After a blazing take on Rachmaninov’s 3rd Piano Concerto with our BBC NOW a few weeks prior, Korean pianist Yeol Eum Son popped back to Cardiff for a much more intimate affair at the Royal Welsh for a Sunday morning recital which had highlights and less interesting work.
The Trois Pieces pour piano by Guillaume Lekeu started us off, a nice opening feature though I found it to be rather inconsequential. A mighty tonal shift followed with the finale to Stravinsky’s The Firebird. Though most of the ballet score is rather dull, it is the last ten odd minutes that dazzle, Yeol throwing herself into the piece which is a showy number that usually ends a concert. I detected at least a wrong note or two through the clamour of the soaring final pages, yet how profound the whole thing was. She owned the sequence and I was rather taken with her virtuosity on display.
More tonal shifts with William Hirtz and the Wizard of Oz Fantasy, a charming selection of the famous chunks from the timeless film. It was all here: Somewhere Over the Rainbow, the music for the Wicked Witch, We’re Off to See the Wizard and more. You could feel Yeol’s enjoyment in this fluffy choice and it led to an interval making us crave more. The First Sonata from Janáček known as ‘From the Street’ had an air of difficulty, some tender moments you’d expect from the Czech master composer. I’ve always held firm that he writes better for orchestra then piano. I found I lost interest within it, only brought back with more tender, touching moments as it reached it’s conclusion.
A few nights prior, a musician friend spoke highly of the music of Russian Nikolai Kapustin. Eager to check out his music, I didn’t have to look very far as Yeol brought the concert to a close with his Second Sonata. Every pore of score dripped with jazz, though I feel this was a detriment to the genre. The formal proceeding of having the jazz in a classical folding almost denies it the right to get lost and breezy. Amusing moments were met with toe tapping phases, though I did wonder how generic this sort of jazz has become. Never the snob to declare the genres shouldn’t mingle, I just wasn’t wowed by the sonata.
This proved to be quite a varied and lively programme, more of the same variety is greatly encouraged.
The buoy band that breams were made of! Fisherman’s Friends: The Musical, written by Amanda Whittington and directed by James Grieve, is based on the true ragfish-to-riches story of the best Cornish export since the pasty: an acapella group comprised of local fishermen whose chart-topping rise to fame saw them playing the Pyramid Stage at Glastonbury in 2011. The musical, which draws on the screenplay for the 2019 film starring James Purefoy and Daniel Mays, includes a raft of sea shanties (including lockdown TikTok sensation Wellerman) alongside original songs written for the show by musical director James Findlay. Having premiered in Plymouth in September, the UK tour drops anchor in Cardiff this week.
The UK touring cast of Fisherman’s Friends 2022
The story centres around the band’s discovery by Jason Langley’s Danny, a disgraced record producer who wants to use the Fishermen for his comeback, and who ends up falling for them hook, line and sinker. With the team at Island Records sceptical of the band being able to find an audience, Danny lies his way to London with the Fishermen in tow. A classic fish out of water, Langley’s interactions with the Fishermen – and his budding romance with Alywyn (Parisa Shahmir), ‘The Taylor Swift of Port Isaac’ – are hugely entertaining to watch.
The UK touring cast of Fisherman’s Friends 2022
This is in no small part due to the energy and enthusiasm of this wonderful cast, who are onstage together for most of the show. Kudos to the actors who play the titular Fishermen: James Gaddas, Robert Duncan, Anton Stephans, John O’Mahony, Hadrian Delacey, Dan Buckley, Dominic Brewer, and the double act of Dakota Starr and Pete Gallagher who won the toughest-fought battle of ‘having the most fun onstage’ I’ve seen in a while. (You can check out our interview with Dakota here). Mind you, everyone onstage (and in the audience) lit up during the scene where the Fishermen hit the Soho club scene – and if you were wondering whether you can disco-ify a sea shanty, then wonder no more.
The UK touring cast of Fisherman’s Friends 2022
The team have done an excellent job at translating the story and sense of place to the stage. St Piran’s Day is duly celebrated and Bodmin duly sassed, and Lucy Osborne’s gorgeous set took my breath away when the curtain went up, and the spectacular opening scene – where the Fishermen sing ‘Norman’s Blood’ on a stormy ocean – is something you truly have to see (or ‘sea’?) for yourself. With such a huge cast, the show nails both the raucous group numbers (like the jolly ‘South Australia’ and any scene in the Golden Lion pub) and intimate two-handers (like the first tentative steps of courtship between Langley and Shahmir, where they circle slowly around each other singing ‘Sloop John B’). Meanwhile, Cornish actors like Susan Penhaligon and Robert Duncan bring a sense of mischief, gravitas and authenticity, and Shahmir lends grace and passion to the stage in ‘A Village by the Sea’.
The UK touring cast of Fisherman’s Friends 2022
The sense of warmth and affection among the cast is sure to reel you in, as will the top-notch singing – these shanties have never sounded better. While you might struggle to remember every Steinman lyric or Osmonds riff, these call-and-response songs are easy to pick up and sing along to – the pitcher sings a verse, and everyone joins in on the chorus. Shanties originated as working men’s songs, designed to help sailors keep to a strict rhythm during everyday tasks on the ship, and to keep up morale. So if you’re feeling even the teensiest bit down in the dumps, a couple of bars of ‘John Kanaka’, ‘Drunken Sailor’, or ‘Blow the Man Down’ is sure to lift you up.
There really is something for everyone in this show. The songs have a sense of history and humour that make them a rich live experience. As one character says: these songs are for anyone with a heart, a soul, and a taste for adventure. Set sail for Fisherman’s Friends and you’re sure to have a fin-tastic time!
Fisherman’s Friends: The Musical is playing at New Theatre in Cardiff through to 29th October (you can find out more about the production and book tickets here).
In our latest Writer interview Director of Get The Chance, Guy O’Donnell chats to Bethan James. They discuss her development as a writer, her career to date, being shortlisted for the Rhys Davies Short Story Award and a future free workshop ‘Storytelling for Beginners: Retelling Welsh Myths for a Greener Future’
Hi Bethan, you and I have known each other for some time as you were one of the original Young Critics supported by Get The Chance, since then you creative career has blossomed, can you give our readers some background information on yourself please?
I grew up in South Wales, and getting involved in The Young Critics scheme nearly a decade ago ignited my creative industries career journey. This enabled me to see world-class productions like Belarus Free Theatre at the Sherman for free, and get my work published in stellar places like Wales Arts Review. That experience launched me into freelance work at National Theatre Wales, then a Marketing & PR role at Oxford Playhouse theatre.
My love of writing led to a comms job at a Welsh publisher, then a career as a Senior Book Publicity Manager in London, but the written word has always been my calling. This month, I was shortlisted for the Rhys Davies Trust Short Story Award. I moved back to Wales recently, and I’ve just submitted my debut historical mystery novel to my literary agent. Fingers crossed for a tidy book deal!
Fast forward to October 2022, and I’m halfway through an Arts Council Wales ‘Create’ grant for a storytelling project. My project includes time to write, mentoring with amazing storyteller of over 25 years Fiona Collins, and training at Ty Newydd Writers’ Centre.
Fiona Collins
A dream come true. It culminates in delivering accessible and free virtual storytelling workshops on theme of climate change and Welsh myths. More on this later in the Q&A, and I hope your readers can join us for a free workshop on the 1st November.
So, what got you interested in the arts?
I remember when I was about 7 years old, the National Museum of Wales did a competition for children to choose a painting in their collection and write a piece of art criticism about it. Larkspurs by Henri Fantin-Latour drew me to it – a still life with a vase of flowers.
My review was basic. A few lines about pretty pastel colours and how it made me happy. But it got published in the competition booklet. That made me feel listened to, and I realised that I had a voice in the artworld despite being a child.
I’m also lucky that my parents read me bedtime stories and took me to the library every week. That seeded my love of storytelling for life. I was about 18 years old before I visited a bookshop for the first time and bought a book, which people in the publishing industry find odd!
The other gamechanger was a scheme called ‘A Night Less Ordinary’ when I was a university student at Southampton University, a world away from the little Welsh village I grew up in. That enabled me to see a play every week for free. My passion for theatre was cemented. Prior to that, I’d only really been exposed to panto (which I love by the way, but I appreciated my eyes being opened to new and classic works).
Can you tell us about your writing process? Where do your ideas come from?
Great question. One of the best – and strangest – tips I’ve ever had for getting ideas when you’re stuck is to find water, because water makes you feel inspired. Wash dishes, brush teeth, have a shower, or walk by a river, and ideas will probably flow!
On a more practical level, I recommend the book The Artists’ Way by Julia Cameron to everyone. It takes you on a 10 week journey of creative discovery and inspiration. Some aspects are a bit spiritual for me, but her advice such as doing a few minutes freewriting to start your day – a subconscious brain dump where you don’t edit yourself – is invaluable.
The way stories often appear to me is as lines of dialogue popping into my head at random moments. I start writing to try and work who’s saying those lines? Where are they? What happening? It’s like getting a line of script, and then you’re a director and the TV episode or film starts taking shape. Eventually, I can sit back and the scene plays out in my mind’s eye.
I just have to type quickly enough to catch everything I can see before me, and what’s being said.
Always carry a notebook with you to jot down the quirky things you overhear, or sights that catch your eye, or strange encounters. Keep it by your bedside too for scrawling down your dreams after you wake. You’ll never remember afterwards otherwise!
Things like ‘story cubes’ dice with pictures can help writer’s block, or using Tarot cards as visual prompts.
The other top tip is to read a lot in the genre you’re writing in. You’d be surprised how many writers I know say they’re too busy writing to read, but how can you fill up that well of ideas otherwise? For example, writing my Victorian crime novel, I binged on Sherlock Holmes stories to immerse myself in the atmosphere, voice, details of the era.
I love this quote from Sylvia Plath: ‘everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.’
Can you describe your writing day? Do you have a process or a minimum word count?
I’m definitely not a ‘get up at 6am with the sunrise’ writer! Because of my thyroid disorders, I get brain fog first thing. On a day I’ve carved out for writing, I take my time to get going. I’ll clear my email inbox, check social media, and have a some porridge, do a little walk outside, and try to be at my desk by 9.30am. Earl Grey tea fuels me.
Throughout the day, I write in 25-minute sprints followed by 5 minute breaks (known as the Pomodoro method). The game-changer for me was discovering a free productivity app called Forest. For every stint of focused work, you can plant a beautiful virtual tree. Once you’ve planted enough, the app plants a real-life tree for you to help the environment. Rewarding myself for sitting down at that blank page works for me.
Unusually, I have a “no wordcount” rule on my writing days. I never track or count words on a project – only time. But the reason is, writer’s often get demoralised by not hitting a wordcount target, whereas maybe that 8-hour wordless day was the most important one all month, because they sat back, stared out the window, and solved a huge plot hole. Mindset over wordcount any day: one you carry across projects, the other ends when the story does.
I’ll have another little walk at lunchtime, then work intensively until late. I’m a night owl so my best time to write is evening from 8pm to midnight. I enter the state between wake and sleep and the ideas flow.
I end the day filling in my bullet journal – a tip from author VE Schwab. You think of things you want to do that month: maybe yoga, novel writing, and cutting down on caffeine. Then you colour in a journal square for each day you achieved it. Whether you did 1 hour of writing or 10, you colour it in and feel a sense of achievement.
VE Schawb
Why and where do you write?
The simple answer is I write because I can’t not write. Creative expression is up there with food, water, and oxygen as an essential.
There’s a brilliant Seamus Heaney quote on poetry: ‘I rhyme / To see myself, to set the darkness echoing.’ I suppose writing short stories and novels is the same for me: an act self-reflection and understanding myself better.
It also helps me make sense of others and the world around me. Writing can be an act of empathy and connection, or a form of escapism and freedom. Sometimes my underlying health issues makes me tired, but when I’m in the flow of writing, I enter the realm of imagination and can forget all about that.
As for where I write, I find it hard to focus in noisy cafes or on a train. My ideal setting is a desk in my bedroom surrounded by snacks, with peace and quiet for hours, and a window with a view of nature. How often I achieve that is another matter!
Bethan’s ideal writing space
It was harder when I lived in a house share in London and worked exhausting 12 hour days in a busy book PR job. It’s easier now I’m back in Wales and working on my Arts Council Wales storytelling project.
Yes, Welsh myths are rich with nature imagery and themes. My initial approach to re-interpreting these was to work with my mentor Fiona, and explore different tales that resonated with the climate crisis and ecological issues. Then we’d pick one to make the focus our Zoom workshop.
For example, in the Third Branch of the Mabinogion, magic lays waste the kingdom of Dyfed and all agriculture, domesticated animals, and humans vanish. The only four people left behind must find ways to survive and restore the land.
But the story that most resonated with me is The Tale of Taliesin, because it features the powerful woman and sorceress Ceridwen. She uses ingredients from nature like herbs in a spell to help her son gain knowledge and become accepted by others. In the story, he’s described as deformed and crippled, so it’s also a gateway to address current issues like eco-ableism.
The narrative has an incredible chase scene when Ceridwen transforms into different animals like a hare, otter and bird of prey. It brings nature to life and creates a strong connection with the environment and local species in listeners. This was important to me, as according to a Welsh Government July 2021 report, only 15% of the population believe climate change affects them. But issues such as extinction and habitat destruction are happening right under our noses in Wales.
Our workshop begins with a short present day re-telling of Ceridwen’s tale, where she’s a scientist instead of a sorceress. She mixes medicines in her lab instead of potions in her cauldron. Then participants can plant their own stories by taking part in creative activities with a green twist, to help them grow as a storyteller.
I believe if people can imagine stories where Wales has a greener future, then it can become a reality. Myths speak to us with powerful truths, and can be tools for planting the seeds of change, and for challenging narratives. The Welsh Government’s net zero goal by 2050 won’t succeed if people don’t believe in hopeful possibilities and get behind it.
The workshops are offered with access support including, “live captions and bilingual Welsh/ English workshop slides. You also state If you require sign language interpretation, or other access requirements, please let us know in advance. We will do our best to accommodate.” Is access provision important to your delivery as a creative writer?
I live with chronic illnesses, and seek to support new writers and aspiring storytellers who are disabled / chronically ill/ neurodiverse/ or D(d)eaf. I understand first-hand how many barriers are out there. Now Covid lockdowns are over, it’s frustrating to see creative workshops and events becoming 100% in person only again, with no virtual offering or hybrid models.
Disabled people are underrepresented in publishing. The U.K.’s Publishers Association’s 2021 diversity survey found that 13% of respondents identified as having a disability. Few stories are told by disabled voices. I’m keen make sure my workshop is as accessible as possible to this community, so everyone feels welcome and can participate.
This also links to the ecological theme of the session. Disabled people are among the groups most affected by climate injustice. According to a World Health Organisation 2021 report, climate change is “the biggest health threat facing humanity”.
Likewise, I’m keen to make sure Welsh speakers have bilingual workshop slides and can access the activities in their preferred language. Although the workshop is in English, Fiona who co-delivers it, is a Welsh speaker who will do a reading in Welsh during the session. Afterwards, participants also receive a bilingual storytelling and climate change PDF resource pack.
How do we take part in the workshops and is there a cost?
The workshop is totally free thanks to funding from Arts Council Wales and National Lottery Good Causes. We’d love you to join us on Tuesday 1st November via Zoom from 6.30-8.30pm!
It will be a 2-hour breath of creative fresh air, and we welcome anybody who wants to have a go at telling a story and exploring Welsh myths.
There are a range of organisations supporting Welsh and Wales-based writers. I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?Do you think its possible to sustain a career as a writer in Wales and if not what would help?
I’ve recently moved back to Wales after five years away in London, so I’m still trying to find my feet with exactly what support is out there for Welsh writers!
I’d struggle to support myself as a writer right now if not for my Arts Council Wales Create grant, which I’m extremely grateful for. They have a host of funding opportunities. I also recommend writers check out the Literature Wales website resources section.
As for storytelling in Wales, Beyond the Border organisation are doing great work, and their Mycelium Hub opens up opportunities for freelancers across the country.
That said, with risings bills and living costs, it can feel like a pipedream for many writers to sustain a career. The Society of Authors’ calculated that the average full-time professional author only has an income of around £10,500 a year. Most have to do a part-time job, or things like teaching or freelance editing/copywriting, to make ends meet.
I believe a key step to transform the lives of writers in Wales is introducing a Universal Basic Income for artists, like the trial scheme that just launched in Ireland. A total of 2,000 musicians, painters and writers in Ireland are set to receive a weekly basic income of €325 ($330) per week under a new 3-year pilot by Ireland’s government. Imagine how much more incredible work writers in Wales could produce if they weren’t exhausted from juggling two or three jobs to make ends meet?
If you were able to fund an area of the arts in Wales what would this be and why?
Obviously I’m biased and would love to see storytellers, creative writers, and the literary world fully funded and thriving! But I see the arts as a bit like an ecosystem, or a garden. When the plants, trees, flowers, soil and so on are all nurtured, it blooms. If you only focus on one flower bed, the garden won’t flourish. That’s partly why I feel the above creative industries’ pilot scheme in Ireland is so exciting – imagine how much collaboration and support between disciplines will grow there now? Not to mention how much the health and wealth of the nation as a whole will bloom when you invest in the arts.
What excites you about the arts in Wales?
I’m particularly fascinated by the work going on in the Welsh cultural sector to tackle the climate crisis. For example, Arts Council Wales have funded a series of fellowships for artists, and are commissioning a ‘Strategy for Climate Justice and the Arts’ with Natural Resources Wales. I’m part of the Wales Climate & Culture Working Group, which has opened my eyes to the many incredible freelancers and organisations pushing tirelessly to make an impact in this area. It fills me with optimism for the future.
I also find the increase in social prescribing and utilising arts projects for well-being in the community a marvel. I was speaking to a Welsh storyteller the other day, who told me about her care home workshops and events with people living with Alzheimers. A promising development in the arts, and it opens up even more opportunities for freelancers.
What was the last really great thing that you experienced that you would like to share with our readers?
Yesterday, I attended the book launch for The Rhys Davies Short Story Award anthology published by Parthian Books. It was a buzzy night of Q&As and readings. I’m always intrigued to hear what inspires and moves writers. I was thrilled to get my hands on a copy. It was wonderful to be shortlisted for this, and Laura Morris is a worthy winner – her story Cree, inspired by her job as a school teacher, is astounding. Grab a copy if you can.
Thanks for your time Bethan
The free online workshop ‘Storytelling for Beginners: Retelling Welsh Myths for a Greener Future’ takes place on Tuesday 1st November at 6.30-8.30pm UK time. Email storytellingwales@gmail.com to secure your free place and receive a Zoom link.
So it’s 20th October 2022, and I’m in my hometown of Porthcawl, walking up to the Grand Pavilion, a place I have frequented often over the past 23 years of my life. The lights from inside reflect and shine on the seaside town, but this time, we’re going downstairs. We’re going to watch a production by Dirty Protest called My Mix(ed up) Tape. I’m not sure what to expect but I’m excited, I’m ready to go in with an open mind. We head downstairs. It’s an encouraging number of people in the audience, and quite a different target to those who usually attend the performances in our small town. I’m pleased. The stage is set up with projections, and subtitles, and the room is set up with small round tables. What am I in for? I’m hit with music. DJ Glade Marie is vibing on the stage with her DJ set up, and suddenly I’m vibing too. I order a beer at the bar, sit down, and take in the atmosphere.
DJ Glade Marie
Then there she is, Katie Payne. A burst of energy, and we are thrown in straight away. Immersed in her story telling. I love her voice, she has a great Welsh accent that just makes me feel at home. She’s come back home to Pontypridd after living in London for a while. She’s here for her cousins wedding. She’s just been chucked out by the bouncer. She’s causing a bit of havoc, something we realise may not be an uncommon occurrence for Katie. She may be the only one who’s speaking on stage but she is not alone. She knows the town and the people like the back of her hand. She physicalises them well, and she manages to bring them to life. It’s comedic, it’s fun, then suddenly, it’s dark.
Katie Payne
Katie’s story is beautifully matched with a wide range of music that makes up her mix tape. The music is the second performer in this play. It makes me feel something- comfort, excitement, bliss. It elevates the moments and provides the perfect soundtrack for Payne’s story. I was really enjoying the different styles, some well-known classics, but also a few more obscure and underground tracks which I really appreciated. Music is clearly nostalgia and expression for Katie, and it’s the same for me. I felt connected to her. Like when a song you really love comes on and you find out your mate likes it too. Then all that’s left to do is dance.
Katie and Glade Marie had many subtle and unique interactions throughout the play. The little moments they shared felt sometimes like we were intruding on them as an audience. I was curious about their relationship, but it worked, and it left me wanting more.
Paynes’ performance was phenomenal and I was pretty speechless by the end of the production. The way she made use of the whole space, her voice, her movement, her energy, her pacing, were all on point and totally mind-blowing. I didn’t find myself disengaging once throughout the hour and fifteen minutes. I honestly don’t know how she did it, and how she made it look so effortless.
I couldn’t fault this production and I couldn’t give it anything but 5 stars. When you are let into someone’s mind, their vulnerability, their fears, and their truth, it’s such a privilege, and not one to be taken lightly. Everyone should see this production and have the privilege of witnessing Katie Payne’s performance first hand. The messaging is strong and I feel it would resonate with many audiences. This is a remarkable play, culminating from a raw female voice straight out of the Welsh Valleys. It’s overwhelming and confusing, It’s electric, it’s dark, it’s funny, it’s real, it’s brave.
It’s Welsh.
You can find out more about the tour and book tickets here
‘The Shadow Whose Prey the Hunter Becomes’ projects insight into the world’s fragmented misconceptions when it comes to disability and how much of this world as a collective perceives ‘difference’ negatively.
Well performed by cast members Simon Laherty , Sarah Mainwaring, & Scott Price from Back to Back theatre company, a neurodiverse theatre company based in Australia.
Each cast members visible disability became heavily overlooked due potent humour, indirect audience rage & views on adaptation, whilst remaining themselves in character. The message elaborated in this production was incredibly touching, inspiring & reflective. The method is simple when they meet in a Town Hall as a trio, to change the way disabled people are viewed, labelled & treated.
The statements highlighted in this play were on derogatory universal language, terminologies towards those who’ve been born with a disability, the internal conflict to why Sarah strongly disliked seeing subtitles up on the screen behind her during the play & her confidence to lead in conversation!
The biggest status quo that lingered during this production was society’s notions about inferiority complex, misfortune, restrictions, exclusion, limitations, various forms of oppression & emotional barriers related to a narrow minded gate thinking, human conditioning & social justice for change.
The Internal questions for the audience explored the framework of re-learning to look beyond the surface & see people as people without critical judgments! The play explores objective thoughts on disability, repositioning power status to embody strength, charisma, leader influence within politics, non – discriminatory job opportunities; free from harassment, pain & societal neglect… I couldn’t agree more!
Most importantly, are the people who’ve labelled themselves as mentally & physically stronger unaware of the rising epidemic ‘intellectual disability’ a phenomenon which’ll dumb down emotions, ability to think & physically restrict human beings from being able to function, haven given too much of their strengths over to the powers that be without a sense of self or acknowledgement on how this phenomenon will impact our future generations wellbeing, health, mental state & cognitive ability.
From Autism, Asberger’s syndrome to other physical & learning disabilities; are we about to realise a major disadvantage due to AI? Will Artificial Intelligence treat disabilities futuristically & Intellectually disable – if so, can it be stopped in time or are we already walking daily towards a tech weapon of mass destruction?
A truly reflective, deep & well performed show to help educate, raise awareness & help create social change amongst communities! This insightful production will be touring to Brighton and Leeds until 5th Nov! Grab a ticket, you won’t regret it ;)).
Dyma un o glasuron Shakespeare – comedi am gariadon a’u troeon trwstan a’r cyfan yn digwydd mewn coedwig llawn tylwyth teg a hudoliaeth. Fel arfer, llwyfannir y ddrama mewn gwisg draddodiadol ac ar set soffistigedig gydag effeithiau golau a sain gymhleth.
Ond os mai dyma beth ydych yn disgwyl gweld yn y cynhyrchiad yma, gwell i chi ail feddwl. Yn hytrach, mae’r fersiwn hwn o’r ddrama Breuddwyd Nos Ŵyl Ifan yn profi bod Shakespeare yn esblygu a goroesi ac yr un mor berthnasol heddiw ag erioed.
Dyma ddehongliad ffres, egniol a hynod ddoniol o’r clasur hwn. Mae’r cyfarwyddwr wedi mentro gwneud llawer o addasiadau ac maent yn rhai dewr a dychmygus. Gwelir merched yn chwarae rolau dynion a chymeriadau yn cyfnewid llinellau. Cymhleth? Na, dim o gwbl, oherwydd mae’r themâu, y gomedi a’r gwrthdaro mor amlwg ag erioed. Mae’r cynnwrf a’r diffyg cyfathrebu rhwng y cariadon, y tensiwn rhwng y bonedd a’r trigolion cyffredin a’r triciau mae’r tylwyth teg yn chwarae yn themâu amlwg drwy gydol y cynhyrchiad.
Yr hyn sy’n taro’r gynulleidfa yn syth yw’r moderneiddiad sydd wedi digwydd ac arddull gyfoes y cyfathrebu: e.e. merch yw Lysander yn y cynhyrchiad hwn ac wedi’i ail henwi’n Lysaana sydd mewn cariad gyda Hermia – mae Oberon, Brenin y Tylwyth Teg a Titania’r Frenhines, wedi cyfnewid llinellau ac o ganlyniad mae ystyr y stori’n newid ychydig. Yn y fersiwn hon, Titania sy’n chwarae tric ar Oberon drwy rhoi’r hylif blodau ar ei lygaid sy’n achosi iddo syrthio mewn cariad â Bottom! Hi sy’n rheoli ac yn meddu ar yr holl bŵer. Girl power go iawn!
Efallai bod hyn yn swnio’n gymhleth ond, wir i chi, mae’n gweithio ac mae’r cyfan yn syrthio i’w le yn hynod o gyfforddus.
Mae portread pob un o’r actorion yn y cynhyrchiad hwn yn hyfryd – pob un wedi meistroli elfennau unigryw a ffres i`w rolau. Mae ffocws cryf ar greu elfennnau doniol i`r cymeriadu ac mae’r actorion wedi canolbwyntio ar eu symudiadau a’u hystumiau i drosglwyddo hyn yn llwyddiannus. Roedd portread Sion Ifan o Oberon/Theseus yn arbennig a hefyd Nia Roberts fel Titania/Hippolyta. Roedd y ddau yn cydweithio ac yn dangos tensiynau eu perthynas yn hynod o effeithiol. Yn ogystal, roedd y cariadon, Dena Davies fel Hermia, Lauren Morais fel Lysanna, Tom Mumford fel Demetrius a Rebecca Wilson fel Helena yn portreadu egni ieuenctid ac angst torcalon yn hyfryd.
Ond i mi elfen fwyaf llwyddiannus y sioe oedd perfformiad y gweithwyr neu’r ‘mechanicals’, ac yn enwedig Sion Pritchard fel Bottom. Dyma beth oedd gwledd – y criw hurt a boncyrs yma’n ceisio ymarfer drama I’w pherfformio o flaen y Dug . Roedd amseru’r ddeialog a’r cydweithio rhwng yr actorion yn y darnau yma’n wych, gyda Bottom yn arwain y doniolwch a`r hurtrwydd yn hynod o gelfydd.
Un o uchafbwyntiau’r cynhyrchiad oedd diwedd y rhan gyntaf pan oedd Oberon wedi deffro a syrthio mewn cariad â Bottom oedd nawr yn gwisgo penwisg asyn! Er mwyn profi’i gariad ato, mae’n dechrau canu’r glasur, “I wanna know what love is” mewn arddull hollol dros y top a camp! Roedd y gynulleidfa wrth eu bodd wrth gwrs ac yn ymuno â’r canu i ddangos eu mwynhad! Roedd hyn yn coronni sefyllfa abswrd y cymeriadau drwy arddull fodern a doniol
iawn. Cafwyd sawl achlysur tebyg o ryngweithio rhwng y gynulleidfa a’r actorion yn arbennig pan oedd Puck ar y llwyfan, ac ar adegau, roeddech chi’n teimlo eich bod mewn pantomeim Shakesperaidd!
Elfen drawiadol arall oedd penderfyniad y cwmni i greu cynhyrchiad cwbl ddwyieithog. Roedd y Gymraeg fel arfer yn cael ei ddefnyddio gan y Tylwyth Teg ac yn cael statws cyfartal â’r Saesneg. Addasodd Mari Izzard a Nia Morais iaith Shakespeare i Gymraeg fodern fywiog, gan ddefnyddio amryw o dafodiaethoedd gwahanol. Llwyddodd y trosiad hwn i greu deialog fyrlymus a pherthnasol i gynulleidfa heddiw. Roedd isdeitlau wrth gwrs yn ymddangos law yn llaw â’r Gymraeg ond ni wnaeth hyn dynnu sylw’r gwyliwr o gwbl.
Nid yn unig addasiad y sgript, y cyfarwyddo a’r actio sydd i’w ganmol, ond hefyd yr elfennau technegol. Mae’r set yn foel a modern – yn debyg i set deledu, gydag un lefel ar ffurf ‘cat walk’. Does dim offer llwyfan a dim llawer o brops chwaith. Mae’r gofod yn enfawr ac yn cael ei ddefnyddio’n helaeth, ond does dim ôl addurno fel sydd mewn cynyrchiadau arferol o’r ddrama. Mae’n gynhyrchiad moel a minimalistaidd sy’n rhoi sylw i’r actio a’r sgript.
Mae’r sain a’r gerddoriaeth fodern hefyd yn ategu’n wych at y munudau o gomedi, ac yn ychwanegu at yr awyrgylch drwyddi draw.
Mae’r cynhyrchiad hwn yn profi bod Shakespeare yn gyrchadwy i gynulleidfoedd heddiw – ac mae modd gwerthfawrogi ei waith drwy arddulliau newydd a ffres. Mae’r fersiwn hon yn glyfar a boncyrs ar yr un pryd, ac yn addas i gynulleidfa eang. Llongyfarchiadau mawr i’r holl dîm artistig.
Gallwch weld A Misummer Night’s Dream yn Theatr y Sherman, Caerdydd tan y Hydref y 29ain …….
I remember reading ‘The Color Purple’ by Alice Walker in A-level English, analysing the language, and digging into the characters. It was a fantastic story, beautifully written, exploring many important themes. This can often be a worry when you brace yourself to watch a musical adaptation- will it manage to capture the true essence of the story and characters? I needn’t have worried. The musical adaptation by Marsha Norman reflected the story well, and really did it justice. By focusing on just one half of the tale, we engaged and immersed ourselves fully into Celie’s journey. When watching ‘The Color Purple’ at the Wales Millennium Centre, after having last explored its pages over 6 years ago, it all came flooding back to me. I remember the depth of the characters, I remember the complex relationships, the longing for escape, and the way that hope and love ties it all together. And what a story it is.
Set in 1913, in the American South, a young black girl Celie (played by Me’sha Bryan), submits to the oppression of her father as he takes away her newborn children- to where, we don’t know. As her dear sister Nettie is taken away, we follow Celie as she narrates her life through painfully honest letters to God. She questions her faith and longs to be reunited with her first love, Nettie. During this time she finds strength in other women, Shug Avery- a free spirit who encourages Celie to appreciate the beauty of the world, and Sofia- the inspiring female influence that Celie needs to drive herself out of the toxic situation she is in and make decisions for herself.
Celie’s childlike manner in the first few scenes makes it no chore for the audience to fall in love with the character. We can feel her inner hope and innocence, her ambitions for life, and her love for her sister. She is just a young girl, unaware of the horrors that she will have to overcome in the near future. The opening number draws us in immediately, vibrating the theatre with colour and song. A juxtaposition almost, to the horrible treatment that Celie is facing by pretty much all of the men in her life. She faces sexual and physical abuse from her father and her husband – Mister- who is forced upon her after being denied her little sister Nettie because she’s ‘too pure’. Celie is shamed and told she’s ugly her whole life, so much so that she completely accepts it. She rises above adversity and takes the struggles in her stride, this is shown in the climax of the story and in her electric performance of “I’m Here”- which moved me completely.
This show had no lack of strong vocalists, the strength and consistency of these voices were a highlight for me. I loved the three main chorus ladies who took us through the paces of the show with their contemporary and rhythmic vocals. Of course, not forgetting Sofia, played by the incredible Anelisa Lamola. Her voice and presence exuded power, and she delivered a spell-binding performance.
The set design was simplistic but totally effective. It took us to where we needed to be and didn’t contain distraction from the performance in any way. The transitions between scenes were smooth and minimal.The projections worked, and like the costume, gave a contemporary feel to the drama. This is one thing I loved about The Color Purple, it was very different from any other musical I have seen. Whether this was due to the writing, or the delivery, or a bit of both, but there were no cringe-worthy moments or any ounce of ‘cheesy’ dialogue, which I appreciated. I particularly loved the way the final lines of the book were included in the very last lines of the song. In your typical musical you have the big showstopper of an ending, jazz hands, and volume. In The Color Purple, they explored something different, everything was pulled down to it’s raw essence in this last song to focus on our beloved protagonist, Celie. The harmonies, dynamics and texture of the chorus’ voices in these last moments were spine-tingling.
I applaud the direction of the show by Tinuke Craig, and the amazing chorus members who multi-rolled and brought energy and light to the whole performance.
Overall, I was mesmerised by ‘The Color Purple’. It helps that it’s such a well-established story with so much depth. I would recommend it to every audience, those who are fan of the book and the film, musical theatre lovers, and new audiences of theatre. A story of life, beauty, love, hope, and triumph, with a stellar cast.
‘Africa Fashion Week’ successfully celebrated its 12th year anniversary on the 8th & 9th October 2022 taking place in London, Freemason Hall. To ensure 2023 fashion show was another sell out 2022 had to be truly African infused & it truly was!!!
Credit Tanica Psalmist
A grand exhibition showcasing several merchants, latest garments & handmade jewellery made from various crystals, minerals and materials such as ebony and stone for starters! It’s no doubt that the Motherland was truly represented with deep infused floods of Africa’s rich culture, boutiques, diverse beauty & celebratory inspirations, influence & contentment oozing from the models onto the audience.
Credit Tanica Psalmist
I attended both days to glimpse AFW in every detail & glory from behind scenes, mental preparation to the adequate appreciation for the designers clothes, which all were worn to perfection! Many of the Fashion designers this year included; Pills, LN Watches , Sluvin Designs & Durban South Africa , Gugu Boutique, May M Designs, Massassi B, Twelve19styles, Ethnicity Clothing , Fresh by Do Turn, Slungile Mokoena Designer, Black Snow Men , Dogan Culture , Fashion Ash & many more great legends who’s brands captured, elevated & fulfilled the purpose to represent African designs on a global & grand scale.
AFW is more than just about diverse beauty, fashionistas, togetherness, celebration, unity, embracement, inspiration – it’s about elegance, royalty, Deity, learning, engagement & witnessing the beauty of freedom, culture, love, passion & acceptance.
Credit Tanica Psalmist
A typical start at AFW entails early starts booming intense makeup prep, dress & tech rehearsals & in return audience energy, infusion & model excellence! The unpredictability of unexpected authentic African dance styles is what makes poses equally exciting! certain poses entailed dance styles, such as; Ikpirikpi- Ogu (war dance), Atilogwu (Acrobatic Dance), Mmanwu (masquerades), Omuru onwa & Agbacha-ekuru-nwa, Indlamu, Adumu, Kete to name a few, hitting our eyes with eloquent spins, twirls & flirtation. The entire atmosphere took you to the African continent flight free for a truly memorable, captivating & rewarding evening.
AFW’s statement this year was to love yourself unconditionally & that your worth is not determined by the worth of high end fashion brands but by the price of realness, quality, uniqueness, happiness, tranquility, innocence, projecting your soul & to embrace the individuality of African culture, passion & depths of the motherland’s diversity.
Credit Tanica Psalmist
Nothing spoke louder then Sunday’s event where we witnessed the community within the audience come to life! oozing out positive intelligence, passion, enthusiasm, self love & a reminder to be you & live as you & be the best person of yourself, good job AFW – ROLL ON AFW 2023!!!
Disclaimer: some of my thoughts of the production are quite hazy, as I saw it several weeks ago, so I apologise if any of what I say does not reflect it entirely accurately.
To begin, I thought that the premise of ‘The In-Between’ was very solid, I loved the idea of a girl who had childhood dreams and went to music college, despite those plans not being as great as she initially thought, she goes through hardship and struggles to eventually get to a place of genuine happiness. It’s a great storyline of growing up, moving on and finding your place.
It starts off really strong, with the main lead Fay being a compelling character, she is initially excited by her future but struggles with adapting to her college and trying to impress her teacher and peers.
One of the things I noticed however, is that we never really get much insight into her peers, it would have been great for Fay to open up about her problems to one of her friends, and for one of them to affirm that they too are going through something similar things to her, and that she’s not alone in her struggles. That could have been a realistic turn of events, as in the production Fay’s classmates are all seemingly portrayed as significantly better than her, people that she fights to impress and gain approval of, they don’t really seem like legitimate characters, just props to further her story arc.
On another note, the inclusion of Fay’s dead Grandmother was strange to me personally. All she really did was appear ominously on stage from time to time and from what I saw she didn’t leave a powerful impact on Fay. We never saw her have many vulnerable moments where it looked like she was really affected by her Grandmothers death, and the only scene where it seemed like the story moved along a bit was a scene near the beginning when Fay was practising and her ghost showed up and listened to her performing, but from what I recall from Fay’s reaction, we didn’t see an emotional response while being confronted with a seemingly vulnerable element of her past, but I digress.
Additionally, the scene where she saved the boy’s life when he fell from a tree left me wondering – she saved his life, he gets sent to the hospital, she gets annoyed that no-one will know that she saved a life, and it’s never brought up again afterwards. She never had another interaction with the boy, and it’s never brought to a head or anything like that. I predicted/imagined that she would have met the boy again, and they would form a strong bond, but from what we see we never see them interact or give any indication that the boy is still around! That was odd to me that they would add something so prominent into the storyline for it to not be built on afterwards.
I personally feel it would have benefited from a longer performance time, as when it was wrapping up, I thought to myself “oh, it must be half-time!” but then it ended, and that confused me initially. For me it felt too short – it just didn’t feel like it had enough time to fully explore the characters and flesh out the scenes fully. However, I’ve since learned there were time constraints, seeing the actors/actresses only meeting two, or so, weeks prior to it going to live performance. Given this, it begins to make more sense. If it had been possible, even just half an hour more to wrap it up would have been welcome because it didn’t seem like the production had a clear middle – it certainly had an introduction, a drama and then a climax. If it just had a bit more of a longer middle, then it wouldn’t seem as rushed perhaps.
I do think the production team and actors/actresses managed to do a great job of creating what they did in such a short time, something that turned out to be very watchable, yet left me hoping for more.
To end on a positive note, the performers were extremely good. Their chemistry before it even began was apparent, with all of them hyping each other up onstage and the clear dedication to their role, which I applaud.
One of Shakespeare’s most beloved plays, A Midsummer Night’s Dream tells the tale of four young Athenians who, caught in the throes of unrequited and forbidden love, seek refuge in the forest and find instead a strange new world of magic and mayhem. Sherman Artistic Director Joe Murphy’s joyous reinvention of the play, featuring Welsh Language adaptations by Mari Izzard (HELA) and Sherman Writer in Residence Nia Morais (Crafangau / Claws), sprinkles a little Welsh magic on this production, making it utterly unique and absolutely unmissable.
The play features some of Shakespeare’s most iconic lines and images: Bottom with an ass’ head, the love potion, and the chaotic ‘play within a play’ Pyramus and Thisbe (aka the original Play That Went Wrong) – and ‘the course of true love never did run smooth’. And the Sherman’s version not only does justice to these classic moments but adds a new iconic spin to the tale that gives it an authentic Welsh flavor. The play features some of Shakespeare’s most iconic lines and images: Bottom with an ass’ head, the love potion, and the chaotic ‘play within a play’ Pyramus and Thisbe (aka the original Play That Went Wrong) – and ‘the course of true love never did run smooth’. And the Sherman’s version not only does justice to these classic moments but adds a new iconic spin to the tale that gives it an authentic Welsh flavor.
Leah Gaffey and Sion Pritchard in A Midsummer Night’s Dream
Central to this is the combination of Welsh and English dialogue used throughout (all Welsh dialogue is surtitled in English). The (patriarchal) Athenians speak English while the (matriarchal) Fair Folk speak Welsh – and the moment a character is put under a spell, they switch languages. Welsh becomes the language of magic and mischief, of freedom and control, of love and lust. As with English in the play, it doesn’t just represent one thing: and that blurring between binaries, boundaries and borders underscores the subversiveness of this production; a production which also swaps the gender of characters like Puck (Leah Gaffey) and Lysanna (Lauren Morais) and the roles of Titania (Nia Roberts) and Oberon (Sion Ifan).
It’s a choice that deepen the star-crossed love story at its core, and which brings exciting new perspectives on sexuality, gender roles, and also to the hierarchies in both realms, where the tension between the soon-to-be-married Theseus and Hippolyta mirrors the widening schism between the Fairy King and Queen. Roberts brings a feral grace to Titania and commands the stage even as the conquered Amazonian Queen. Meanwhile, Ifan relishes both the imperious Duke and the impassioned Oberon; his eulogy for his fallen disciple is genuinely moving, even if the uneven power dynamics complicate his grief.
Anyone feel the urge to Lipsync For Your Life?
The set, designed by Elin Steele, an imposing Art Deco amphitheater of emerald green, doubles as both an Athenian temple and a magical forest. Its striking central feature is a RuPaul-esque runway fit for a Queen – and yes, we are indeed treated to the sight of Titania and Oberon sashaying their way down the stage (Shantay, you both stay!) In fact, many of the magic-induced brawls between Lysanna and Demetrius (Tom Mumford), and Helena (Rebecca Wilson) and Hermia (Dena Davies, in her professional stage debut), have the knowing melodrama of a Drag Race feud.
Sion Ifan and Sion Pritchard in A Midsummer Night’s Dream
It’s tricky to pitch a Shakespearean comedy to modern day audiences, because the intricacies of the language and the shifting cultural touchstones mean that the punchlines don’t always land. But that isn’t the case with this production, which is easily the most hilarious show I’ve seen in years! Gaffey’s Puck ping pongs about the stage as an impish emcee with charisma to spare while the Mechanicals, led by Hannah McPake’s beleaguered Peter Quince and performed by members of non-professional theatre group the Sherman Player, lend a chaotic charm to their doomed dramatics. It’s brilliant to see these excellent young actors get the chance to shine in a professional production, and it will be exciting to see where Edward Lee, Cerys Morgan, Ariadne Koursarou, and Callum Davies go next.
Midsummer’s comedic lynchpin though is the marvellous Sion Pritchard as Nick Bottom, whose comic timing is a thing of beauty. (Anyone who has sampled the delights of S4C original comedy Rybish knows exactly what I’m talking about). His karaoke duet with Ifan’s lovestruck Oberon is a particular highlight – you’ll never hear ‘I Want to Know What Love Is’ the same way again – and his Pyramus simply has to be seen to be believed (imagine a drunk Al Pacino doing an Elvis Presley impression, and you’re halfway there).
Sion Pritchard in A Midsummer Night’s Dream
Fun, flirty and fabulous, A Midsummer Night’s Dream is the perfect remedy for the past few years, with a tremendously skilled ensemble of Welsh and Wales-based actors bringing new life and fresh laughs to a familiar tale. By the time Midsummer concludes, the story might be done but the dream goes on. The endless potential for transformation – of language, of text, of self – is the true dream, and the Sherman has shown it can be our reality too.
A Midsummer Night’s Dream is performing at the Sherman Theatre until 29 October (you can find out more about the production and book tickets here).
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
(3 / 5)
(5 / 5)
