DOCSLIB.ORG

National Theatre Wales Lifted by Beauty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Theatre Wales Lifted by Beauty NATIONAL THEATRE WALES #NTWDREAMING DESIGN / DYLUNIO: BWTIC.CO.UK CREATED BY / WEDI’I GREU GAN MARK STOROR THE COMPANY / Y CWMNI AND THE PEOPLE OF RHYL / A PHOBOL Y RHYL _1 “ THE JOURNEY THAT LED NATIONAL THEATRE WALES TO MAKE THIS SHOW IN RHYL TAKES IN SOME KEY MOMENTS IN THE COMPANY’S OWN HISTORY.” KULLY THIARAI ARTISTIC DIRECTOR / CYFARWYDDWR ARTISTIG, NATIONAL THEATRE WALES Our fifth production, The Beach, was devised and performed in Prestatyn in July 2010 with Hide & Seek, and put the local community centre stage; a principle of so much of our work still. Working and to some extent living in Denbighshire, the whole company but especially NTW TEAM fell head over heels not only with the area, but with the people who call it home. Jan Miller, Lifted by Beauty’s Community Associate, is just one of the lifelong friends we made that summer. So when the opportunity arose to return and make a show in Rhyl we jumped at it. Fast forward almost six years later, and in March 2016 NTW brought its three-year Big Democracy Project, which aimed to explore how art and creativity can help communities re-engage with the democratic process, to the heart of Welsh Government in Cardiff Bay. We vowed to make a theatre production inspired by what was agreed was the most pressing issue facing Wales, and the day-long event at the Senedd culminated in the question being answered, perhaps inevitably: ‘austerity’. Austerity is such a big, loaded, ugly and often reductive word, and it means vastly different things to different people. It’s reach and impact is enormous and goes beyond the notion of ‘government cuts’. We knew that no one production can do it, nor the communities it affects, justice, so it didn’t seem right to try to define austerity on stage. Instead, we wanted to use it as a springboard to exploring how communities survive – and even thrive – in the face of pressure, challenge and unwanted labels? What are the stories bubbling under the surface of Wales’ small towns? And as theatre-makers how can we shed light on much that is not seen, valued or understood. Few artists understand better than Mark how to work with communities to create an experience somewhere between live art and theatre that truly surprises and delights both the audience and the participants. He is the master of shedding light where there has long been only shade, and as soon as he arrived in Rhyl, he saw exactly what had appealed to us all those years ago; a warm, welcoming community full of hope and commitment, a forgotten town on the brink of a major regeneration and an insatiable creative urge. This production is our attempt to share some of the stories we’ve discovered with you. We hope it will inspire you to look at other communities in Wales with a fresh pair of eyes. #NTWDREAMING _2 “ IT IS A POEM. A LOVE LETTER TO RHYL.” MARK STOROR LEAD ARTIST / PRIF ARTIST I am grateful to National Theatre Wales for inviting me to make a work here with: the people who are Rhyl’s community, the company, with brilliant artists, production team and an extraordinary cast who are working on the project. But most of all I am grateful to those who live here. Those who have found a home here and those who have always been here. Spanning generations, they have witnessed many developments and changes. I am particularly thankful to have been here during the dark, cold, winter months. The months when the only people you will meet are the ones that are here living their daily lives all year round. Even when acknowledging the harsh darknesses together, every day has been shot through with some kind of wonderment: something special, surprising, life-affirming. In fact, because people are prepared to face the worst, they tell things as they are, recognise the contradictions, strive; every day is illuminated by profound tendernesses, a delicate beauty of all kinds. The work we have made together so far is unexpected, an adventure a surprise to us all. It is a tiny fragment of a continuous journey. The creative possibilities here in Rhyl are mind-blowing. They are unique, powerful and lush. There is deep magic here, it lies close by in the mountains, in the sea, and truly in the people. I hope the work reflects some of this. It is a poem. A love letter to Rhyl. IMAGES / LLUNIAU STEPHEN KING _3 “ THEY SPOKE OF A PASSION FOR THE FUTURE MORE URGENT THAN THE LOSS OF THE PAST.” JAN MILLER COMMUNITY ASSOCIATE / CYSWLLT CYMUNEDOL The cherry blossom is in full bloom as I write this, but my own adventure in dreaming with Mark Storor and the good people of Rhyl began in the darkest days of winter, right on the turn of a new year. The shop was cold, the glitter of the season long gone, and the clarion call of National Theatre Wales, marked out in neon, lay unlit behind the shutters. These were long winter days but despite the rain and the storms, people of all ages and from all walks of life joined us there. From cafes and sheds, from community choirs and churches; from the library (where we followed the sound of the children singing), the Little Theatre and the Women’s Centre, as well as all the curious passers-by – they all stepped forward with us together into this extraordinary journey. The shop heated-up, buses rattled past the window and the tea-urn rumbled against a backdrop of people telling us stories of hopes and dreams, renewed ambitions, of grief and loss and of great delight. They spoke of a passion for the future more urgent than the loss of the past. The word “sanction” was repeated, not as an abstract news story but in the real lives of families, neighbours, friends. But always, and with much less prevalence than harsh reality, the answer to the question, “What keeps you going?”, brought words describing friendships and the families we build around us; of acts of kindness restoring us. And the voices of the very young spoke clearly and simply of tolerance and acceptance towards each other. Everyone spoke of the urge to keep moving forward, to make things better for those around us, especially in the everyday way we live our lives together. As the light crept back to the day, Mark kept a ledger, our careful receipts, and through his workshops we became newly made paper dancers, life-sized, twirling all across town. We, all of us, placed ourselves among flowers (usually red), and danced our dance through the ordinary streets. The light has changed since we first began our journey through Rhyl. Spring is here. And by the time you read this, the blossom will be gone but all the voices of the people, their poetry and colours, are here to tell you their story. 4_5 “ THIS WORK WOULDN'T HAVE BEEN POSSIBLE WITHOUT ALL INVOLVED HAVING SHARED SOMETHING, AND INVITED ME OVER THE THRESHOLD TO LOOK BEHIND THE CURTAIN” STEPHEN KING PHOTOGRAPHER / FFOTOGRAFFYDD Photography of artistic process and performances has always resided in a dubious place for me. With every engagement, I have struggled to step away from documentation; the very thing expected of me. To depict the true ephemeral nature of how we witness any artistic practice, it seems necessary to un-hinge oneself from the convention of placing something brightly in a rectangle, and to co-inhabit the plain where these truly amazing notions and images are being created. Over the past ten years myself and Mark Storor have explored, and attempted to refine, these ideas of straddling the roles of subject and witness; a praxis that will forever be a work in progress. I am grateful to National Theatre Wales, the company and all who participated for having the faith in me to indulge this approach. This work wouldn't have been possible without all involved having shared something, and invited me over the threshold to look behind the curtain… to be right there with Rhyl in the midst of this transformation. IMAGES / LLUNIAU STEPHEN KING _6 “ HUNTING DOWN MUSIC BOXES, WIND CHIMES, POTTERY BELL MILK MAID ORNAMENTS, DRIED CHILLIES, LAUNDRY BAGS…” BRIAN DUFFY COMPOSER / CYFANSODDWR DESCRIBE YOUR CREATIVE PROCESS HOW HAVE YOU COMPOSED THE MUSIC OF COMPOSING MUSIC. FOR THIS PRODUCTION? I like to start with the sound palette first. I prefer the I have tried to create landscapes for the sounds and instruments chosen to have philosophical images to live in. resonance with the subject matter and working methods of any given project. HOW HAS THIS FED INTO COMPOSING MUSIC WHAT ARE YOU HOPING THE AUDIENCE WILL TAKE FROM FOR LIFTED BY BEAUTY: ADVENTURES IN DREAMING? SEEING LIFTED BY BEAUTY: ADVENTURES IN DREAMING? I have been working with three themes; death, I hope that the audience will take with them a sense transformation and transcendence. Death represented that sometimes letting go of the past can lead to by the rattling of razor clam shells, transformation transformation and transcendence, and although with ballerina music boxes and transcendence by the journey can seem dark, hope and optimism are using whatever objects that I could find and transform the forces that will drive us into the future. from the local area: hunting down music boxes, wind chimes, pottery bell milk maid ornaments, dried chillies, laundry bags, and any objects that seemed to have an interesting sound. You must learn to drop your innate prejudices towards WHAT HAS BEEN YOUR FAVOURITE MOMENT an object.
Load more

Recommended publications
  • Experience the Bayscape Lifetsyle
    bayscape CARDIFF MARINA SAIL INTO YOUR NEW HOME BAYSCAPE • CARDIFF MARINA BAYSCAPE • CARDIFF MARINA HISTORIC HARBOURSIDE “Cardiff owes much of its history to the During this time, Butetown and the After the Second World War, however, Industrial Revolution of the 1790’s, which surrounding dockland area grew into a demand for coal slumped and stimulated mining in the valleys of South cosmopolitan community with seafarers international markets were lost as other Wales. It also gave rise to the building from all around the world making Cardiff countries developed their own steel of the Glamorganshire Canal in 1794, their home. It is estimated that people industries. Trade was increasingly lost to which brought iron and coal down from from at least 50 nationalities settled in container ports and by the 1960’s coal the valleys. As this industry expanded this area, which became known as ‘Tiger exports had virtually ceased. In 1978 East it became obvious that a more efficient Bay’ This kaleidoscope of settlers helped Moors Steelworks closed with the loss of form of transport was required and in to build the docks, worked aboard 3,200 jobs and this dealt a further blow 1840 the Taff Vale Railway opened. the ships and helped to service this to South Cardiff. industrial and maritime city. This rapidly increasing iron and coal Today, the Cardiff docklands area is trade was also the catalyst for the By the 1880’s, Cardiff had transformed known as Cardiff Bay and it has been construction of a number of docks from one of the smallest towns in Wales transformed by the Cardiff Barrage that during the 1830’s.
    [Show full text]
  • Sherman Theatre Senghennydd Road Cardiff CF24 4YE Charity Registration Number: 1118364
    Sherman Theatre Senghennydd Road Cardiff CF24 4YE Charity Registration Number: 1118364 The Sherman Theatre was opened in 1973 with substantial financial support from what is now Cardiff University. In 1987, the University withdrew its financial support for the theatre and offered it for sale. The Arts Council of Great Britain purchased the building with a special grant from the Welsh Office and the new Sherman Theatre Company was granted a 125 year lease. Ownership has now passed to the Arts Council of Wales (ACW). From 1990 – 2006, the theatre had a strong focus on theatre for young audiences until 2007 when, at the instigation of the ACW, the Sherman Theatre Company and Sgript Cymru, the national development company for theatre writing, were merged to form Sherman Cymru – now Sherman Theatre. In 2014, following a restructure of the Executive Team, Rachel O’Riordan was appointed Artistic Director of the company and has delivered a successful vision over the past five years. During her tenure, the theatre has firmly placed the development of Welsh / Wales- based artists at the heart of its new writing strand of work with successes such as Iphigenia in Splott, Killology and The Cherry Orchard by Gary Owen, Bird by Katherine Chandler, Tremor by Brad Birch, among many others. Following a £6.5 million redevelopment, beginning in early 2010, the Sherman building re- opened its doors in February 2012. Public and backstage facilities were transformed. With its 452 seat main-house and a flexible 60-150 seat studio theatre, it is a fantastic facility for the arts in Cardiff.
    [Show full text]
  • PROGRAMME Map 4 University and City Centre Cathays Park Campus (Map 4) Tel: 029 2087 4000
    The Palaeontological Association 59th Annual Meeting 14th–17th December 2015 Cardiff University and Amgueddfa Cymru – National Museum Wales PROGRAMME Map 4 University and City Centre Cathays Park Campus (Map 4) Tel: 029 2087 4000 Aberconway Building C4 11 ARCCA C3 33 Architecture D3 45 MAP 5 Biosciences D4, D3 35 39 Business School C4, C4* 9 11* Bute Building D3 45 Careers & ACCESS ROUTE Employability Service D4 31 (2.5 miles) TO M4 West J32 TO HEATH Centre for Professional PONTYPRIDD, MERTHYR TYDFIL, PARK CAMPUS Legal Studies D4 28 BRIDGEND AND SWANSEA Chaplaincy D4 26 1 Chemistry D3*, E3 39* 25 Computer Science & Informatics E3 58 89 CUBRIC D4 30 Day Care Services D3 41 2 Deri House E3 60 Development and 98 Alumni Relations E3 60 ACCESS ROUTE Earth and Ocean Sciences D3 39 TO CATHAYS PARK CAMPUS Eastgate House F3 59 Engineering E3 58 English,Communication and Philosophy D4 16 Estates F3 66 Eye Clinic D4 15 CURRYS (3.5 miles) Finance F3 66 ACCESS ROUTE TO M4 East J29 NEWPORT, Glamorgan Building D3 49 TO TALYBONT BRISTOL AND LONDON Global Opportunity Centre D3 41 Graduate Centre D3 38 4 Hadyn Ellis Building D4 10 21 Health Centre D4 37 124 TESCO Healthcare Sciences F3 59 History, Archaeology and Religion D4 16 65 5 Human Resources F3 66 IT Services D3 41 6 International Office E3 60 John Percival Building D4 16 Journalism,Media and 121 Cultural Studies D3 45 138 7 127 Julian Hodge Building C4 14 8 Law D4, D4* 24 28* University Buildings 131 Lifelong Learning E3 42 Halls of Residence 121 Main Building D3 39 Shopping Area Mathematics E3
    [Show full text]
  • Ref. DD-LE Records of the Llangollen International Musical Eisteddfod
    1 DENBIGHSHIRE RECORD OFFICE Ref. DD-LE Records of the Llangollen International Musical Eisteddfod 1894-2011 Extent 63 Boxes Description The company records of the Llangollen International Musical Eisteddfod, a musical festival for international choirs and dance groups held since 1947, for a week annually in July, in Llangollen, North Wales. The collection includes the records of the Friends of the Llangollen International Musical Eisteddfod, which was set up to support the festival, and the papers of W. S. Gwynn Williams, who was instrumental in founding the festival and was the Hon. Music Director of the Eisteddfod, 1947-1977. It also includes records about the festival collected externally, most by local people whose support of the Eisteddfod - as committee members, volunteers or customers - has been important to its survival. The competitors are well represented in the collection, predominantly in the promotional series in photographs, audio and visual recordings, press cuttings and publicity material. Creator: LRW Date: 24/06/2009 2 DENBIGHSHIRE RECORD OFFICE Administrative History The first Llangollen International Musical Eisteddfod, held in 1947, was the concept of Harold Tudor of Coedpoeth, then a member of the British Council; the concept being the creation of a festival 'to promote education, international peace and goodwill through the medium of the fine arts and in particular the art of music'.(1) After the idea for such a festival was turned down by the Welsh National Eisteddfod, Harold Tudor approached W. S. Gwynn Williams, a noted Welsh composer and music publisher, to suggest an independent festival based in Llangollen. With the help of George Northing, a teacher from Dinas Brân County School and Chairman of the local council, the idea gained the support of town residents and in 1946, organising of the festival began.
    [Show full text]
  • Download Publication
    ' o2G1,t c V L Co P Y The Arts Council of Twenty fifth Great Britain annual report and accounts year ended 31 March 1970 ARTS COUNCIL Of GREAT BRITAIN I REFERENCE ONLY DO NOT REMOVE FROM THE IIBRI► Membership of th e ' council, committees and panels Council Professor T. J. Morgan, DLitt The Lord Goodman (Chairman) Henry Nyma n Sir John Witt (Vice-Chairman) Dr Alun Oldfield-Davies, CB E The Hon Michael Astor Miss Sian Phillip s Richard Attenborough, CB E T. M. Haydn Rees Frederic R . Cox, OBE Gareth Thomas ' Colonel William Crawshay, DSO, TD Miss D. E. Ward Miss Constance Cumming s Tudur Watkins, MB E Cedric Thorpe Davie, OBE, LLD Clifford William s Lady Antonia Fraser Mrs Elsie M. Williams, iP Professor Lawrence Gowing, CBE Peter Hall, CBE The Earl of Harewoo d Art Panel Hugh Jenkins, MP John Pope-Hennessy, CBE (Chairman) Professor Frank Kermod e Professor Lawrence Gowing, CBE (Deputy Chairman ) J. W. Lambert, CBE, DS C Ronald Alle y Sir Joseph Lockwoo d Alan Bowness Dr Alun Oldfield-Davies, CB E John Bradshaw John Pope-Hennessy, CBE Michael Brick Lewis Robertson, CBE Professor Christopher Cornford George Singleton, CB E Theo Crosby Robyn Denny The Marquess of Dufferin and Av a ' Scottish Arts Council Francis Hawcroft Lewis Robertson, CBE (Chairman) Adrian Heath George Singleton, CBE (Vice-Chairman) Edward Lucie-Smith Neill Aitke n Miss Julia Trevelyan Oman, DeSRCA, MSI A J. S. Boyle P. S. Rawson Colin Chandler Sir Norman Reid ' Stewart Conn Bryan Robertson, OB E Cedric Thorpe Davie, OBE, LL D Sir Robert Sainsbury David A.
    [Show full text]
  • 9Th Edition Newsletter
    2019/20 NEWSLETTER 9TH EDITION EXECUTIVE DIRECTOR'S WELCOMING INTRODUCTION Welcome to the latest edition help businesses address the of the FOR Cardiff newsletter. underlying issue and ensure As you will see over the tourists, locals and employees next few pages, we’ve been aren’t subjected to verbal very busy delivering quality and physical abuse in the projects on your behalf and city centre. have recently received our first international award Additionally, I am delighted (see page 10) as a result of to have joined and our dedication. contributed to the first Music Board meeting in One of the major issues December. A stellar line up facing Cardiff, as well as aims to make Cardiff a ‘Music other towns and cities across City’ by delivering a range the UK, is that of anti-social of initiatives and projects to GIVE DIFFERENTLY behaviour. We get calls from help raise the city’s profile. businesses on most days, FOR Cardiff continue to asking for support or advice support festivals such as Sŵn Homelessness remains the number one Alongside the charter, FOR Cardiff has in dealing with the various and Tafwyl and are keen to concern for businesses in Cardiff and installed two permanent donation challenges that it brings. work with others to enhance so, in September, FOR Cardiff launched points on the front of Cardiff Central the cultural offering and boost Library and in St. David’s Shopping We recently met with key Cardiff’s Homeless Charter. Co-created trade as a result. Centre to continue raising money for agencies to flag up the with organisations that support people at concerns of these businesses As always, let us know if we risk of homelessness — it gives businesses, Give DIFFerently.
    [Show full text]
  • Regulatory Appraisal
    REGULATORY APPRAISAL SOCIAL CARE, WALES CHILDREN AND YOUNG PERSONS, WALES THE CHILDREN (PERFORMANCES) (AMENDMENT) (WALES) REGULATIONS 2007 Background 1. The Children (Performances) Regulations 1968, which were made under section 37 of the Children and Young Persons Act 1963, aim to safeguard the health, welfare and education of children who take part in performances. 2. The 1968 Regulations impose limits on the number of performances in which a child can take part in a year and specify age bands and clear limits on the hours within which children can work, or be available for performances. 3. The 1963 Act provisions and the 1968 Regulations were last amended in 1998 to reflect the requirements of the EC Directive on Protection of Young People at Work. Thus, children employed in advertising (including modelling) and in sport were covered for the first time. Purpose and intended effect of the measure 4. These Regulations, which amend The Children (Performances) Regulations 1968, to make the rules governing performances by children less restrictive and also introduce a number of changes to address child protection issues identified in the Clywch Report. Their main purpose remains as safeguarding the health, welfare and education of children taking part in performances. 5. The proposed changes introduced by the Regulations for children 9 + are to: • increase the maximum length of time to four hours in which a child may take part in continuous performance or rehearsal without a break; and • extend the permitted working hours in the working day and the total number of hours in which these children may be present at the place of performance or rehearsal.
    [Show full text]
  • General Activities & Lottery Distribution
    General Activities & Lottery Distribution Report and Financial Statements for the year ended 31 March 2017 Charity number 1034245 In this report . What we do… 2 Chair’s statement 3 Performance Report and Operational Review 5 Chief Executive’s statement 6 Our priorities 8 Public benefit 11 Our performance overall 12 Performance highlights against key objectives 14 Building resilience 19 Principal risks and uncertainties 20 Financial and business review 26 Equalities 33 Welsh language 34 Issues of well-being and sustainability 36 The year ahead 40 Accountability Report 44 Corporate Governance 45 Our Trustees 45 Accounting Officer’s confirmations 50 Governance statement 51 Remuneration and Staff Report 64 Parliamentary Accountability and Audit report 74 Financial Statements 75 General Activities 75 Lottery Distribution 112 Annexes (not forming part of the financial statements) 133 Grants awarded – General Activities 134 National Lottery policy directions 149 Grants awarded – Lottery Distribution 151 Arts Council of Wales is committed to making information available in large print, braille, audio and British Sign Language and will endeavour to provide information in languages other than Welsh or English on request. Arts Council of Wales operates an equal opportunities policy. Cover: National Youth Arts Wales (image: Kirsten McTernan) Opposite: Bedwyr Williams, Tyrrau Mawr, 2016. Artes Mundi 7 (image: courtesy of the artist and Limoncello Gallery) What we do… The Arts Council of Wales is the country’s official public body for funding and developing the arts. Every day, people across Wales are enjoying and taking part in the arts in Wales. We help to support and grow this activity. We do this by using the public funds that are made available to us by the Welsh Government and by distributing the proceeds we receive from the National Lottery.
    [Show full text]
  • Polling Station Review Spreadsheet 2019
    Polling Station Review Spreadsheet 2019 Electoral Polling Address Division Districts Adamsdown AA Tredegarville Primary School, Glossop Road, Adamsdown, Cardiff CF24 0JT AB Family Contact Children & Family Centre, Metal Street, Adamsdown, Cardiff AC Stacey Primary School, Stacey Road, Cardiff AD The Rubicon, Nora Street, Adamsdown, Cardiff CF24 1ND AE The Rubicon, Nora Street, Adamsdown, Cardiff CF24 1ND Cathays BA Cardiff Muslim Primary School, (Old St Monica`s School), Merthyr Street, Cardiff CF24 4JL BB Cardiff Muslim Primary School, (Old St Monica`s School), Merthyr Street, Cardiff CF24 4JL BC Nazareth House, Colum Road, Cardiff CF10 3UN BD Highfields Church, Monthermer Road, Cathays, Cardiff BE Cathays Methodist, Church Foyer, Crwys Road/Fanny Street, Cardiff BF The Church Hall, At Junction of Rhymney, Terrace and Harriet Street, Cathays, Cardiff BG The Foyer, Sherman Theatre, Senghenydd Road, Cathays, Cardiff BH The New Cardiff Central Library, Meeting Room, Level 4, Mill Lane, Cardiff CF10 1FL Cyncoed CA Park End Church Hall, Rhydypenau Cross Roads, Cyncoed, Cardiff CF14 0NZ CB The Cafe, The Promenade, Roath Park Lake, Cardiff CC Cyncoed Methodist Church Centre, Cyncoed Road/, Westminister Crescent, Cardiff CD Christ Church, Lake Road North, Cardiff CF23 5NQ CE Lakeside Primary School, The Nursery Unit, Ontario Way, Cardiff CF23 6HB CF Portacabin, at junction with Gwern Rhuddi Road, and Hampton Crescent East, Cyncoed, Cardiff CG Cyncoed Methodist Church Centre, Cyncoed Road/, Westminister Crescent, Cardiff CH St Pauls Catholic
    [Show full text]
  • National Theatre Wales / Before I Leave / Programme
    NATIONAL THEATRE WALES WITH WALES MILLENNIUM CENTRE GYDA CHANOLFAN MILENIWM CYMRU BOX OFFICE SWYDDFA DOCYNNAU NATIONALTHEATREWALES.ORG BEFORE T: 029 2037 1689 I LEAVE NATIONAL THEATRE WALES 30 CASTLE ARCADE / ARCÊD Y CASTELL, CARDIFF / CAERDYDD CF10 1BW T: 029 2035 3070 E: [email protected] W: NATIONALTHEATREWALES.ORG LIKE US ON FACEBOOK HOFFWCH NI AR FACEBOOK NATIONAL THEATRE WALES FOLLOW US ON TWITTER DILYNWCH NI AR TWITTER @NTWTWEETS WATCH US ON YOUTUBE GWYLIWCH NI AR YOUTUBE YOUTUBE.COM/NATIONALTHEATREWALES WRITTEN BY YSGRIFENNWYD GAN DESIGN / DYLUNIO: BWTIC.CO.UK PATRICK JONES DIRECTED BY CYFARWYDDWYD GAN MATTHEW DUNSTER NATIONAL THEATRE WALES WITH WALES MILLENNIUM CENTRE GYDA CHANOLFAN MILENIWM CYMRU BOX OFFICE SWYDDFA DOCYNNAU NATIONALTHEATREWALES.ORG BEFORE T: 029 2037 1689 I LEAVE NATIONAL THEATRE WALES 30 CASTLE ARCADE / ARCÊD Y CASTELL, CARDIFF / CAERDYDD CF10 1BW T: 029 2035 3070 E: [email protected] W: NATIONALTHEATREWALES.ORG LIKE US ON FACEBOOK HOFFWCH NI AR FACEBOOK NATIONAL THEATRE WALES FOLLOW US ON TWITTER DILYNWCH NI AR TWITTER @NTWTWEETS WATCH US ON YOUTUBE GWYLIWCH NI AR YOUTUBE YOUTUBE.COM/NATIONALTHEATREWALES WRITTEN BY YSGRIFENNWYD GAN DESIGN / DYLUNIO: BWTIC.CO.UK PATRICK JONES DIRECTED BY CYFARWYDDWYD GAN MATTHEW DUNSTER NATIONAL THEATRE WALES WITH WALES MILLENNIUM CENTRE GYDA CHANOLFAN MILENIWM CYMRU BOX OFFICE SWYDDFA DOCYNNAU NATIONALTHEATREWALES.ORG BEFORE T: 029 2037 1689 I LEAVE NATIONAL THEATRE WALES 30 CASTLE ARCADE / ARCÊD Y CASTELL, CARDIFF / CAERDYDD CF10 1BW T: 029 2035 3070
    [Show full text]
  • Shakespeare / Brecht Directed by Mike Pearson
    #NTW21 NATIONALTHEATREWALES.ORG A NATIONAL THEATRE WALES PRODUCTION IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY DIRECTED BY MIKE PEARSON / MIKE BROOKES SHAKESPEARE / BRECHT THE NATION OF WALES IS OUR STAGE: FROM FORESTS TO #NTW21 NATIONALTHEATREWALES.ORG BEACHES, FROM AIRCRAFT HANGARS TO POST-INDUSTRIAL TOWNS, FROM VILLAGE HALLS TO NIGHTCLUBS. WE BRING TOGETHER STORYTELLING POETS, VISUAL VISIONARIES AND INVENTORS OF IDEAS. WE COLLABORATE WITH ARTISTS, AUDIENCES, COMMUNITIES AND COMPANIES TO CREATE THEATRE IN THE ENGLISH LANGUAGE, ROOTED IN WALES, WITH AN INTERNATIONAL REACH. YOU’LL FIND US ROUND THE CORNER, ACROSS THE MOUNTAIN AND IN YOUR DIGITAL BACKYARD. STAFF TEAM MATT BALL JOHN MCGRATH CREATIVE ASSOCIATE @MATTBALL_NTW ARTISTIC DIRECTOR @JOHN_NTW MICHELLE CARWARDINE-PALMER JENNY MCCARTHY DIRECTOR OF ADMINISTRATION AND DEVELOPMENT FINANCE ASSISTANT @JENNY_NTW @MICHELLE_NTW YUSUF MOHAMED JULIA COLES COMMUNITY ENGAGEMENT ASSOCIATE (DE GABAY) HANGAR 858 COMPANY CO-ORDINATOR @JULIA_NTW @YUSUF_NTW LUCY DAVIES ANNA POOLE EXECUTIVE PRODUCER @LUCY_NTW TEAM ASSISTANT @ANNA_NTW RAF ST ATHAN DEVINDA DE SILVA GAVIN PORTER TEAM CO-ORDINATOR @DEVINDA_NTW CREATIVE ASSOCIATE (DE GABAY) @GAVINP0RTER DAVID EVANS CATRIN ROGERS VALE OF GLAMORGAN HEAD OF PRODUCTION @DAVID_NTW MEDIA OFFICER @CATRIN_NTW STEPHEN GRANT MICHAEL SALMON 8-18 AUGUS T FINANCE MANAGER @STEPHEN_NTW COMPANY ASSISTANT @MICHAEL_NTW KATHERINE JEWKES ABDUL SHAYEK DIGITAL ASSOCIATE @KATHERINE_ANN CREATIVE ASSOCIATE @ABDUL_NTW MATTHEW LAWTON JEN THORNTON COMMUNICATIONS DIRECTOR @MATT_NTW
    [Show full text]
  • Sean Crowley Design Educator & Theatre Designer
    Sean Crowley Design Educator & Theatre Designer Contact Details: Theatre Design Department, Royal Welsh College of Music and Drama, castle Grounds, Cathays Park, Cardiff, CF10 3ER. – [email protected] 2015 Designs Jack and the Beanstalk The Torch Theatre Director Peter Doran Brief Encounter The Torch Theatre Director Peter Doran Rosie’s War Theatr Nanog Director Phil Harries The Story of Tom Jones National tour Director Geinor Jones Director of Drama at the Royal Welsh College of Music and Drama Chair of the Society of British Theatre Designers Linbury Prize Committee Member OISTAT Executive Committee Member Fellow of the Higher Education Academy Honorary Doctorate of Swansea University 2014 Designs Accidental Death of an Anarchist The Torch Theatre Director Peter Doran How the Other Half Love The Torch Theatre Director Peter Doran A Childs Christmas in Wales The Grand Theatre Swansea Director Michael Bogdanov Gotz von Berlichingen Jagsthausen festival Director Michael Bogdanov Director of Drama at the Royal Welsh College of Music and Drama Chair of the Society of British Theatre Designers Linbury Prize Committee Member OISTAT Executive Committee Member Fellow of the Higher Education Academy 2013 Designs Aladdin The Torch Theatre Director Peter Doran The Turn of the Screw The Torch Theatre Director Peter Doran King Lear Békéscsabai Jókai Színház Hungary Director Christopher Rolls Director of Drama at the Royal Welsh College of Music and Drama Chair of the Society of British Theatre Designers Linbury Prize Committee Member Project
    [Show full text]