Samuel Beckett might just be my favourite playwright. Why? It’s his abstractions, the eerie usage of prose for a higher truth. His plays in French and German then translated into English, capturing profound depths that wouldn’t be seen if it was just in English first.
First seen in 1958 with actor Patrick Magee, Krapp’s Last Tape have seen much success and is often regarded as one of Beckett’s finer works. This isn’t my personal favourite, though thanks to a tight production it holds up as enlightening. The play is even going with Gary Oldman in York , so there are plenty of chances to see this odd tale.
Per annum, Krapp on his birthday records another tape. A post-mortem of the year he’s had. He listens to recordings from decades past and loses himself in then, only to dismiss them as ancient histories. Aged 69, he leaves his last tape, after eating a few bananas, popping out to the kitchen in a hurried scuttle to what sounds like the pouring of wine (quite possibly urination) a few times and constantly critiques the man he was, against the man he is now.
Stephen Rea is a true Beckett actor. He had the foresight to pre-recorded the relevant material a decade ago, just in case he ever did play Krapp. Luck would be on his side thanks to laser focused director Vicky Featherstone. Set designer Jamie Vartan has the most simplistic plan, yet all you really need is a sliding door, chair, table with extended draw and that’s your lot. Katie Davenport got the tattyness of old age and white boots that might just not match the outfit. Lighting by Paul Keogan is scary and alluring in all ways. Kevin Gleeson’s, sound design keeps the suggestion of a drone in utter pianissimo throughout, near Lynchian. Stephen Wright as audio director assisted Rea with the old recordings and did a valiant job. You can tell Rea is younger, though not by a huge amount. Imagine the 30 years old tapes…
There is much to unpack about archivism, longing, resentment, ageing, loneliness, sex and lust in this mere 55 minutes. Other artists have taken the tapes ideas and ran with it, musicians especially with opera and looping material are really nice ideas. It has made me wonder about how do we preserve items in needs of tender love and care, with the passage of time decaying most materials. Through it all…was this the purpose of recording something?
‘Dear Evan Hansen’ is a musical about a high school senior who suffers from social anxiety, who fabricates a friendship with outcast, Connor Murphy, to achieve connection and popularity, after Connor commits suicide. Evan’s lie ends up out of control and leads to severe consequences; Evan becoming a symbol of Connor’s legacy, causing a chain reaction on his own life.
The set pretty much stays the same, yet creates life throughout the story like moving doors, on and off bedrooms and optical trees. Simple but effective!
Last, but definitely not least, the cast! Here are my favourites… Tom Dickerson as Jared Kleinman, gave us the right amount of comedy to mix in with the show and gave us all a laugh. Killian Thomas Lefevre was fantastic as Connor Murphy. Even though Connor didn’t have much stage time, Killian honestly did not let that stop him, with lots of aggression but some softness. He showed us that Connor Murphy was sarcastic and rude but yet soft towards Evan on his last day. I must say Evan Hansen himself, played by Ryan Kopel, was absolutely brilliant. He showed everything Evan needed to be, anxious to tender and even showing the side of him that has outbursts.
Overall the show was honestly one of the best I’ve seen, it had everything it needed and it was everything it needed it to be, so stop ‘tapping on the glass’ and get yourself tickets for ‘Dear Evan Hansen.’
‘Today is going to be a good day’ and it certainly is a good day coming out of the new tour production of Dear Evan Hansen at the Wales Millennium Centre. The new production has a lot to live up to; a decade of productions since its first performance in July 2015. There has certainly been a huge number of changes for the world since the debut of the show too, with a pandemic lockdown, international conflicts which are still yet to be resolved and political and financial instability. Certainly, with all this ongoing, the themes tackled in the musical are more important than ever; the NHS regularly reports an increase in mental health issues with young people and in fact, the suicide rate in 2023 was the highest it’s been since 1999.
Having said all that, you may be inclined to think that the show is a fairly depressing affair, and it definitely has its moments of being on an emotional rollercoaster; I found myself in floods of tears at several points! However, the main mantra of the show signs through in its stunning score penned by Benj Pasek and Justin Paul (their impressive back catalogue includes work on La Land and The Greatest Showman), with stunning lines such as ‘you are not alone,’ ‘let the sun come streaming in’ and of course, the iconic, ‘you will be found.’ Based on a true story that occurred during Benj Pasek’s school years, I particularly love the fact that the characters, although likeable, are morally grey. They are so real and human that they bound from the stage and force us to look at our own decisions and life choices. It also truly emphasises that theme of ‘connection’ and that we all touch one another’s lives, sometimes without even intending to.
Therefore, this production has a lot to live up to! And it does so, with absolute ease, stamping its own new identity on the legacy of the musical. Starting with set, video design and lighting, (Morgan Large on set, costume and video, Ravi Deepres also on video and Matt Daw on lighting), I must say, that this production absolutely sets the bar and then smashes it. The way that this design all comes together and seamlessly integrates with performers on stage in a truly breathtaking way. There were several moments where I found myself with my mouth literally hanging open; from the moving ‘windows’ that have Evan literally waving through them, the ‘sun’ filling the whole stage as Evan sings ‘I climb ‘til the entire sun shines on my face,’ and the stunning montage of online footage as we hear ‘You Will Be Found,’ these moments are visually stunning and will stay in my mind for a long time. Huge congratulations to the team, they have created a truly stunning visual production with a very minimalist stage which enhances the performers rather than detract from them.
The small, but mighty, cast and ensemble of 14 certainly deserves the highest of praise. The ensemble creates beautiful tableaus and choreography (a credit to Choreographer, Carrie-Anne Ingrouille) and the chorus singing is stunning. The whole cast is wonderful, but I must make special mention to a few of them. Alice Fearn is a seasoned performer and having seen her portray Beverley Bass in Come from Away, I knew she’d be incredible as Evan’s mother, Heidi. She does not disappoint; ‘Good for You’ is gritty, angry and powerful and she flips it completely with a poignant, heart-breaking performance of ‘So Big/So Small.’ The true show stealer though is Ryan Kopel playing the titular Evan. I do not exaggerate when I say that his portrayal of Evan is phenomenal. His voice soars over the score with truly stunning emotional and lightness of touch in places and a powerhouse, emotional belt when required. His acting is a masterclass; he is instantly endearing and highly likeable immediately and he had me in tears from the beginning; from ‘Waving Through a Window’ to the showstopper of ‘Words Fail,’ where you truly could have heard a pin drop in the Wales Millennium Centre. They are joined by Lauren Conray as Zoe Murphy, Helen Anker as Cynthia Murphy and Richard Hurst as Larry Murphy, who exceptionally show the grief, or not, of the Murphy family; Killian Thomas Lefevre as Connor, who had me in absolute stitches in ‘Sincerely, Me’ and Tom Dickerson as Jared Kleinman and Vivian Panka as Alana Beck who bring brilliant vocals and fantastic humour to their roles.
The day you watch the newest production of DearEvan Hansen is going to be a good day and here’s why…it breathes fresh life into an already beautiful show, elevates the score, brings moments of stillness and poignancy to the libretto and shows touring productions what can be achieved with simple yet impressive set, video and lighting design. It’s an important show for everyone to see; yes, the themes are hard hitting and you will find yourself emotionally drained by the end, but you’ll also find yourself uplifted, reaffirmed and knowing that even when things go wrong, when life seems its darkest, that we are connected, not alone and that, ‘you will be found.’
I am not done with so called minimalism in London just yet. Part of the Southbank Centre’s Multitudes Festival, In C, proved to be a thrill. Taking Terry Riley’s iconic 1960’s composition, it is here laced with dance and that from Sasha Waltz.
Just over an hour, the whole beast was touching and the definition of fluidity. Diverse dancers swell together, Waltz’s stance on the belief, profound here. The London Sinfonietta players maintained tightness the overall pace. The C note is given time to breath in these phases, never a moment of discord nor shock. The development of this note is luxurious in its discoveries. These repeating motions from the musicians are a testament to muscle memory and endurance. This powdered piece is essentially Riley’ most revered stand out and that’s not a bad thing. You can easily lose yourself within it.
Waltz’ choreography has used classical music before to acclaim. It’s very human, allow me to explain what I mean. It’s the combination of coloured vests, which gradually darken with sweat, the smiles the dancers give and the unrelenting flow that makes up, this so uniting. So many connections are made: some appear to handle heart break, others suggest the glimpses of friendship. Each dancers easily go off on their own venture, prayer signs and soft balletic postures…often returning to a semblance of gathering. An infectious conga line appeared to form in one instance catching others into its fold, only then to disassemble at just as quick. Each dancers brought clear insight and energy, the head turned a few times, adding with their little adventures into the auditorium. Quite literary dancing in the aisles.
This might just be one of the most lovely combinations of dance and music. A broad colour palette evoked Rothko and Klee, a large screen haunting the space. This is also proof how good a venue the Queen Elizabeth Hall is for dance, I’ve seen work before but this defined it. Wonderous flights seem to take over the troupe as if they might just have floated off. I was quite moved, again its just so achingly human. I might just try out some of these flurrying moves at home…
What a privilege it is to be able to see Marina Abramović’s work so often in the current day. Being brought up studying her performance art pieces, over the years, Abramović seems to be creating more and more work in London and each one new and as fascinating as the next and I feel lucky to be able to see them first hand and continue to be inspired.
As part of the Multitudes Festival, she has joined with pianist Igor Levit to combine classical music and her quintessential durational work to create a performance across 20 hours. The options to come in and out throughout these 20 hours or find yourself with a 1 hour slot in itself delivers a unique experience for each audience member and the feat of the art is, not only what Abramović is famous for, her bread and butter, but still managing to be something new and exciting.
Vexations is based on a one page score of its namesake. While simplistic on paper, the score is ordered to repeat multiple times and throughout the 20 hours, Levit does just that. But it changes; the tempo, the tone, the volume, the intention, it is somehow different every time and even in a 1 hour slot, it lulls you, surprises you, creates a dreamlike state and shocks you. You find each iteration to be new in some way and never the same as the previous. Levit first performed this over live stream during the Covid lockdown, with an aim to comment on the experience of all but especially the hardships of artists at the time. There certainly feels like a poignant commentary on this, and becomes relatable for everyone; who else remembers the days of doing the same things over and over, but those rare times of something new to break up those long years?
Front and centre, Levit is at his piano, tearing at sheets when a page is complete and throwing it in disarray on the stage, building and building over the hours. He approaches the music each time as if it is something new. By my slot, 7 hours have passed, and the endurance is clear and painful, with movement in his body, changes from sitting to standing, uncomfortable and becoming stiff, an almost madness in his eyes but also something playful alongside it. Untouched snacks are provided to satiate but he never reaches for them. He does however abruptly break, a strange moment when looking around the auditorium, while he goes to the toilet or grabs some food, that the durational audience members treat this as some kind of break, to check their phones or break themselves; almost like a unwritten interval. Watching Levit himself, while directly or through the huge mirror above, looking down like a topsy-turvy world, is intoxicating and strangely, the music at no point becomes unbearable or monotonous.
To accompany him, the black and white tiled stage is littered with well placed seating and audience members, chosen to sit and basque in the performance, eyes closed and in the moment. This is facilitated by two performers who move around with strong intent but at glacial speeds and no emotion. It is somewhat frightening but also calming at the same time. A wave of adrenaline as they come to the audience, breaking the fourth wall, will I be next? Another wave of disappointment (or maybe relief) when you’re not. But there’s also a tenderness in the blank faces and a sense of care by how they move and how they handle the audience members. It feels like a less aggressive selection process for a school sports team, or like becoming a “chosen one” from a crowd, being brought through a wall or veil we cannot see, highlighted by the preparation of shoe removal before stepping on the tiles. And watching this movement also lulls you, it is fascinating, and you can’t quite take your eyes off the performers or how the audience interact – some accept their fate, some are excited, one begins to move almost as if they have been replaced by the performer and copies her when he is released back to his seat, still in this trance-like state. One poor chap, with a wristband to show he is a durational audience member and therefore been here a while, suddenly loses all sense of his body, the performer still in a glacial but sped up way, not breaking character, rushing to him before he falls. He himself seems to have been pushed into a trance, and likely in need of water and nourishment, it is an occurrence that shows the impact it not only has on the audience but the sheer strength of the performers and Levit during these 20 hours.
And while touched upon already, there is a third performer – us. Or more specifically, those (in my opinion, lucky enough) to have been able to be there for the full day. What interesting experiences must they have had over that time, visually and also within themselves. I looked around and they themselves had become part of the performance – comfortable clothing, bobbing along to the music as if at a rock concert, cushions and blankets as if camped out to be the first in line at a festival or to get tickets, their seats marked by coffee cups or their bags on their chosen breaks. It was a social study that they were unaware they were part of and it only added to the essence of this performance.
Vexations certainly brings a new and interesting approach to the intention of the Multitudes festival. Breaking all the rules, it encompasses the whole room, physically and mentally, creating a unique experience and feeling but also an unusual and one of a kind pocket universe through song and physical art.
Kicking off the Multitudes festival, a festival that aims to celebrate the collaboration between classical music and other art forms, London Philharmonic Orchestra and circus troupe, Circa explodes in the Royal Festival Hall.
While the concept feels unsurprising and a good fit with one another, the actual viewing of such a spectacle is awe-inspiring and exciting.
Written for and with inspiration from dance, Daphnis and Chloe depicts the story of young love, with star-crossed lovers, a kidnapping by pirates and ultimate earthquake triggered by the rescue, eventually joining the lovers together again. This is followed by a secondary piece, La Valse, created in a time of war, depicting a society of chaos and on the verge of collapse.
The orchestra is on stage for the entirety of this performance. A quick intro by the head of music at Southbank Centre, we are reminded that, a tradition physical performance, such as circus or dance, would see a moment of applaud between pieces or at moments of monumental feats, but we are asked to hold our excitement to the end to also take in the orchestra and their equal part in this. In practicality, this is somewhat hard. A classical music novice, and clearly not the only one, a small break and an actual standing up of the orchestra and point to the accompanying choir prompts a response and so when the performers come back and the music drums back up, only then we know we are not finished. Not the end of the world but a strange sensation none the less. However, there is something lovely and refreshing to not hear an applaud each time the circus perform a death-defying stunt, while not silencing a strong, short inhale, and it gave a platform to take in the whole performance.
Despite this confusion, which is minimal in comparison to the event, the room is filled with the sounds of a typical orchestra. It reminded me how I wish to visit more classical music concerts, while with little knowledge of what to see exactly, as the live music aspect gives you a special tingle from the talent demonstrated and the beauty. As mentioned before, a choir accompanies, high in the seating to the right. Their gentle standing up for appropriate moments to join in with their choral harmonies brings a multitude of feelings, from excitement to sinister atmosphere, accompanying and competing in equal measures with the ever changing tone and range of the orchestra.
While we are unable to miss the orchestra, we are somewhat distracted by Circa. A small strip at the front of the stage is their platform, working linear and occasionally branching to the backing levels of the auditorium behind the orchestra. The feats are incredible, reaching heights using one another’s strength and contortion, it is visually beautiful and provoking of audible gasps. The amazement in itself coming from the small space they easily and effortlessly work in, compared to traditional circus tents or large vacant space. There’s a want, after the starting speech, to try and give attention to the orchestra and the choir, but it’s difficult to look at their “performance” when visually, the area is brimming with both them and the circus performers. However, you are trusting on your ears and the piece never misses a moment where all elements fit together seamlessly.
Daphnis and Chloe gels the different platforms of classical music and circus with ease and beautifully. Does it feel like a breakthrough in the arts? Not really, but you can’t help but love the collaboration and that it paves the way for more live music and preformative art forms to go back to traditional roots and bring them to the modern world.
We’ve been thinking a lot in Wales about the plight of musicians and artists. Yet how are the dancers doing? I guess we are all cooked really, the feeling of hopelessness about funding and opportunities linger on. Let’s having something to raise the spirits…
In 1995, director and choreographer Sir Matthew Bourne hit the ballet jackpot in his reimagining of the definitive ballet. Maybe back 30 years ago, this would been highly radical, messing with the formula of a piece so cherished by dance audiences. Still, the connective tissue of the original Swan Lake is evident and lives, thanks to what holds up as a sparkling feat. The new additions of queer and gender bending roles are what stand out in what has often (incorrectly) been dubbed the “all male Swan Lake”.
The story is practically the same, it’s just the dressing of a newer setting that could be 1950s or today, or another universe. The prince, unhappy with his life then falls for a woman, The Girlfriend, though the snobbery of The Queen and the court would dominate. The prince finds himself at a lake, only to have an awakening in many ways, as The Swan and his posey waft into his life. It all end in tears, as the beats of the original story are mirrored and gentle tweaked.
This really does prove to be a fun and absorbing evening. Bourne’s foundation of classical ballet is always there waiting. Yet, the more contemporary dance components are what makes it so compelling, the fluidity and outbursts from this varied cast. There are quirky jabs and physical majesty in these demanding roles. There are extremities, moments of period dances from decades past and other flurries seeing odder sights. The swan troupe who in their iconic down feather tights and ink beak makeup adorned on their forehead, get some of the finest moments of the show. They are the poster children and have been for years. They even hiss, which was not expected.
The gala balls and the mock Royal Ballet visit also sparkle with glamour, dippy humour and a surprising amount of sexuality. When The Swan arrives at one of these dos as The Stranger (or the Black Swan in the original), I was taken with just how steamy it got. Some really fun and electric moves in the Spanish and other dances, as The Prince, loses his sanity over The Swan making multiple passes at his mother. Lez Brotherston in the set and costumes have famous details and practical ease. The sets are clever in looking grander and heavier than they are, the costumes range from nightclub garters to royal gowns, all very fetching.
These are dancers on their ‘A’ game. The Swan is Jackson Fisch, in a compelling and a sensual depiction of the fatal avian folly. This might be the finest dance performance I’ve seen for a while. Stephan Murray is not far behind as The Prince, who leads the show throughout. Innocence, intrigue, discovery and mania are his components, each played with nuance and the energy given off Murray is palpable. The Queen is Nicole Kabera gets some divaesque steps and the commanding presence to, proving the royal line has talents galore.
The Girlfriend from Katrina Lyndon is the comic relief, the foil to latter triggering this tragedy. Her stint in the Royal Ballet scene riffed on excitable audience goers, eating, passionately reading the programme and turning off their ringing phones. Also highly nimble, her time on stage was often eye catching and delightful. James Lovell looks like Tchaikovsky as The Private Secretary, this is a character who judges others mostly The Prince and Girlfriend. Much more the straight man in the court, this fells secondary though still part of the broth.
The one gripe, though I’ve said it before is the canned orchestra. Tchaikovsky’s soul lived in his compositions and here is no different. All the recognisable tunes and lesser-known passages feature, I even wondered if the order was messed around the for new take. I recall not seeing any live musicians at Bourne’s Cinderella too. The tourabilty of the show might be for reason like this, though as prices rise for theatre goers and musicians continue to fight for their jobs, I think it would add an extra layer of joy and spectacle.
Whilst all swans in this realm are owned by the King, this particular one very much belongs to Bourne.
When I was a kid (which was a very long time ago), ask any schoolboy what he wanted to be when he grew up and he would reply, ‘a footballer’. What any schoolgirl at that time might have answered I never discovered, as such social mixing was kept very much to a minimum. A pop star, perhaps?
For the two protagonists in this electrifying play, teenagers Kyla and Ruby, the answer is ‘to go viral’ and enjoy ‘pool parties in Las Vegas’. A pipe dream this may be, but it’s all these girls have to cling to, what with them coming from broken families and having no other discernible prospects.
HOT CHICKS is the latest production by Swansea’s Grand Ambition, in collaboration with Cardiff’s Sherman Theatre, and concerns people whose lives usually play out beneath the eyeline of the average, law-abiding, taxpayer. If such a thing still exists.
Kyla and Ruby are teenage friends who spend most of their spare time hanging around in a fried chicken shop in a deprived area of Swansea, antagonising the irascible but sympathetic owner, Cheney. One day, in walks Sadie, a woman who seems to have everything they crave: money, designer clothing and a winning attitude. Almost immediately, the young and impressionable girls are caught in her orbit, hanging onto her every word and keen to pick up the crumbs she casts their way. But there’s a darker side to Sadie and her intentions towards her new admirers are far from benign. And soon, Kyla and Ruby are neck-deep in the older woman’s world, which is a dark and dangerous place indeed, with little hope of escape.
HOT CHICKS deals with uncomfortable subjects, subjects we’d rather look away from, but thanks to the unique staging we – the audience – can’t. We’re forced to take this journey with the teenage protagonists, along the way sharing every high and feeling every bruise. All this is conveyed via the astonishing performances by the two leads, Izzi McCormack John as Kyla and Londiwe Mthembu as Ruby, who dazzle with those co-existing teenage traits of obnoxiousness and vulnerability. Rachel Redford swings effortlessly from cool swagger to icy malevolence as Sadie, and Richard Elis exudes a natural warmth as the owner of the fried chicken shop where the drama takes place. In the great swirl of all this upheaval and tragedy, he is a voice of reason.
Written by Rebecca Jade Hammond and directed by Hannah Noone, HOT CHICKS is a hugely engaging play; funny, witty, touching and horrifying in equal measure. It opens your eyes, raises your consciousness and plunges you headlong into the lives of people you might not so much have glanced at in the street. It’s become something of cliché to say that this is a play people should be made to see, but it certainly applies here. It’s an elevating experience.
HOT CHICKS is on at the Grand Theatre, Swansea, until April 25.
Having had no idea of what to expect upon taking my seat in the New Theatre, I can happily confirm that ‘…Earnest?’ is one of the maddest, most exhilarating, hilarious pieces of theatre I have seen in a while. ‘The Importance of Being Earnest’ is turning 130 this year; after being encouraged to sing happy birthday…to the play…we are launched into our evening. Anyone seeing ‘…Earnest?’ should take on board what Wilde himself once said, ‘we should treat all the trivial things of life very seriously, and all the serious things of life with sincere and studied triviality.’
What happens when your lead actor fails to show up? Well, in the case of ‘…Earnest?,’ they turn to the only place they can think of…the audience. The director, Simon takes to the stage valiantly and tries to pluck the next Olivier from the crowd as, the show must go on. Our evening was fronted by unsuspecting Chris, a data analyst who may have picked a seat slightly too close to the stage… From there, things just continue to descend into abject chaos, with the actress playing Cecily disappearing off to cover for the lead skater on ‘Harry Potter…On Ice’ and more and more audience members are plucked from obscurity to stardom as the show becomes more and more barking mad.
What is truly impressive is the sheer skill of the actors involved here. Their improvisation and ability to think on their feet is excellent. The show must never look the same from night to night and yet the cast never falter; their responses are witty and immediate, their ability to move around the hapless audience members joining them on stage creates such hilarity, especially as the props keep moving, Jack Daniels gets added to glasses instead of ‘stage whiskey’ and chaos unfolds in front of us.
The cast are excellent; Guido Garcia Lueches as Terry/Algernon and Rhys Tees as Graham/Lane open the show as we are launched into our production of ‘The Importance of Being Earnest.’ Their flamboyant blocking and over the top delivery is particularly satisfying for anyone involved in, or having seen a slightly hammy community production. When Earnest does not appear, their panic is palpable; Terry is unable to change any of his blocking and Graham starts suffering from props inevitably being in the wrong place at the wrong time. Josh Haberfield enters from the audience as our hapless director, Simon Slough, who comes up with a solution; an audience member can help, script in hand, to perform the show. We are also joined by Ben Mann as Josh, our techie, who’s just trying to be useful but with limited, screamed instructions he’s finding it a bit tricky…
These opening scenes are so important in setting up the action and the expectations of the piece. The cast’s interactions with each other and the audience members are genuinely funny and topical. I had no idea what to expect from the show and I’m pleased to report it is riotous. Trynity Silk as Jennifer/Gwendolen and Judith Amsenga as Eleanor/Lady Bracknell then join us, and the anarchy continues. We are joined on stage but a very ‘feminine’ Cecily in a resplendent pink frock, we have a sword fight with one sword, a drunken Gwendolen becoming more and more undressed and Lady Bracknell losing her voice. My personal favourite part was the explanation of Earnest being found in a train station in a handbag (not Victoria Station as originally intended but Severn Tunnel Junction for our performance), performed entirely in interpretive, physical dance with Graham Tees bounding across the stage with sheer joy and abandon; it sums up a perfectly crazy evening.
Say It Again, Sorry? have truly brought an experience to the stage, like nothing I’ve ever seen before. The sheer talent of the writers and the actors involved to basically perform a different show every evening based on what their brand-new stars might (or might not) say had me holding my breath in anticipation. Even if you’re not familiar with the original Oscar Wilde play, I implore you to go and see this (again and again, it’ll be different every time!) as it is a pure tonic and highly entertaining. I really cannot wait to see what the team behind Say it Again, Sorry? will do next; their refreshing take on theatre is definitely something I will be following, in ‘earnest’ so to speak!
Taking Flight Theatre Company is delighted to have been honoured with the inaugural Lifetime Impact Award at the Get the Chance Cultural Impact Awards 2025 last month, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff.
Taking Flight makes bold, unusual theatre productions with Deaf, disabled, neurodivergent and non-disabled performers. Their work tours Wales and beyond. Alongside touring work, they nurture the next generation of disabled talent, both on stage & behind the scenes. They do this through running inclusive professional training courses & mentoring schemes for people who identify as Deaf or disabled & are looking for the next step into a career in theatre, or to develop existing skills & build confidence.
With approaching 17 years’ experience in creating accessible theatre, they have become the “go to” organisation in Wales for advice, information or inspiration on integrating access & working with inclusive casts.
Artistic Director Elise Davison said:
“We are absolutely thrilled to have been given this lovely award. We were rather overwhelmed, and very happy to have our work of the past 17 years or so recognised in this way. We’d like to thank everyone who has made this journey possible and welcome the steps that the industry in Wales is making towards becoming more inclusive for audiences and professionals alike. Let’s keep shouting about access, eh? It really does make the work better for everyone.”
Guy O’Donnell, director of Get the Chance said:
“Taking Flight won the Get the Chance, Lifetime Impact Award because of the ongoing positive change they have led on for the cultural sector in Wales.
They featured strongly in many of the Categories for this year’s awards, demonstrating their reach amongst the arts sector and the public.”
Sara Beer, director of change at Craidd is also a longstanding member of Taking Flight’s board of trustees. Sara was invited to present the award to the company by Get the Chance, and said:
“Taking Flight creates excellent, accessible theatre and the impact they have had on Deaf, disabled and neurodivergent creatives has been huge, providing brilliant opportunities and raising awareness of the talent that for so long has been overlooked.
The company also provides high quality training for theatre creatives across Wales. This means that there are now many more audio describers available to companies who work in both English and Welsh and a pool of creative enablers to support freelancers and companies to provide inclusive, accessible environments for everyone.
It is remarkable that the majority of their work has been created on project funding and their determination and belief in making important accessible theatre of the highest quality. Now that they are revenue-funded by Arts Council Wales I’m sure there are going to be many exciting times ahead”.
The award comes at an exciting time for Taking Flight as they enter the production phase of their latest show, a fully accessible BSL/English production entitled Martha that will open at Cardiff’s Sherman Theatre this May. Martha is set in the near future, in a world where sign language has been banned and Deaf culture driven underground – a cautionary cabaret about the dangers of oppression and totalitarianism. More information can be found here:
https://www.takingflighttheatre.org.uk/martha/
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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