Hello, my name is Cerian and I am a youth engagement facilitator for Amgueddfa Cymru- National Museum Wales. We are about to start a project for LGBTQ+ young people aged 16-25. The project is called Trawsnewid and is going to be focused around the theme of transformations. Throughout this project we will be exploring trans and gender non-conforming figures in Welsh history and lived experiences today.
There will be a bi-weekly meeting with the young people, these sessions will be creative workshops exploring the theme of the project with the opportunity for the participants to run their own sessions. Throughout the project we will be working towards putting on our own events such as a museum takeover at the Waterfront Museum in Swansea and an exhibition of the work created throughout the project. The project will be tailored to the interests of the group, whether that’s history, art, creative writing, performance etc.
The project will begin with an online session on the 24th February at 6pm, we will be introducing the project, getting to know each other and designing our own postcard inspired by the museum’s LGBT+ Collection.
If you would like to get involved in the project, find out any more information about the project or know of any young people who would be interested please email: cerian.wilshere@museumwales.ac.uk
Get The Chance critic, Beth Armstrong, chats to Tamara Harvey, Artistic Director of North Wales theatre, Theatr Clwyd. Tamara is the director of new online play, The Picture of Dorian Gray, featuring cross-county creatives and a star-studded cast. This adaptation of Oscar Wilde’s famous novel is a collaboration between the Barn Theatre, Lawrence Batley Theatre, New Wolsey Theatre and Oxford Playhouse with partner venues including Aberystwyth Arts Centre and Torch Theatre.
Tamara,congratulations on being named The Stage, Regional Theatre Of The Year. Can you tell me what that meant to you and the whole team at Theatr Clwyd?
Executive director Liam Evans-Ford and artistic director Tamara Harvey. Photo: Theatr Clwyd
It was just an amazing start to the year because everyone in the team has worked so hard whether they’ve been working on serving our community or creating online content or whether they’ve been on furlough and have had to navigate the emotional difficulties of that – home-schooling, friends and family being ill – so to have a moment where the industry and The Stage said ‘you’re doing alright’, you know, ‘keep going’ – it was a really good way to start 2021.
Well it’s a brilliant achievement. So your new production, The Picture of Dorian Gray, is an online play. Now online plays are becoming more commonplace amid the pandemic but each theatre has their own definition. Could you give us more details on what this play might look like or are you keeping it under wraps?
Yeah I’m very happy to. Essentially it’s born of the question of: ‘What can we do?’ So we can’t tell stories on our stages right now. What can we do? It’s a combination of audio recordings, found footage, filmed extracts – some filming taking place in person, socially distanced, obviously, and some in people’s own homes, so it’s come from adversity but hopefully it means that we’re just creating a slightly new way of experiencing the story.
It sounds really innovative. And there have been a lot of brilliant pieces of theatre, TV and film made during lockdown. Does your adaptation make any coronavirus parallels or does it provide a brief respite from it all?
I think it certainly provides respite, I would say, in that it’s full of brilliant actors and it’s a fascinating story. It is set now so there are moments that allude to the world we’re living in now but it isn’t a story about a pandemic. It’s a story about people living their lives in a particular moment in time.
So as you said it takes place now. The play modernises Oscar Wilde’s story and transforms Dorian Gray into a social media influencer. Recently many influencers have been criticised for travelling despite restrictions. Do you think audiences will have less sympathy towards the character in light of this? Will their opinions of him change in any way?
Ah, interesting…I think we each when we watch a story, when we experience of piece of theatre or digital storytelling, we bring our own experiences and our own opinions to it so I think everyone is likely to react to Dorian in a slightly different way, depending on whether they have experience of that online world or they don’t, whether it’s something that they’re completely familiar with or something that they find totally alien. I think, and I hope actually – it’s one of the stories with making a piece of theatre, whether it’s on screen or on stage – I hope that people will have different reactions depending on their own experiences.
Social media and the idea of keeping up appearances seem to be a key theme. Do you think the pandemic has increased our anxiety of showing off our best selves online or instead alleviated some of the pressure, as teachers and colleagues are now allowed a little window into our lives everyday – messy kitchens and all?
It’s certainly increased my anxiety! *laughs* There’s nothing like having to be on a TV screen every day, you know. The great joy of discovering you can turn off your self-view on Zoom is amazing. Look, I think it’s done both, hasn’t it? We’re having to spend more time – even if only at the moment when we sign onto a facetime or a Zoom or whatever – we’re spending more time seeing our own image and for some of us that’s, you know, not a pleasant experience, for others I’m sure it’s delightful. We’re also able to have pyjama bottoms on as long as only our top half is seen so it’s a really curious mix. I put on heels for the first time yesterday and it felt totally bizarre because I haven’t done that in months and so yeah, perhaps with all of these things, each of us is having such a different experience. You know it’s that thing – people have said we’re all in the same storm but in different boats. I’m having to spend almost all day everyday on Zoom and there are other people who don’t go near it. So I think it’s impossible to generalise really.
Rehearsing online and with social distancing measures must have presented a lot of challenges but are there any positive aspects or creative innovation to have come out of these restrictions?
Well the whole piece is a creative endeavour that wouldn’t have happened under any other set of circumstances. So the fact that it exists is in itself a positive coming out of this moment. Online rehearsals are…difficult. Partly because of the time lag, partly because there is a focusing thing that happens when you walk into a rehearsal room – you’re leaving your life behind, plugging into a different space and that focuses your mind, whereas if you’re in your own home, you’ve got the door going or you’ve got the dog barking, you know, or your kids running round, whatever it is. But there are advantages; I still get to have tea with my kids every day and people don’t have to leave their loved ones behind to travel. Given the choice, I will still want to be in a room with people but it is possible to find positives even online.
Yeah I think that’s true. So starring as the title character Dorian is actor, Fionn Whitehead, who audiences will no doubt recognise as the breakthrough star of Dunkirk. What do you think Fionn brings to the role?
Fionn is just extraordinary. On screen he is completely mesmerising and I think that’s to do with the rare combination of vulnerability and strength. And wit. And innocence. He’s a kind of fascinating mix and the other thing that’s such a joy about him is he’s just an incredible person to have on set because he’s utterly delightful every second of the day. That means that you can be playful and collaborative and try things and as a director, feel able to make mistakes or try something unexpected because he’s so open and engaged. He’s extraordinary.
Fionn Whitehead
The show is currently in pre-production but are there any aspects or ideas you’re particularly excited to share with the cast and other creatives?
Well we’ve kind of got everything, as it were, in the can. We’ve now done all of the filming. The bit that’s happening now, which is quite new for me and therefore really exciting, is the editing. And I’m in this lovely position where I’m spending most of everyday on Zoom with our amazing director of photography and editor, Ben Collins, from the Barn Theatre with both of us watching the dailies and working out the edit so there’s something really heart-warming in this moment about knowing that I’m up in North Wales in my regional theatre and he’s down in Cirencester in his but there’s this invisible string reaching between us as we both create a thing. And the whole time we’re watching onscreen all these other people who’ve come together, whether physically or remotely, to make a story in order to support regional theatre and that feels pretty special.
The cast of The Picture of Dorian Grey
I love that sense of connection that you have. So would you like to add anything else?
I suppose the only thing is that it’s worth saying that it does have what Henry Filloux-Bennett, who is the adapter, has done so beautifully – he’s managed to hold on to the spirit of the original which of course has all the wit of Oscar Wilde so as well as talking about social media and being about the downfall of this young man it’s also funny and fun and irreverent and all of those things.
Oscar Wilde’s The Picture of Dorian Gray is adapted by Henry Filloux-Bennett
Thank you so much. I think that just leaves me to say best of luck and I can’t wait to see it.
Beth Armstrong
Get the Chance supports volunteer critics like Beth to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here, thanks.
Local artist and The Riverfront Theatre and Arts Centre’s Associate Artist, Connor Allen, has successfully received a £20,000 award from the Live Work Fund from Jerwood Arts.
The fund received over 1,200 applicants and Connor is one of just 33 artists across the UK to have been successful.
Connor will be using the funding to set up a collective of professional black artists working across various artistic disciplines, of all ages and based in Wales. The collective will support the development of artists during the challenges faced due to the current pandemic including mentoring, sharing and supporting each other’s practice as well as providing increased representation and professional opportunities for more black artists to grow and progress. Members will work together to learn and develop as well as to give back to the arts community and inspire the younger generation of black artists in the making.
The Live Work Fund has been created in direct response to the impact the Covid pandemic has had on self-employed artists across the UK and is the result of four major arts funders (Jerwood Arts, Wolfson Foundation, Esmée Fairbairn Foundation and The Linbury Trust) coming together to award a total of over £660,000 to successful applicants.
About the bursary and project Connor said “My growth as an artist and the development of this project and my collective idea wouldn’t have been possible without the Jerwood bursary and the support of many organisations such as The Riverfront who have been instrumental in my success since me becoming Associate Artist.
“I believe that the impact of my collective idea can be exciting and influential on the landscape because it will allow artists of colour in Wales the opportunity to develop themselves and explore their craft alongside my own exploration throughout 2021. This has the potential to nurture the next wave of exciting Welsh artists of colour which in my opinion is awesome and so much needed.”
Since graduating from Trinity Saint David as an Actor, Newport-born Connor Allen has worked with companies such as The Torch Theatre, Sherman Theatre, Tin Shed Theatre and National Theatre Wales. He joined The Riverfront Theatre & Arts Centre as Associate Artist in 2020.
During the past 12 months, despite the difficult circumstance the pandemic has created for artists, Connor has written and performed multiple pieces across South Wales including Dom’s Drug Prayer as part of Sherman Theatre’s Ten and The Making of a Monster at Le Public Space’s Right Now Online Theatre Fest. He was also commissioned by Literature Wales to create an online album of creative mediums, 27, a collection of thoughts from his life, the journey he has been on and the lessons he has learnt.
Olivia Harris, Creative Producer for The Riverfront said “We’ve been working with Connor for some time now and are delighted his talent has been recognised with this bursary. He truly deserves it and we can’t wait to see where it takes him and go on this journey with him.”
Having spent a year trapped in our towers and unable to let our hair down, it’s only natural we would long for the escapism of fantasy. Even before the world stood still, a rise in fairy tale retellings spoke to our collective yearning to break free from everyday existence; to conjure up a pumpkin carriage and finally go to the ball. Fairy tales have a unique power to transport you into a world where anything is possible. This is a realm in which good people get everything they’ve dreamed and deserved, where cynicism and cruelty go unrewarded, and where a happily ever after is only one wish away. If you want your wish granted, look no further than Simply Charming, a reimagining of Cinderella from her prince’s perspective, written and illustrated by Nathan Scott Howe.
Image credit: Nathan Scott Howe
Cinderella is one of our most culturally beloved stories, retold countless times in myriad ways – but the focus, as you might expect, has (almost) always been on its pure-hearted heroine. Simply Charming flips the script by centring on Prince Charming himself, a character so historically generic he’s become a byword for one-dimensional hunky niceness and very little else. In the original tale, he’s more a prize than he is a prince – simultaneously the person everyone’s searching for and the person whom nobody truly knows. Howe’s book not only gives Prince Charming a personality and a proper character arc, it shows how his parents shaped the man he would become; a man who would search an entire kingdom to find his true love.
Image credit: Nathan Scott Howe
Just as Maleficent fleshed out Sleeping Beauty’s ‘villainess’ into a complicated anti-heroine, Simply Charming takes a character formerly reduced to one-note chivalry and explores exactly why he deserves that much-prophesied happily ever after. Part one focuses on Florence, Charming’s mother, and part two on Charming himself. Howe takes time and care to craft sympathetic characters whose company it is a pleasure to share, and you can sense his genuine affection for the characters in every word. It’s a real labour of love, having taken eight years from inception to completion. This self-published book has both the grounded, loving feel of Ever After and the sumptuous palette of the Disney classic. Howe has an eye for tone, texture, and visuals in his writing, and his brilliant use of descriptive imagery often made me feel like I was stepping into a painting – an immersive experience enhanced by his gorgeously illustrated chapter headings (which eagle-eyed readers might spot changing as the story progresses). The stunning cover image alone, which combines illustrations from key moments throughout the book, is a work both of art and heart.
Image credit: Nathan Scott Howe
I was constantly thrilled by Howe’s inventive incorporation of the Cinderella mythos – right down to the pumpkin carriage and the vengeful housecat! – in ways which wonderfully expand on and enhance the original tale. Learning the origins of these elements, and especially the motif of time which underscores the tale, has made the story even more resonant than it was before. It’s a rare treat to watch an author hone their craft in real time, and you can witness Howe’s confidence and skill blossom chapter-by-chapter. Although it may at times seem a little uneven, I feel this can be forgiven as the first half is setting up the pieces which pay off brilliantly in the second. Though I would have loved for some intriguing story points and interesting characters to have gotten more of the spotlight (a Poppi/Samuel spinoff, anyone?), I greatly appreciated the book’s focus on character and theme over plot. It reminded me of Becky Chambers’ Wayfarers series, which is more concerned with making you feel like part of a kooky and loving family than bamboozling you with twists. Simply Charming is a story for everyone: pure escapism into a kind and gentle world.
That the story concludes just before the happy ending we know so well is incredibly poignant. We know that Cinderella will marry her prince – it’s part of our collective consciousness, after all – but Simply Charming is about the journey to happily ever after. It’s like life: sometimes it all falls into place, and sometimes it doesn’t. Living happily ever after is never a certainty, and even if it does happen, we’ll never know where the fairy tale really ends. We’re left on the precipice of hope and promise; a precarity that a year in lockdown has only served to magnify.
Image credit: Nathan Scott Howe
Immersive, innovative, and involving, Simply Charming had me completely under its spell. Howe crafted a world I simply didn’t want to leave, and reading it was genuinely joyous from the first to the last word. During a time in which the bad news more often seems to weigh out the good, Simply Charming reminded me that people can be brave and kind, that wishes do come true, and that a love that is secure and unfettered and fought for is a magic all of its own. Last Christmas, Howe and his colleagues designed and produced Christmas cards to raise funds for the New Theatre (they sold out in less than a week). Profits from the sales of Simply Charming will be donated to Macmillan Cancer Trust and Great Ormond Street Hospital, and it’s a beautifully generous act which underscores the heart of the fairy tale: that time is fleeting and therefore precious, that kindness and goodness always triumphs, and that a happy ending lies ahead of us all, if we fight for it. In Howe’s words, “Have faith in your dreams, they have more power than you think”.
Hi Simone great to meet you, can you give our readers some background information on yourself please?
Thanks for having me! I am Simone Sistarelli, and I am the founder of Popping For Parkinson’s ®, a project that transforms Parkinson’s patients into Popping dance students. I am passionate about inspiring people. I am a dance artist, a social entrepreneur, a musician and public speaker. I am in the Universal Hip Hop Museum Hall of Fame for my contribution to Hip Hop Culture.
I have a BA in Contemporary Dance from Trinity Laban and an MSc in Dance Psychology from the University of Hertfordshire.
What got you interested in the arts?
I fell in love at first sight with dancing at age 10, and I have not stopped being in the arts world since! The arts are an incredible vessel of expression, and they feel liberating to me.
You have been running Popping For Parkinson’s since 2015. On your website you describe your approach as
“Using Popping dance techniques as an innovative therapeutic tool for improving the physical condition of people affected by Parkinson’s disease. Participants see improvement in their natural movement capacities, but also gain confidence, feel less socially isolated and have fun.”
It sounds like a fascinating approach. Where did the project originate?
I had the original idea in 2012 while training at Trinity Laban Conservatoire. It originated as a result of various inputs, from my granddad having Parkinson’s to the similarities between the Parkinson’s tremors and Popping dance. I thought: people with Parkinson’s shake without the beat;I train my whole life as a Popping dancer to shake to the beat. In my head, people with Parkinson’s could turn their symptom into a superpower! After years of research on Parkinson’s, dance, music therapy, dance therapy and more, I developed a methodology, started a collaboration with SLYPN (South London Younger Parkinson’s Network), I offered the first dance class as a trial run, people loved it, and we haven’t stopped since!
How does someone get involved, do they need to have any prior dance experience?
Absolutely no prior experience is needed! People can simply sign up for the online classes through our website and join us!
How would you like the project to develop?
There are around 10 million people with Parkinson’s worldwide. The ultimate aim of the project is to reach all of them and empower them all to become dancers! In practical terms, I am working on future developments by exploring different ways to reach people, from writing a book to creating dance tutorials (both on streaming platforms and DVDs), creating bespoke music for dance classes and more.
You might not normally think of Hip-Hop culture and Parkinson’s as strong partners. What has the reaction been to the project in the Hip Hop community?
My work has been recognised by the Universal Hip Hop Museum, the ultimate dream for anyone in the Hip Hop community. I hope I can inspire people in the Hip Hop world as much as Hip Hop inspired me in the first place.
There is a lack of Diversity in mainstream cultural provision. Do you think your project has connected with people who might not normally think of themselves as Dancers?
Yes! Dance is so much more than solely performing, and appreciating that is key to inviting more people to improve their life through social artistic movement.
Music is a key element of Hip Hop. How do you select the tracks to use in your class and if you had to choose one, what’s your favourite?
As a musician myself, I carefully choose the songs for my classes. I know the impact that a good tune can have! I am a record collector and I have a vast collection of songs to start from, then depending on the theme/mood of the class I will pick the most appropriate songs. Songs can go from classic Popping tunes (Cameo, Zapp) to Popping beats (Slick Dogg, Beatslaya), from recent Electro-Funk releases (Mofak, Makvel) to my own music productions.
Asking for a favourite song/album to a collector is like asking for the favourite child to a parent, it’s impossible to answer! One of the songs that I keep going back to though is Brass Construction’s “Get up to Get Down”.
Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers that people living with Parkinson’s face to access dance and your organisations work? If you have identified any, have you been able to reduce these barriers in any way?
People with Parkinson’s face several challenges on a daily basis. Some of these limitations are specific to accessing dance classes. We did encounter some of them and we tried to reduce the impact that they had. One example was offering both seated and standing classes, so that people with limited mobility can access Popping dance (which tends to be a standing dance style).
Another limitation was costs, so from the very start of the project we offered the classes free of charge for participants (thanks to the support of funders such as the Mayor of London Sadiq Khan and the National Lottery Community Fund).
Now that classes are online only for obvious reasons, barriers are different. For example, commuting to class can be challenging for people with Parkinson’s, yet this particular limitation is not present online. At the same time, online classes present other barriers, such as technological knowledge, Zoom fatigue, access to broadband (especially for older people). We want to expand and offer several ways of participation, from interactive classes via Zoom to pre-recorded classes on YouTube, from dance tutorials to DVDs (coming soon) in order to minimise the impact that barriers create to people with Parkinson’s. It is a constant work-in-progress.
The video below is a taster video of a Popping For Parkinson’s Class
With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract people living with Parkinson’s what do you think they should do?
Venues should understand the needs of people with Parkinson’s in order to accommodate them, making sure that venues are accessible and that staff are trained accordingly.
If you were able to fund an area of the arts what would this be and why?
All of them! But if I had to choose, I would dedicate way more funding to the phenomenal individuals that dedicate their lives to supporting people through artistic expression. The value that individuals bring to the arts is immense, and without them organisations could not thrive.
What excites you about the arts at the moment?
Two main aspects really inspire and excite me at this stage. One is dance science, getting a deeper understanding of the relationship between arts and health, as I believe there is unlimited potential there.
The other one is the creation of new cross-disciplinary experiences that engage a diverse audience through the combination of several media (for example, from the genre-defying dance film TOM by Wilkie Branson to choreographing for drones).
https://vimeo.com/wilkiebranson/tomtrail
What was the last really great thing that you experienced that you would like to share with our readers?
Seeing my students come to class with severe difficulties and then leaving energised, smiling and confident is an experience I still cannot get used to after many years! The power of dance truly is remarkable, so much so that sometimes it feels magical!
Thanks for your time Simone
Thank you
You can checkout the PoppingFor Parkinsons Spotify playlis here
Muscle Shoals comes to Pembrokeshire as singer-songwriter Jodie Marie releases her latest genre-defying album ‘The Answer’.
(5 / 5)
Welsh singer-songwriter Jodie Marie is an artist who refuses to play by the music industry rules. Her latest album The Answer is an exemplary response to those who would wish to classify her sound under a single heading. For though there is a blues thread that runs soulfully through this 12-track collection, the genre-blending that goes on both within and between each song makes this a musical tapestry of the highest quality. It is rich with meaning, drawing on inspiration from the past and mixing it with a contemporary sound to create something that is both reminiscent yet highly original. The result is a sublime record that makes for a captivating listen.
The Answer opens with the smooth funk and soul of ‘You are my Life’. It is characteristic of much of the album insofar as it transports you back some fifty years whilst remaining firmly rooted in the present. ‘Ain’t No Doubt about It’ echoes this same feeling, with a gorgeous arrangement that soaks you in the sounds of Motown whilst being resonant of the music of people as eclectic as Amy Winehouse, Paolo Nutini and CeeLo Green. It demonstrates an altogether playful approach to music making as Jodie mixes and matches various flavours to compose songs that are replete with nods to the past. In doing so, she does not just pay homage to the music she grew up listening to but, on songs such as ‘A Whole Lot of Loving’, she breathes new life into these timeless sounds. Nowhere is this more evident than on ‘Don’t Go Telling Me (That It’s Over)’, a ludicrously enjoyable song that combines classic doo-wop with electric guitar blues to create an incredibly moreish track.
Even when she strips things back to produce moments of acoustic tenderness, Jodie’s sound remains impossible to clinically define. ‘Carageen’ washes over you like the gentle crashing of waves on a shore. Its central metaphor seems to represent a kind of spiritual grounding for Jodie: a place that centres her and from which her music, in all its eclectic glory, therapeutically flows. ‘Saving Grace’ offers up a beautifully intimate picture of love that requires deep listening. It is storytelling in the vein of a Nashville Songwriter’s Round yet one cannot claim it as pure country. Just as ‘Kiss These Tears Away’ cannot simply be a ballad of the blues. Instead, Jodie manages to weave enough elements into each track so as they become wonderfully ambiguous. This is most true in the title track. ‘The Answer’ contains hints of modern country, ‘60s rock, and Welsh electro-pop, undercut with a blues vibe and layered with pure soul. The result is a raw and rousing sound of real emotion and depth.
‘Hanging by a String’ is like an audio illustration of the kind of building blocks that go into making Jodie Marie’s overall sound. From its humble intro, Jodie stacks brick upon brick of musical instrumentation to construct a track that is perfectly-formed and insulated with solid soul. ‘This House’ is built on the blues and is kitted out with the best of classic rock. Such rock is infused with pop to create a catchy refrain on ‘Curse the Day’ that sparks with electricity. The Answer is brought to life by such commingling of genres which, one cannot help but feel, reflects the beating heart of Jodie herself. This is what makes the album so special. She has not compromised or standardised on anything. Instead, she has made a record that is truly her. And that authenticity shines through. Jodie Marie is a champion of artistic vision over and above what the industry demands. The Answer is the answer to anyone who thinks otherwise.
Get ready for a good night out in your living room with Boogie On Up, a series of digital drag performances by Bonnie & the Bonnettes. The exuberant musical trio, made of Hattie Eason, Cameron Sharp, and Rebecca Glendenning, wants to inject fun into our lockdown lives with sequins-embroidered masks and a repertoire full of classic hits, feel-good ‘gay anthems’, some rock, some pop, and a new song by Newcastle-based artist MXYM.
Last year, Bonnie & the Bonnettes succeeded in fusing moving theatre with comedy and music with And She (see review). The pandemic made them want to go back to drag, which they did when they started off, and give the audience a “cracking night out,” as Hattie put it.
Rebecca said: “We wanted to offer our audience something to keep them going and give them a similar feeling to that of when they come to see us live.”
The performances are geared to make people sing and dance in their homes. That’s why the trio went back to their origin of drag performance.
Cameron said: “Drag is something we’ve always done and that we always like to do. I think that’s what people need right now, some relief from tension.” Hattie adds that she was feeling a little nostalgic about being in a theatre and “the rush of excitement, which the audience also feels. It’s the feel of a goodnight out.”
Cameron also tells me: “For us it’s important to give people that sense of community and togetherness. Drag comes from the Queer community. That community now with lockdown can’t happen. So this is our little way of making that community visible and present in people’s lives.”
Hattie said: it’s a way for us to reach people through the universal language of music. I remember a lady coming to me after a show and telling me of an amazing and euphoric night out of when she was a teenager. That’s why we have included 1980s songs. I’d like the songs to bring back great memories for people.’
Rebecca said: ‘in our drag performance we can go places that we might not get to otherwise. We can do some hilarious comedy that it’s just there to make people laugh. You can do it at a very high standard. The whole point is to have an absolute scream!’
Without the energy of a live audience, Rebecca, Hattie, and Cameron encouraged one another during recording and fill the performance with so much energy to get across to the audience. They’d like to see people dancing and singing and posting their videos online with the hashtag #boogieonup
Boogie On Up is in association with Northern Stage and Live Theatre in Newcastle. The eight videos were made by TJMov. The original song is by Newcastle-based songwriter MXYM.
Figure 1: Amie’s costume of May accurately conveys all the warmth of a frozen kipper
Theresa May. She’s an easy political footnote to miss. She’d probably be overlooked in any year: but 2020 provided the perfect environment for this indentured Tory to withdraw from the public conscious. How we can imagine her laugh, head bobbing like a grotesque puppet, captured in a hundred memes, at each new Boris Johnson blunder, glad she’s not withering in the hot seat anymore.
A play about this unremarkable PM might seem like a hard sell. Playwright Amie M Marie’s book of the play, written in 2017, provides a look back to the politics of 2018. Practically a different century in the post Covid world order. Marie provides an especially important perspective as a queer, disabled writer, and comedian: belonging to two of the groups most marginalised by Tory leadership.
On the one hand, certain references date the play. On the other, the play can be harshly prescient. Jokes that once may have been played small, become harder to laugh with and easier to grimace at. The following exchange, part of a scene where Miss May is confronted directly by a member of the public, is one of those moments:
‘‘Do you think you could do a better job?’’ ‘‘I don’t know. Maybe any of us could.’’
This sounds just like the hand-wringing Johnson supporters’ level on his behalf. How could any of us know what to do when faced with a pandemic? In our current situation, as in this play, we might not have all the answers ourselves. But we generally have a better idea of what not to do. What would rankle an individual conscience more than a political one. Marie’s play also shows how well-kept convictions, knowledge and assurance, have been damned by political inaction.
The play illustrates the failure of senior Tories to engage with – let alone convince us they believe – their own rhetoric. May repeats mantras which she’s well aware make as much sense as the ramblings of King Lear. Visual representations of sound bites, real statistics woven into dialogue may shock you. But that shock has not translated to a change in voting habits for the last 10 years. A play designed to tackle complacency has accidentally created an incriminating portrait of it.
Theresa May, as played by Marie, appeared on stage with a red nose. An unconscious clown in the empress’ new clothes, alongside her party’s faithful hand-me-downs of cruelty and coldness. The play deftly illustrates May’s clownishness through frenetic physical comedy and a whirligig cast of political cameos. But when it slows down, it’s unafraid to show she is the owner and creator of her own devastating decisions – holding her to particular account over her policies towards disabled people.
One problem with the written material vs the performed play is that I can’t imagine to what extent the costuming works. As written, it makes sense. it’s hard to visualise the performance from her dialogue and monologue, and advertising for the play previews seemed quite ‘on the nose’: not just playful but almost self-congratulatory in a way the play just isn’t when you read it.
Figure 2: Amie Marie as Theresa May, wearing a red clown nose
The tension and exhaustion May’s character feels are tangible just through the written material, but Marie was careful not to fall into the ‘trap’ of portraying her sympathetically.
Although May’s tenure was dwarfed by the outlandish characters she was surrounded by, her calculated greyness enabled them to rise through the ranks the minute she jumped ship. The play introduces Jeremy Hunt (through a joke either I can’t remember or everyone else will have forgotten), Amber Rudd, Michael Gove, Boris Johnson, Macron, Trump and the Queen. While one thinks more could have been made of the President’s cameo, Macron provides a much more clever slice of comedy, while the interaction between May and the Queen provokes a hilarious crack in the Prime Minister’s mask.
The cast is rounded out by Two Points Garage, Hackman, Dim Bee and The Mail. TPG, as he is later referred, is as brash a character as you would expect, but there’s real tension in his control over May. Hackman represents media complicity, while the Mail is probably the most well written role. He offers rare detachment, perfectly content in the knowledge of his own power.
The play also contains a multiplayer role for 3 characters who represent the public: the Junior Doctor Clown, the Cleaner Clown and the worker Clown.
Their inclusion felt uncomfortable. The only characters who attempt to use their fragile autonomy for good, and they’re considered clowns. Their names implicate them as another class of fools in politics. Hope and conviction makes them clowns. Perhaps this hurts only because it seems true. It seems a foregone conclusion to Uk leftists that few people will hope for change, and fewer will act on that hope in the voting booths. But directly comparing them, by just their class of character, to May, seems mean-spirited. Again, it would be helpful if I had access to the original production. Are these dressed as clowns too, in full regalia, or merely named as such?
As a reading experience, it’s the subtler jokes and intense monologues that make an impression. As for the performance, jokes which seem a little stale on the page might have been the perfect laughs for a communal audience. An audience which the play hinges on. May directly addresses them and pleads with, belittles, and implicates them in turn.
The play will retail as a physical book and e-book, in both a bonus edition and as a basic performance script. I was given the copy flush with interesting bonuses. These included a number of introductions to the play, earlier short ‘Emperor May’ and, a brilliant interview between Amie Marie and clown Conér Swords about their political performance art, and finally reviews from the initial performance run of the play.
However, I questioned the formatting at times. The sheer volume of additional material before the play seems like overblown padding. It’s interesting to see how the more intelligent play evolved from a less polished short (which you can watch a brief introduction of here). The short is a bit sophomoric, however, and depending on whether you think its humour lands it may predispose you against the longer play rather than show you just how much the latter developed.
Finally, the formatting and editing of the copy I received really let the content down. Certain images are copied to back-to-back and spelling and grammar issues are frequent annoyances. This carelessness shows a lack of respect to Marie’s material. I can only hope that she goes on to have more opportunities as a creator, and her later material has the support of publishers who give it the dignity it deserves.
The play is available to buy in multiple formats here.
In our latest Playwright interview Director of Get the Chance Guy O’Donnell chats to Wales based Playwright Neil Bebber. Neil discusses his career to date, his latest project “Short Stories for Stressed Grown-Ups”and his thoughts on opportunities for Playwrights in Wales.
Hi Neil great to meet you, can you give our readers some background information on yourself please?
Hello! I’m a playwright, screenwriter, copywriter and graphic designer. I enjoy cycling, sea swimming, hiking at night under star-stuffed skies, endlessly scrolling though Netflix trying to find something good to watch, cooking (though my recent attempts at culinary genius have fallen short) and playing online Scrabble with strangers. For the record, I haven’t lost a game. Yet.
So, what got you interested in the arts?
Pantomime. Probably. I remember the feeling I had watching a school panto when I was maybe ten years old. The Seven Dwarves had left for the day to hi-ho off to work and Snow White was left alone in the space. A sequence followed where she just made the most of having the space to herself and I was transfixed.
From an early age, I was curious about the world. Talking to people as soon as I could talk. Asking “why” even more than most other kids. That question can take a child either way. Science allows us to understand how something works. The arts allow us to explore how something makes us feel. I’m a combination of the two. But, having turned down a potentially lucrative career in banking, in favour of a poorly-paid graphic design “apprenticeship” (that’s a whole other story!) I’d chosen my path.
Can you tell us about your writing process? Where do your ideas come from?
I used to fool myself into believing the romantic notion that I could only write when I was wallowing in a pool of self-indulgent pity, but I now realise that’s not true. I don’t know who said it, but writers write. So, the most important part of the process is to start by writing something.
It’s a cliché, but it is a muscle. And the more you do it, the easier it gets. And the more addictive it is. On the many courses I’ve been on, the forensic detail of process has been useful, but I’ve always got more from the automatic writing exercises. It’s a great way to unlock the unconscious mind and discover those seeds lurking in there between the teeth of doubt.
And I make a lot of notes. The romance of a notepad and fountain pen has been superseded by the iphone, but I’m glad that, should I ever hit a pothole on my bike and find myself flattened by an oncoming bus, nobody will ever get to access my notes. There’s a lot of strange musings there. Today I wrote a paragraph about how a crow, battered by the wind, seemed to be perfectly content to walk across the road sideways. And how that might serve as a metaphor. But I don’t know what for yet.
GULL, the play recently read on Zoom by the brilliant The Far Away Plays came about like that. A note about watching gulls rip apart bin bags and hungrily tuck into a pile of used nappies. The revulsion fed the atmosphere of the play.
In terms of dialogue, I believe that writing good dialogue is more about listening than writing. Before our freedoms were curtailed by a microscopic enemy, I used to sit in a lot of coffee shops, just listening to exchanges and watching people’s body language. In recent years, I probably haven’t been the best company, socially, choosing to observe and makes notes, rather than get involved.
Can you describe your writing day? Do you have a process or a minimum word count?
Writing days vary depending on the project. I’m also lucky enough to be able to supplement an artist’s income with commercial copywriting. But, either way, I start early. Check emails, social media between 8 and 8.30 and then make a start on the writing. At the moment I’m in the process of editing an audio play for a competition, writing a new speculative TV drama and also writing, recording and editing my stories for my YouTube channel, “Short Stories for Stressed Grown-Ups”.
https://youtu.be/7muNmlbI2uk
Producing my own work has also made me realise the amount of time that’s needed for its design and promotion. The “Short Stories…” project needed to have an eye-catching brand, as well as accompanying visuals for each story. And all of this needs to be shared with the online world. I hope I’m finding the balance between, “oh, that’s interesting, I’m so glad he let me know” and “for God’s sake, not another post about his bloody stories!” If there’s anyone brave enough out there, do let me know!
Why and where do you write?
I write because I have something to say. About something I‘ve seen or something I’ve heard. Or something I feel passionately about.
I write because it’s a compulsion. A bit of an addiction. Especially when I get to see how an audience responds to it, good or bad. Maybe that’s some deep-seated need for validation. But then maybe that’s why any artist creates anything.
I write because it helps me repair. Relax. Forget. Make sense of a world (or of people) I don’t always understand.
I write because it’s satisfying and often surprising to be taken on a journey by imaginary characters, into unfamiliar scenarios and behaviours.
In terms of where I write, I can write anywhere. As long as I have something to balance a laptop on and a reasonably comfortable chair to sit on, I can write. There’s no ritual, no lucky desk or chair of inspiration. So, the photo is of a number of places where I could easily write. And the list is always being added to…
You are a prolific writer working across multiple mediums and forms. How has the Covid-19 Pandemic affected you and your creative process?
It was clear from the beginning that the lockdown, and the continuing response to a global pandemic, was going to fundamentally change a world that relied on the physical gathering of human beings in close proximity, whether audience or performer.
But, pretty early on, I saw an opportunity to get work out to a wider audience. Admittedly, it’s not the same experience as sitting in a studio theatre, tightly-packed with an appreciative audience, breathing the same air and having a collective experience.
When Jordan Bernarde contacted me about re-staging BREATHE (to avoid him climbing the walls during the first lockdown), after a short and successful run at The Bread & Roses the year before, I jumped at the chance. And it’s success has shown that there’s an audience for online theatre.
https://youtu.be/onai6VFQ_rQ
Theatres talk a lot about diversifying their audience base and this provides the perfect opportunity to do just that. Anyone who might previously have been intimidated by physically visiting a venue, can now watch a performance online and maybe discover that it isn’t the inaccessible, exclusive experience they may have expected. And, from a writer’s perspective, there’s an entire planet’s worth of connected people looking for content. The challenge is standing out amongst the noise!
From my own point of view, there’s been a shift towards demand for more audio drama. I’ve been working on a new play for the Papatango prize, which this year will be awarded to three audio works. And I was commissioned at the end of last year to write a multiple choice audio drama, which would be navigated purely through using Alexa. Exciting stuff!
One of your latest initiatives is the new new YouTube-based spoken word project, ‘Short Stories for Stressed Grown-ups’
You’ve written a number of short stories, which you’ve also narrated yourself. This is how you’ve described the project:
“Remember when you were a kid? And how it felt to be all tucked up and have a story read to you? What a shame that, as adults, we don’t get to enjoy the sheer, indulgent escapism of those moments anymore. Well, now that’s changed. Short Stories for Stressed Grown-ups by Neil Neil is now live! So all you have do is find somewhere quiet, where you won’t be disturbed, and listen to an original short story that will transport you from the troubles of your day.
Whether you use it to help you get off to sleep, or to re-set in the middle of a busy day, every story is written just for you.”
What response have you had to this new area of writing and storytelling?
The short stories were a suggestion by a producer friend of mine, Simon Regan, who I’d worked with on an arts podcast, EVOLUTIONS, shortly before the pandemic kicked off
I was frustrated at the time it took to get work “out there” so he suggested I might do it myself.
I researched the short story market, as well as potential gaps in provision for audio content and I thought a combination of meditative and escapist character-based short stories, narrated in the style of a bedtime story, might work.
The response has been really encouraging. The audience has been very frank about what’s working and what isn’t, the real-time feedback giving me an opportunity to modify the style and content of each new story. I’m also keen to interact with the audience, using names for characters taken from contents pages and maybe asking for suggestions on story ideas and destinations.
It’s great to know, too, that these stories are temporarily distracting people from the stresses of their day and, in some cases, helping them sleep. I’m hoping my voice doesn’t have the same effect during face-to-face conversations, when we return to the “real” world!
https://youtu.be/LYOjGY4iWzs
In November your latest play GULL was read online by the team at The Far Away Plays. We think the Far Away Plays have been one of the highpoints of creative activity in Wales during the Pandemic. Have you had an opportunity to listen to any of the other Far Away Plays, play readings? And how was it to have your latest play produced on Zoom?
GULL was originally scheduled to be performed at WMC’s Ffwrnes Scratch night in March 2020, but then the world plunged into chaos. So I was thrilled when The Far Away Plays chose it for one of their online performances late last year. Their commitment to getting work out to online audiences, as well as dealing with all the logistical stages in between, has been immense.
I was also excited to be able to cast three incredible RWCMD alumni. Luke Nunn, Cecilia Appiah and Meredith Lewis were just some of the standout actors from 2020 and it was a real privilege to witness their brilliantly instinctive and nuanced performances, especially given the limited time they had to rehearse.
The director James O’Donnell also deserves a special mention. Having put a callout on social media for a director at late notice, James answered the call. The way he was able to take a potentially static medium and turn it into such a dynamic performance was miraculous. I always get really nervous before any production of my work, but it was clear within minutes that GULL was in safe hands, so I was actually able to sit back and enjoy it!
I’m waiting to hear from FAP if there’s a recording I might be able to share with all of the Artistic Directors who weren’t able to make it, because, as good as it was to see the work performed online, this play would (and this team!) clearly work brilliantly on stage.
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? Is it possible to sustain a career as a writer in Wales and if not what would help?
“Healthy” might be a misleading term. The opportunities are available, but I wonder how writers are made aware of them. For opportunities, my go-to is BBC Writer’s Room Opportunities page. Then I check London Playwrights, which is another brilliant resource. I’m not sure if there’s a central database for opportunities in Wales. If not, it would be great to have one, where all aspects of writing were covered, plays, films, TV, etc.
Also, there are a number of theatres offering writer’s courses and residences, but there are rarely the resources available to sustain the momentum, once they’ve happened. I’ve been on three writer’s courses and one residency and none of these led to a tangible, ongoing relationship with the respective theatres.
In terms of sustaining a writing career, I think it’s important to diversify. I’m lucky to also be a freelance copywriter and graphic designer, but, even if I was commissioned to write three plays a year, the income generated wouldn’t be enough to sustain a family, mortgage and other regular day-to-day commitments. From what I can gather, to make any sort of living, TV writing seems to the way forward. Ideally I’d like to be able to do a bit of everything, though, as I’ve been lucky enough to so far.
If you were able to fund an area of the arts in Wales what would this be and why?
I think a TV writing academy would be a valid investment now. As Wales becomes used increasingly as a destination for production, and companies like Bad Wolf continue to thrive, a joined up, sustained TV writing “lab” could help nurture home-grown talent and ensure Wales was increasingly self contained, moving forward. Especially given the increase in demand for content from online providers like Netflix and Prime.
Diversity. The sheer extent of opportunities to make and view art for a country with a reasonable small population. I’m hesitant to use the term, “punching above its weight”. Oh, too late. I have.
And then there’s always the occasional parallel universe curveball of one of Tactile Bosch’s performance art nights. That’s what first made me realise I was living in a capital city. Ah, I miss Kim Fielding. What a lovely man.
Image Credit Emmageliot’s Blog
What was the last really great thing that you experienced that you would like to share with our readers?
There are so many things that have either left me speechless, laugh uncontrollably or made me cry, sometimes all at the same time.
I remember sitting down in my office (in the middle of the first lockdown), with headphones on, to watch Complicite’s “The Encounter”, and feeling within minutes as if I’d been transported to another world, by both the performance and its remarkable aural soundscape. Not sure if it’s still available to view online, but there’s more, here:
https://youtu.be/HvHpYd5wZbA
Charlie Kaufmann’s “I’m Thinking of Ending Things” (on Netflix), whilst sometimes being incomprehensible, felt like a pure artist’s vision, unimpeded by the demands of people-pleasing. Maybe the best art is selfish. And this felt like that. But in the best possible way.
https://youtu.be/cDTg62vsV4U
And no conversation (I say conversation, though this has all been a bit one way) with me goes without a music mention. The Dandy Warhols’ 13 Tales from Urban Bohemia has been my favourite album for years. And at the end of last year, they performed a live stream of it, in its entirety, for the first time. For that hour, I was there, front and centre, dancing like a kid in a sweet shop. The sweets being the songs. But not in jars. Obviously.
https://youtu.be/RrOe1FmYEJ8
Anyway, that’s three. Because there’s never any shortage of great things to share.
Thanks for your time
And thank you for this brilliant opportunity to ramble.
National Dance Company Wales (NDCWales) and English National Ballet will be providing more opportunities for people with Parkinson’s to take part in its high-quality dance programme online and eventually at two new venues in North Wales.
NDCWales’ Dance for Parkinson’s class for people living with Parkinson’s, their family, friends and carers has been running since 2015 as an affiliated hub of English National Ballet’s Dance for Parkinson’s programme.
The first class was launched at the Dance House (Wales Millennium Centre) Cardiff 2015, and the second from Blackwood Miners Institute in Caerphilly County Borough in 2018.
During the 2020 pandemic lockdown, many of its participants had to shield. NDCWales continued to provide support and engagement with online sessions to connect with its loyal participants.
In 2021, NDCWales and ENB will continue to offer live online versions of its classes and will also be creating two pilot hubs in North Wales, Pontio (Bangor) and Coleg Cambria (Wrexham).
NDCWales are also working in partnership with Digital Communities Wales during the pandemic to give all participants the confidence and skills to use their laptops and tablets to access classes online.
In Wales, there are estimated to be around 6,000 people living with Parkinson’s – with the majority aged over 50. Dancing has been shown to support people with Parkinson’s to develop confidence and strength, whilst temporarily relieving some participants of these symptoms in everyday life. The Dance for Parkinson’s Classes are expressive, creative and promote feelings of freedom from the physical and social constraints of having Parkinson’s.
Dance for Parkinson’s classes focuses on one English National Ballet or National Dance Company Wales production and explores the themes and ideas around the movements of that dance piece.
The classes this Spring will be focusing on two dance films from English National Ballet’s recent digital season, ‘Senseless Kindness’ by Yuri Possokhov first, then followed by Arielle Smith’s ‘Jolly Folly’.
Last term, the theme was inspired by NDCWales’ production of Ed Myhill’s Clapping?! which uses rhythm as a driving force and was reimagined online during lockdown. A short film, Ed & Flow, has been produced of the class and is available to view below.
https://youtu.be/yPT2zI_tIc0
NDCWales and their partners are putting plans in place to continue to start the interactive Zoom online sessions again, but when it’s safe to do so, offer the classes in person at all four hubs.
One existing Dance for Parkinson’s participant said, “The lockdown has been very hard, as I was no longer able to see people and my family. I felt isolated and my speech was suffering. I found the Zoom sessions helped me reconnect and it was lovely to see the teachers and all the participants of our group. The sessions were very uplifting for me and I always looked forward to them.”
Regular Dance for Parkinson’s attendees, Angela Harrison said, “It makes me feel I can cope better; I can walk better… it’s the best medicine. I come in feeling like a little old lady”, but I leave here feeling quite tall.”
Guy O’Donnell, NDCWales’ Participation Producer said, “We are really pleased to be able to work in partnership with Pontio and Coleg Cambria and provide this support in North Wales. We have seen the benefits of this programme and the impact it has had on our regular attendees here in South Wales.
“While we are unable to be in person together at the moment the ability to connect online has enabled existing attenders to take part from the comfort of their own home and stay connected to people sociably. The feedback we’ve had so far from our loyal Dance for Parkinson’s participants is that they wanted to still feel connected and still continue to feel the benefit of the programme on their health. They were keen and wanted to be adventurous and learn about technology, and fortunately with the continued support from Digital Communities Wales we have been able to do this.”
As well as encouraging new participants to take part in Dance for Parkinson’s, NDCWales is continuing to look for volunteers to help support participants in the programme.
If you would like further information and to sign up to the programme as participant or a volunteer please contact Guy O’Donnell, Learning and Participation Producer – guy@ndcwales.co.uk or 07305 534 981.
Dance for Parkinson’s is supported by the Moondance Foundation, the Hodge Foundation, The Austin and Hope Pilkington Trust, and Western Power Distribution.
For further information please visit ndcwales.co.uk
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
(5 / 5)
