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Pull-Out Programme 01 National Theatre Wales the Radicalisation of Bradley Manning Behind the Scenes the Behind

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Pull-Out Programme 01 National Theatre Wales the Radicalisation of Bradley Manning Behind the Scenes the Behind SPRING ISSUE 013 nationaltheatrewales.org PULL-OUT PROGRAMME 01 NATIONAL THEATRE WALES THE RADICALISATION OF BRADLEY MANNING BEHIND THE SCENES THE BEHIND Photographs Dimitris Legakis / National Theatre Wales Top: Bottom four: Dan Green / National Theatre Wales #NTW18 @ntwtweets Share your views and join the 02 conversation about the show on Twitter National Theatre Wales is pioneering an exciting new Each social network or internet platform is slightly tradition of experimenting with digital and internet different from the others, each with unique opportunities for technologies in theatre. I first worked with the company communication, storytelling, sharing or collaboration. And in 2009, at the very inception of the company, when we that’s what has happened with this show. created the National Theatre Wales Community - a dedicated social network for the company and wider theatre-making The internet lies at the heart of Bradley Manning’s story. community in Wales. The community now has over 3,500 It was the medium of his early obsessions, the site of the HYPER–CONNECTED THEATRE HYPER–CONNECTED members sharing events, opportunities and discussions on actions of which he’s accused. Now it is the place where his every aspect of theatre in and about the country. It has unfolding journey is relayed and discussed among millions, helped to shape the very nature of the new national and it felt right that Tim Price’s play of his story should find company and the developing arts scene in Wales. its way into the online world. From early experiments with social media in their productions, Our collaboration has created something that we have the company’s first significant success in using internet called hyper-connected theatre, and I hope that you manage platforms to reach and engage audiences was this time last to catch the show online, at nationaltheatrewales.org/ year, when thousands of internet users from 130 countries bradleymanning. It is an experience that we have designed around the world experienced The Passion through a live blog as a native web experience, not merely an adaptation of live at port-talbot.com, where we published videos and updates performance for the screen. from the event as they happened. CCTV cameras and microphones embedded in the set design After The Passion, when National Theatre Wales launched will provide an audiovisual feed of the show, and it will be its second year programme, I met with Artistic Director broadcast live to the world. But this is not television, and John McGrath, to explore new opportunities to develop we have disabled the ‘fullscreen’ option to encourage people our work to bring audiences to live performance through to do more than just simply sit back and watch the show. internet technologies. The Radicalisation of Bradley Manning The internet is about connecting people and information, so was the show that leapt out from the programme as a key alongside the video feed, you can chat to others who are opportunity to do something new and exciting. sharing the experience with you, explore links around the web that have inspired us as the show unfolds and let your There are as many approaches to what is becoming own networks know what’s happening. known as multiplatform or transmedia storytelling as there are projects, with no easy formula having emerged If you’re lucky enough to attend the show in person, we hope yet to dominate the field. The National Theatre in London that you will revisit our telling of Bradley’s story online, live-stream high definition videos of their productions to with an experience that we hope will be distinct, unique and cinemas around the country. Social media is used to develop pioneer new frontiers in using the internet alongside theatre. storylines and characters, with varying degrees of success. My own view, for what it’s worth, is that the design of internet projects working with other storytelling platforms needs to be closely knitted into the creative process, with multiplatform working alongside writers, directors and other designers, and that the work we do online has to work in close harmony with the story that is being told. It should BY TOM BEARDSHAW also pay close attention to the culture and behaviours that MULTIPLATFORM DESIGNER Photographs: Dan Green / National Theatre Wales are seen in the media platforms being used. 03 NATIONAL THEATRE WALES THE RADICALISATION OF BRADLEY MANNING THE CAST THE CAST THE CAST MATTHEW AUBREY HARRY FERRIER GWAWR LOADER Matthew Aubrey trained at the Harry Ferrier trained at Gwawr Loader trained at the Royal Welsh College Royal Welsh College of Music and Drama. Royal Academy of Dramatic Art. of Music and Drama (RWCMD). Theatre credits include: Theatre credits include: Theatre credits include: The Passion (National Theatre Wales & WildWorks); Caravaggio’s Head and After the Storm My People (development workshop) (National Theatre War Horse (National Theatre); Thoroughly Modern (Both Sgript Cymru). Wales); Much Ado About Nothing (Mappa Mundi); King Millie and Love Labour’s Lost (RWCMD). Lear (RWCMD); In The Blood (RWCMD); The Magical Television credits include: Myths of the Mabinogi (National Youth Theatre of Television credits include: The Silence, Monroe, Dr. Who and Young Wales); Cafe Cariad (National Youth Theatre of Wales); Privates (Twenty Twenty Television for BBC), Birdsong Dracula (BBC); and I Shouldn’t Be Alive The Merchant of Venice (National Youth Theatre of (WTTV), Gracie (BBC), Framed (BBC) and Sinking of (Discovery Channel). Great Britain). Laconia (Talkback Thames / Teamworx). Film credits include: Television credits include: Film credits include: House of Boys (De Lux Productions), Uned 5 (Antena). Dagenham Girls (Number 9 Films), Nightwatching (Kassander Productions), The Gospel of Us (Rondo Media). Flick (Monster Films) and Calorie Radio credits include: (Screen Academy Wales). The Verb: The Tempest / Y Storm extract (BBC Radio Radio credits include: 3;) Losing Louis (RWCMD); Other Hands (RWCMD); Lemon Meringue Pie (BBC Radio 4). Winner of the Hobsons Prize. Describe Matthew Aubrey in 3 words: Describe Harry Ferrier in 3 words: Describe Gwawr Loader in 3 words: Five, Foot, Ten Fun loving professional. Loves a laugh. What gets you up in the morning? What gets you up in the morning? What gets you up in the morning? I try my best to wake up in the afternoons. The 11:59am alarm on my phone....! The thought of being late! I enjoy a kip . Why protest Karl Pilkington for Prime Minister? Why protest about fair Welsh-language PRS? Why protest about the NHS? He is the perfect choice. An absolute genius who Welsh-language music is equally as important as We should all be entitled to free health care. The NHS doesn’t beat around the bush. English-language music and artists in any language is the most efficient medical service in the world, for should be encouraged to produce work of the highest lives saved per pound spent. Could you be a whistleblower? standard. Without fair PRS, Welsh-language artists Could I be a whistleblower? I’d like to think that will not be able to continue to produce high-standard Why is there any need for such people can see the wrong in difficult situations. music to compete with the English-language market monumental change? due to lack of funds. No funds = no Welsh-language If the cap on private patients being treated is lifted, music = lack of modern culture = lack of interest = waiting lists will grow and grow. We are all human lack of spoken Welsh. beings at the end of the day , and the standard of our health care should not be determined by how much Could you be a whistleblower? money we’ve got in the bank. It’s hard to say. I hope I would do what I thought was right in any difficult situation. Could you be a whistleblower? I would like to think so. It’s an incredibly brave thing to do. All depends on what I was blowing the whistle on. #NTW18 @ntwtweets Share your views and join the 04 conversation about the show on Twitter THE CAST THE CAST THE CAST KYLE REES SION DANIEL YOUNG ANJANA VASAN Kyle Rees trained at the Royal Scottish Sion Daniel Young trained at the Royal Anjana Vasan trained at at the Royal Welsh Academy of Music & Drama. Scottish Academy of Music & Drama. College of Music and Drama. Theatre credits include: Theatre credits include: Theatre credits include: The Passion (National Theatre Wales / WildWorks), House of America (Theatr Genedlaethol Cymru); In the Blood and The Stone (RWCMD). Three Sisters, Black Snow, Romeo & Juliet, Llwyth (Tribe) (Sherman Cymru) and Titus A Midsummer’s Night Dream, The American Clock, (Imaginate Festival). Television credits include: Hedda Gabler, Les Miserables, Blood Wedding, Fresh Meat (Channel 4) and Asia at War: Fighting Seussical the Musical, My Fair Lady, West Side Story, Television credits include: for India (The History Channel). and Sir, No Sir! Casualty (BBC); Tissues and Issues (BBC Wales); Hotel Eddie (S4C). Radio credits include: Television credits include: The Rules-66 Books (Bush Theatre). The Indian Doctor (BBC), Emmerdale (ITV), The Cut Film credits include: (BBC), Hollyoaks and Hollyoaks Later (Lime Pictures), Private Peaceful; Daisy Chain; The Street. Y Pris (S4C). Radio credits include: Film credits include: The Dolls Tea Set (BBC Radio 4), and Hoshiko The Gospel of Us (Rondo Media / Film Agency (BBC Radio). for Wales) and The Spa. Describe Kyle Rees in 3 words: Describe Sion Daniel Young in 3 words: Describe Anjana Vasan in 3 words: Very! Very! Tired! The window smasher. I love potatoes What gets you up in the morning? What gets you up in the morning? What gets you up in the morning? Depends on where I went to sleep! My alarm.
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