

Do! Neshi weld tweet yn arbennig i raddedigion actio 2020 gan National Theatre Wales, oedd yn rhoi’r cynnig i gysylltu a chyfarfod, a hynny dros Zoom, gyda nifer o weithwyr proffesiynol i gyflwyno ein hunain rwan bod ein sioeau terfynol ddim yn digwydd. Dwi’n meddwl fod o’n anhygoel i ni fel Cymry i allu cael sgwrs a dod i nabod pobl yn y diwydiant cyn mynd i’r byd gwaith. Fues i’n cael sgwrs gyda Jeremy Turner, sef Cyfarwyddwr Artistig Arad Goch heddiw, a mae gennai sgwrs gyda Sarah Bickerton, sy’n gyfarwyddwraig cyswllt â Theatr Genedlaethol Cymru ac Louisa Palmer, sy’n asiant i Shelley Norton Management i ddod o fewn yr wythnos. Nid yn unig mae hyn yn gyfle da i gyflwyno’n hun, ond mae o’n gwneud fi’n gyffrous i fynd allan i’r byd gwaith unwaith fydd y cyfnod yma yn dod i ben.

Jeremy Turner, Sarah Bickerton and Louisa Palmer

Yes! I saw a tweet from NTW for 2020 acting graduates which gives the opportunity to connect, over Zoom, with industry professionals and to present yourself now that end of year productions have been cancelled. I think it’s an amazing chance for individuals that are graduating in acting in Wales, or from Wales to meet and introduce yourself to professionals before going into work. I met with Jeremy Turner, the artistic director for Arad Goch today, and from now to next week I’ll be meeting Sarah Bickerton, associate director with Theatr Genedlaethol Cymru and Louisa Palmer, agent with Shelley Norton Management. This has made me even more excited about joining the industry and going into work.

  • Os fydde modd i chi ariannu adran yn y celfyddydau yng Nghymru, beth fyddai hyn a pham?
  • If you were able to fund an area of the arts in Wales, what would this be and why?

Dwi’m yn siwr iawn! Dwi’n meddwl swni’n licio gweld gwefan, tebyg i ‘Scribd’, gyda gweithiau Cymraeg, boed hynny’n waith gwreiddiol neu’n gyfieithiadau. Yn aml swni’n ei chael hi’n hawdd iawn i ddod o hyd i fonolog Saesneg, ond yn gweld hi’n anoddach o lawer dod o hyd i rywbeth Cymraeg. Falle mai fi sy’n edrych yn y lle anghywir, pwy a wyr! Ond dwi di dechrau prynu sgriptiau/dramau rwan ar ôl gwylio dramau Cymraeg, jysd rhag ofn ddoith o’n handi ar gyfer rhywbeth rwbryd.

I’m not quite sure! I’d like if there would be a website, like Scribd, but with only Welsh works, that being an original or a translation. I often find finding monologues in English easier, and find it much harder finding something in Welsh. It might be completely my fault, that I’m looking in the wrong places, who knows! But I’ve started buying scripts/plays after watching Welsh plays now, just in case it will come handy someday!

  • Beth sy’n dy gyffroi am y celfyddydau yng Nghymru?
  • What excites you about the arts in Wales?

Y peth sy’n cyffroi fi fwyaf ydi fod gymaint o gyfleoedd allan yna ar hyn o bryd, ac nid yn unig ar gyfer actorion. Mae’n braf gweld gymaint o artistiaid ifanc newydd allan yna, mae’n rhoi gobaith i mi am ddyfodol cadarn i’r celfyddydau yng Nghymru.

What excites me the most is, that there are so many opportunities out there, and not only just for actors. It’s great to see so many young artists out there, it gives me hope for a strong future for the arts in Wales.

Picture of BA Perfformio’s 2019 production of a Welsh translation of 100 by Neil Monaghan, Diene Petterle and Christopher Heimann, directed by Aled Pedrick – Sion played Ketu
  • Beth oedd y peth gwirioneddol wych olaf i chi ei brofi yr hoffech ei rannu gyda’n darllenwyr?
  • What was the last really great thing that you experienced that you would like to share with our readers?

Heb os, Tylwyth gan Daf James! Er na ges i gyfle i’w weld o’n iawn, a dwi’n hollol hollol gytyd am hyna! Ro’n i’n rhan o’r côr oedd ynddo, ac felly di gweld darna ohono. Dwi ddim isho sboilio gormod, ond oedd y diweddglo yn rhoi shivers i fi bob noson, ac oedd gweld gymaint oedd y gynulleidfa wedi mwynhau’r sioe yn galonogol iawn. Mae’n braf weithiau cael sioe gyda diweddglo hapus dydi!

Without a doubt, Tylwyth by Daf James! Although I didn’t get a chance to see the whole show, and I’m really gutted about that! I was a part of the choir, and so I saw parts of it. I don’t want to spoil it, but the ending gave me shivers every night, and just being able to see how much the audience enjoyed the show was heart-warming. It’s nice to have a happy ending sometimes!

  • Diolch am eich amser/Thanks for your time

Diolch yn fawr