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

My name is Dave Humphreys. I’ve recently graduated from the University of Chester with a distinction in the MA Drama course, following straight on from the BA (Hons) Drama and Theatre Studies course.

I live in Buckley, Flintshire in North Wales. The majority of my theatrical background has been as a result of one place; Theatr Clwyd. I have been a part of Theatr Clwyd in some way for fifteen years; whether it has been a part of the old Clwyd Theatr Cymru Theatre for Young People (CTCTYP) weekly workshops co-ordinated by Tim Baker and Jane Meakin, Taskforce ran by Anne Plenderleith, which encouraged conversation about the theatre and wider arts, to performing in two professional productions. Firstly, The Suicide directed by Barry Kyle and later in Phillip Breen’s Cyrano de Bergerac. In addition, the work placement opportunities I have had there. My highlight was supporting, observing and being a small part of the pilot for Junior Justice in a Day, directed and facilitated by Emyr John. A key moment in my career path. Now, I am proudly a part of the team.

I have been working on a freelance basis for four and a half years for the Creative Engagement department, co-ordinated by Gwennan Mair, to deliver weekly workshops and outreach projects.

In a way, it has come full circle for me in that I now support the delivery of the work that inspired me to get to where I am. We deliver workshops for a range of people of all ages, abilities and backgrounds. By working with the amazing team, I get the chance to work week in, week out with wonderful groups and develop my people skills, which is handy for the career path I am following. But to work alongside so many different facilitators enables me to observe and take note of the way they work and how that influences my practice. The change I have seen from when I started fifteen years ago to now is just sensational to see and how much this theatre is pushing to deliver for its community.

Outside of Theatr Clwyd, I have performed at Storyhouse last year on two occasions; The Modern Prometheus, written and directed by Zoe Smith and A Crack Through Time by Clare Dudman. I have also carried out work for Minerva Arts Theatre, Chester with workshop cover and performing in their piece raising awareness of Loan Shark culture.

I have also devised, performed and written my own play; Lonely Together. Please follow the links to a video of the performance and also videos about my practice behind them. You can also visit www.dashoutreach.co.uk. There, an MA colleague and I, as part of our major practical, to see what it took to create an outreach theatre company. I must emphasise it is not an official theatre company, we are not working at this current time, but you can see what work we created together and the sort of workshops we would offer as a result of our collaboration during the MA course.

So, what got you interested in the arts?

For my eighth birthday, my mum recommended I join the CTCTYP workshops to see if I’d enjoy them. I’d seen pantos before then, but it was because of these workshops I became interested. I just loved the drama games, meeting new people, the chance to see theatre for free, to perform every term. And, as you can see above, lead onto many opportunities there. In fact, I didn’t study theatre in school until A-levels, so up to then, it was also where I would learn most about theatre.

Can you tell us about your creative process?

So, the videos links below will give readers some idea of how I work. There are a few quotes from Augusta Boal and Chris Johnston etc, but I’m a firm believer in contextualising my work.

My aim is to create work and pieces for communities. Whether it be Theatre in Education or Theatre for Young Audiences, I am always keen to ensure my work has a discussion element; l like to know the work I have created has sparked something in my audience. I suppose, as I tend to call it, this idea of theatre and discussion is my main goal. It may not have an education aim; the suicide piece as you will see cannot have an educative aim as there is no wrong way to support someone. Raising awareness is my aim, and actively see the affect it has had. My process has been hugely influenced by the writing of Chris Johnston and through observation of outreach work, specifically that created by Emyr John, Creative Engagement Associate, Theatr Clwyd.

From Johnston, his six polarities are my underlining foundation. These polarities are what Johnston considers to be crucial when carrying out workshops or creating theatre for everyday life. There are two which are at the forefront of my mind. Firstly, the fixed and free; as facilitators, we are constantly moving between these two polarities as to whether the discussion/activity/game can happen as it likes, but eventually that creativity becomes nothing. So, as a facilitator, a question or rule might be introduced to narrow the energy of the participants to get something out of them. When you watch the Lonely Together piece, there are elements of this in the post-show workshop. Secondly, from Johnston, is the centre and the edge. It is really important when we welcome in a group, that no one is at the centre of attention or that anyone feels left out. In that, the discussions must balance the participants’ input. Hence, sometimes I ask for those who say nothing, to bring the closer into that circle, that discussion. The use of ‘The Fish’ idea has been another huge influence. You will see this in my video on the devising process

On a practical level, Emyr John has been an inspiration. I have been lucky enough to know Emyr since I started at Theatr Clwyd and he has welcomed me, echoing the spirit of the team, into the rehearsal space. I have seen how flexible he is when carrying out his work, how to work with young participants in both Junior Justice and Justice in a Day. With the knowledge of Johnston in mind, his work has enabled me to see it in practice. Plus, his years of experience is invaluable to me. I have been able to incorporate his work into mine, take on board the hints and tips he has shared (especially what to be cautious of) and him allowing me into rehearsal spaces. As a result, I have been able to complete a dissertation on the piece in the context of theatre in education in Wales.

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?

For me, the opportunity to collaborate is important. In these difficult times, we need to collaborate more than ever before. Theatre has probably never faced a tougher time on how to stay connected with audiences and continue to produce work, although that is just my perspective. For young artists, they need opportunities that not just offer Q&A’s or workshops, they need something that will allow them to get stuck in with it. I’m finding writing to be my thing at the moment; short monologues or audio plays for competitions. But I understand writing is not for everyone, so projects that enable us to collaborate with established artists.

I also believe that opportunities should encourage artists to think outside of the theme of ‘isolation’. I feel that it is too easy and can be personal. People may not want to discuss isolation and being at home; we don’t know what things people have going on. We should make projects based on historical events or themes that encourage audiences or participants to escape from those thoughts. That’s why people go to see theatre isn’t it? Escapism as well as entertainment. Besides, in the future, when we can go back to the theatre, the juxtaposition of live theatre with a focus on lockdown will surely be a better time to reflect. Right now, theatre needs to be there to help us mentally be free for an hour or so. Just my thoughts.

Link to performance and workshop of Lonely Together (does contain themes around suicide): https://youtu.be/U5dCVlURzMw

Link to video which shows a bit about my devising process behind Lonely Together: https://youtu.be/26yI6N7cq0Q

Link to video which shows the characterisation process behind Lonely Together: https://youtu.be/kXukIOUUBrg

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?

Well, I will begin with Theatr Clwyd. Their Together campaign was launched very early on in lockdown, offering challenges and tasks to their online community week in week out.They have offered voices to those who may have been unheard.

They have offered voices to those who may have been unheard. Through their memories task, to the dancing task. It has allowed professional artists and members of their community to perform and create on the same stage. But it’s not just that. Behind the scenes, via Zoom, we are able to maintain the delivery of workshops to all our groups. And it is amazingly heart warming how much it means to them; I never get very emotional as a person, but when you get to check in with participants and see you’ve made them smile, it means a lot. We are just beginning to embark how we perform through Zoom with all these groups so exciting times ahead. Just a quick shout out to Clare, Laura, Alex, Liz, Owen, Hester, Nerys, Gwennan and the rest of the weekly workshop team for carrying on and adapting their practice to digital media to continue this wonderful work. It really is a joy to be a part of.

Beyond Theatr Clwyd, there has been two stand out theatres in Wales; FranWen with 120960 and Sherman with Ten, monologues which have been written beautifully and performed fantastically (Steffan Rhodri a personal favourite of mine).

https://youtu.be/-wiF1Bi5y-g

But FranWen have been amazingly quick to get online and work with young people to offer an online performance.

Now, I’m not Welsh speaking, but I’d certainly say this is one to watch. Beyond Wales, Theatre503 had a brilliant selection of ten minute pieces on their Rapid Write Response programme, two weeks ago I think.

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

Workshops and outreach work. No doubt. I mean, the teaching of drama is important and as is the performances we see in theatres all over Wales. But I’d fallen in love with theatre and drama way before I started studying it and before I’d seen it. I loved it because it was accessible. By funding small and touring shows to go out into communities to perform or carry out workshops, then the earlier theatre can start influencing and having an impact of people’s lives. I’m not saying that every participant who takes part should become an actor or be involved in theatre, but I will say this from personal experience. My confidence, team work and communication skills would be no where near the standard they are now if I had not been a part of those workshops. It seems like easy work to those on outside of the work we carry out, but the effect a weekly workshop can have on someone in the long term is huge, I believe. I would highly recommend to people of all ages and ability to give workshops a go. Even if it is just one, that is still a huge achievement. In this current situation, it is just as important to be a part of them too. I have become part of a monthly one, meeting and hearing from new people and I am thoroughly enjoying it. Theatres need to ensure that online workshops can run if possible, it really makes a difference.

What excites you about the arts in Wales?

The exciting thing about arts in Wales is our passion for culture and language. As I’ve said, I’m not Welsh speaking, but the arts is the way forward to keeping the language alive in my opinion. From where I am from, bilingual work is a huge opportunity, where respect for both English and Welsh can be built. But the work of FranWen is so essential to keeping Welsh fresh. I was lucky enough to see Gethin Evans, now the Artistic Director of FranWen, work as assistant on Mold Riots and I felt that his respect towards the community cast, who were a mix of English and Welsh speaking, was amazing to see, so I think the work produced by FranWen in the future will be exciting and imperative to theatre in Wales.

But again, the awareness of culture is what is really exciting. At Theatr Clwyd, Mold Riots was a huge success for being a community story told by its community. Next, when it is safe to do so, is Project Hush. I was lucky enough to be on work placement for a week and saw the R&D for this. It is an amazing piece, telling of local stories and how that affected the wider world. And on site too. Taking theatre out of the theatre is always very exciting, and even more so in the Welsh countryside and historical areas. I was even part of a Greenfield summer school as support worker where we did a small site specific piece; the enjoyment had by all was great to see. I have always wanted to create a promenade piece about the Buckley Bomber; I’d love to see how I could do that, creating a piece that revives the Buckley dialect, the use of the locations and again broaden opportunities for community to work directly with professionals. Anyway, our love for culture and the language is what makes our arts great.

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

Has to be Mold Riots at Theatr Clwyd. I was part of the chaperoning team from July, when rehearsals started, through to the performances. It was just monumental. A local story by local people (sounds a bit like League of Gentlemen that) where so many people were involved shows what theatre was really about. The end result was amazing; 100 people in wonderful costume taking audiences through the streets of Mold and giving passionate performances. You really could not tell the professionals apart in the end, it was that strong. But the process of getting to that point was unforgettable. The work and effort but into this piece by the professional team, the LX, wardrobe, creative team, the knitting groups. Kudos to Community Producer Alice Evans who did an amazing job to come in and co-ordinate this project. Seeing those young people be a part of something so young and as a group too. It reminded me of my time on The Suicide as an eleven year old. But I was on my own, not seeing the other performer often and trying to speak to the actors (who were lovely with me) but was still scary at that age. But due to the sheer size of Mold Riots, they could become friends and make great memories. What was better, they never argued between each other either, they looked after each other. I can only see how this experience made those 20-30 children happier. And, to me, that is what theatre is about. Experiences.

Thanks for your time Ed.

Thansk you can reach me at Twitter: @edhumphreys97 – much appreciate any feedback on this, Lonely Together videos or my dissertation.

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

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

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 2^nd, 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