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#NTW21 NATIONALTHEATREWALES.ORG

A NATIONAL THEATRE 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 COMMUNICATIONS ASSISTANT @JEN_NTW

BOARD OF TRUSTEES KEEP IN TOUCH

STEVE BLANDFORD NATIONAL THEATRE WALES PHIL GEORGE (CHAIR) 30 CASTLE ARCADE JON GOWER RICHARD HOGGER CF10 1BW DEBORAH MARTELL POWELL LIKE US ON FACEBOOK: GEMMA MCAVOY NATIONAL THEATRE WALES JUDI RICHARDS CHRIS RYDE (VICE CHAIR) FOLLOW US ON : PETER STEAD @NTWTWEETS WATCH US ON YOUTUBE: YOUTUBE.COM/NATIONALTHEATREWALES T: 029 2035 3070 E: [email protected] COVER IMAGE PHIL BOORMAN/NATIONAL THEATRE WALES

DIRECTORS 2—3 GERALD TYLER PHOTOGRAPH: WARREN ORCHARD / NATIONAL THEATRE WALES

CORIOLANUS: ‘THE BEAST WITH MIKE MANY HEADS BUTTS ME AWAY.’ — SHAKESPEARE’S CORIOLANUS PEARSON / MIKE BROOKES Mike Pearson was born in Scunthorpe, Lincolnshire; he came Mike Brookes is an award-winning artist, director and to Wales in 1968 to study archaeology at University College, designer. Although initially trained as a painter, his work has Cardiff. He was a founder member of Transitions Community always bridged media - engaging elements as diverse as Arts Project, Cardiff (1971-2); a member of internationally photography, sampling, large scale and multiple projection, renowned physical theatre group R.A.T. Theatre (1972–3), short-range and satellite radio broadcast technology, mobile with whom he appeared at the World Theatre Festival in telephones, helicopters, cars, trains, surveillance cameras, Nancy, . He was an artistic director of Wales-based ice sculpture and drawing - proposing innovative practices companies Cardiff Laboratory Theatre (1973–80) and Brith and strategies within the form, function, and placement of Gof (1981–97), with whom he presented performances in performance and live art. He co-founded the performance South America, Hong Kong and throughout Europe. Brith collective Pearson/Brookes with Mike Pearson in 1997, Gof was particularly noted for its large-scale, site-specific most recently co-creating their acclaimed production of productions staged in Italy, Germany, the , The Persians for National Theatre Wales’ inaugural season. Scotland and Wales in the early 1990s. He continues to He is associate artist to dada(prod) (Italy), nido (Spain), make performance as a solo artist and with long-time and to the theatre company Quarantine (UK) with whom collaborator composer John Hardy, and since 1997 he has he has now collaborated on 11 consecutive productions. worked in partnership with artist/designer Mike Brookes in In 2007, he was appointed Creative Research Fellow Pearson/Brookes. In 2010 he directed a site-specific version within University. of Aeschylus’s The Persians for National Theatre Wales on the military training ranges of mid-Wales in collaboration He is currently developing a long-term collaborative practice with Simon Banham, Mike Brookes, John Hardy and Pete with Spanish artist Rosa Casado, producing live art and Telfer. He is co-author with Michael Shanks of Theatre/ gallery works under the umbrella title ‘some things happen Archaeology (2001) and author of In Comes I: Performance, all at once, some things happen more slowly’. His work has Memory and Landscape (2006); Site-Specific Performance been commissioned and shown in North and South America, (2010) and Mickery Theatr: an imperfect archaeology (2011). Asia, Australasia, and throughout Europe. Recent awards He has taught in the Department of Theatre, Film and include: The Arts Council Creative Wales Award 2007; CCG Television Studies since 1997 and is currently Professor Fellowship, Centro de Arte Torrente Ballester, Ferrol (Spain) of Performance Studies. 2008; MAPA Residency, Girona (Spain) 2008; Bilbao Eszena Residency, Bilbao (Spain), 2009 and 2010; winner of the TMA In October 2012 he begins a two-year Leverhulme Major Best Design Award 2010; and a PACT Zollverein residency Research Fellowship: to recall experiences of theatre-making award, Essen (Germany) 2012. in Cardiff in the early 1970s in a new book and through restaging elements of his early work.

DIRECTOR / DRAMATURG MIKE PEARSON DIRECTOR / DESIGNER MIKE BROOKES

BY MIKE PEARSON 4—5 MIKE BROOKES AND MIKE PEARSON PHOTOGRAPH: WARREN ORCHARD / NATIONAL THEATRE WALES

SICINIUS: ‘WHAT IS THE CITY FRAMING BUT THE PEOPLE?’ — SHAKESPEARE’S CORIOLANUS THE TEXT In 75 AD, Plutarch sets down the story of Roman warrior The overarching theme is politics: martial life versus Caius Martius, later Coriolanus. He has: ‘A voice and look increasing, though provisional, bureaucracy: the emergence which made him a fearful man for a foe to encounter’; though of a world in which Coriolanus finds it difficult to even in this first appearance: ‘He found the chief end of glory locate himself. He is a battle-hardened war machine, an in his mother’s gladness.’ Between 1605 and 1608, at a time anachronism: the product of his caste, his mother’s ambition of rural unrest, William Shakespeare dramatises it: ‘From and his own impulsive nature. It’s all now happening in face to foot he was a thing of blood, whose every motion the public domain: event follows event, wave upon wave, was timed with dying cries.’ Between 1952 and 1955, Bertolt experienced and dealt with expediently, as they arrive. The Brecht adapts Shakespeare’s version, aiming to recover it military hero is out of his element in this civic arena; he from fascist appropriation and ‘to experience the tragedy not is unable – or refuses – to perform a role for the plebeian only of Coriolanus himself but also of Rome, and specifically public, to play a part, to act politically. In this, ironically, of the plebs’: ‘Down with him! Down with the grain robber!’ he is perhaps the only constant figure in the drama. In 1972, Günther Grass critiques Brecht’s own attempt to Shakespeare’s world is crowded: unlike other tragic direct Shakespeare’s version during the 1953 uprising in East protagonists, Coriolanus is rarely alone – he has few private Germany: ‘The people have risen.’ moments, little room or opportunity to go away to reflect on his condition and only two soliloquies. That and the Coriolanus...Coriolan...The Plebians Rehearse the Uprising... In play’s open and direct setting – there are no sub-plots, 2012? Coriolan/us: Shakespeare infused with Brecht’s words, very few indoor scenes yet ever-present crowds – make in the mouths of at least. And perhaps too a hint of it a fascinating counterpoint to current political events Peter Brook’s 1968 RSC production, enigmatically entitled US. – with their unreliable leaderships, ad-hoc factions and Coriolan; Us; Coriolan/us. As the Tribunes protest: ‘What is the coalitions, fleeting allegiances and shifting loyalties, civic city but the people?’ uncertainties and disturbances, military adventurism and fledgling democracies – and attendant round-the-clock news and social media. A conjoined world of celebrity and CITIZENS: ‘DOWN WITH HIM! DOWN surveillance: of constant media attention and intrusion, of embedded transmission, of improvised recording and WITH THE GRAIN ROBBER!’ uploading, of covert monitoring... — BRECHT’S CORIOLAN The narrative of Caius Martius Coriolanus threads five COMINIUS: irreconcilable strands of conflict: wars between the infant ‘FROM FACE TO FOOT HE WAS Roman republic and the neighbouring state of the Volsces; A THING OF BLOOD, WHOSE EVERY MOTION the intense personal rivalry between Coriolanus, Rome’s greatest soldier and the Volscan leader, Tullus Aufidius; the WAS TIMED WITH DYING CRIES.’ struggle for power in Rome between the patrician class and — SHAKESPEARE’S CORIOLANUS the plebeians; the battle of wills between Coriolanus and his Why Coriolan/us? Because it is always unsettling: seeming mother Volumnia over political expediency; and the tensions to reflect the time in which we live without offering any within Coriolanus himself in his desire for revenge against easy solutions. Because it is always contemporary: ever Rome following his banishment. And the implications, challenging of our beliefs, demanding of us that we think effects and outcomes of their entanglements – for both politically, again. individuals and states – are epic as much as they are personal and psychological.

FRAMING THE TEXT

#NTW21 6—7 GERALD TYLER AND JOHN ROWLEY PHOTOGRAPH: WARREN ORCHARD / NATIONAL THEATRE WALES

SECOND CITIZEN: ‘HE MOCKED US CREATIVE WHEN HE BEGGED OUR VOICES.’ — SHAKESPEARE’S CORIOLANUS TEAM

MIKE PEARSON — DIRECTOR / DRAMATURG MIKE BROOKES — DIRECTOR / DESIGNER SIMON BANHAM — DESIGNER JOHN HARDY — COMPOSER MIKE BEER — SOUND DESIGNER JON STREET — AUDIO-VISUAL DESIGNER RUTH STRINGER — ASSISTANT DESIGNER LOWRI JENKINS — EMERGING DIRECTOR

LUCY DAVIES — PRODUCER DAVID EVANS — PRODUCTION MANAGER MATTHEW NORTH — COMPANY STAGE MANAGER BRYONY RUTTER — DEPUTY STAGE MANAGER CASSIE BROOM — ASSISTANT STAGE MANAGER TIM RICH — SITE MANAGER JO NICHOLLS — COSTUME SUPERVISOR LEIGH CONROY-HORSCRAFT — WARDROBE MISTRESS MICHAEL CORBIDGE — VOICE COACH BENJAMIN TALBOTT — COMPOSITION ASSISTANT TOM BENNETT — PRODUCTION ELECTRICIAN JAMES MARSH — SOUND OPERATOR NIK PALMER — SOUND OPERATOR DAVID ABRA — PRODUCTION AUDIO VISUAL OPERATION CLAIRE WILKINS — AUDIO VISUAL MIXER RICHARD MOWBRAY — AUDIO VISUAL MIXER IAIN MACRITCHIE — CAMERA DOLLY OPERATOR TOM PAYNE — CAMERA DOLLY OPERATOR MACS HESSION — AUDIO VISUAL ASSISTANT RICHARD HUW MORGAN — CAMERA OPERATOR PETE TELFER — CAMERA OPERATOR HARRIET WALLIS — CAMERA ASSISTANT SAM JONES — CASTING DIRECTOR LUCY TAYLOR — CASTING ASSISTANT ISABELLE MARSHALL — CAST STAND-IN HELEDD GWYNN — CAST STAND-IN CATHERINE PASKELL — PROMOTER PRODUCTION 78 — FRONT OF HOUSE FRAMING THE TEXT CO-DESIGNER SIMON BANHAM COMPOSER JOHN HARDY SOUND DESIGNER MIKE BEER AUDIO-VISUAL DESIGNER JON STREET Simon Banham is a freelance designer and After rigorous training in cathedrals, at Mike started his career at the Jon has worked in professional theatre since Senior Lecturer in Scenography and Theatre Conservatoire, and the Cardiff in 1986. Since then he has toured the age of 16. He trained at The Royal Welsh Design at Aberystwyth University. He is a Guildhall, and with Cardiff Laboratory Theatre theatre and corporate events worldwide with College of Music and Drama, and Dartington founder member of Quarantine theatre company and Brith Gof, John has composed countless companies including DV8 Physical Theatre, College of Art. For the last 8 years he has and is responsible for the scenography on all scores for theatre, radio, television & films, Theatre Royal Bath, Old Vic, Diversions specialised in Video Design and Audio-Visual their productions. In 2005, Quarantine were including the Oscar-nominated Hedd Wyn. Dance, West Yorkshire Playhouse, Birmingham operation within live performance. His work has awarded the Art 05 prize for outstanding Orchestral works include Fever for the Welsh Stage, Clwyd Theatr Cymru, Act Productions, taken him all around Europe and his designs achievements in the arts. His work has been Proms, and Blue Letters From Tanganyika, Fiery Angel, Theatre Gwynedd, Imagination, have premiered in at least 9 countries. Jon has part of a medal-winning British entry at for BBC National Orchestra of Wales. He has Sony, and Ford Motor Car Company. Mike’s no interest in the use of cinema as an element the Prague Quadrennial. Two of his designs, been awarded five BAFTA Cymru Awards for designs include: Coasting and Treasure Island of theatre. Instead, his work focuses on the live Ion ( National du Rhin) and Rantsoen Best Original Music. Vocal music includes De (Bristol Old Vic), A Provincial Life, The Passion, element, and the physical space of production: (Quarantine and Victoria Theatre Company) Profundis for Abbey/BBC Singers/ Love Steals Us From Loneliness, The Persians augmenting the performance with live cameras were chosen for presentation at the inaugural Brass, for Music Theatre Wales and The Radicalisation of Bradley Manning (to allow the audience new points of view), and World Stage Design 2005 exhibition. For WSD and , Not Darkness But (National Theatre Wales), Deffro’r Gwanwyn digital wizardry to ‘projection map’ real objects 2009, he was invited to exhibit For You (Music Twilight for BBC National Chorus Of Wales and (Theatr Genedlaethol Cymru), BFG (Fiery Angel), with virtual images. This is his 3rd show with Theatre Wales), Grace (Quarantine) and Rebekka Spaces, commissioned by Vivace and Only Men Great Expectations (Aberystwyth Arts Centre), National Theatre Wales, having worked on The (Norwegian National Opera). Beyond his work Aloud. In 2006 he received an Arts Council of Desire Lines, The Borrowers and Merlin (The Persians and The Passion. for Quarantine, Simon has recently designed Wales Creative Wales Award. John has worked Sherman Theatre Company), The Firework La Traviata for Den Nye Opera in Norway, The extensively with Mike Pearson for over three Maker’s Daughter and Danny the Champion of Persians for National Theatre Wales (awarded decades. In April 2010 John became Head of the World (Birmingham Stage Company), Single ASSISTANT DESIGNER RUTH STRINGER the Best Design 2010 award by the TMA) and Contemporary Music at the Royal Welsh College Spies, Legal Fictions and The Importance of Greek (awarded outstanding achievement in Of Music and Drama. Being Earnest (The Theatre Royal Bath), Don Ruth trained in Theatre Design at Royal Welsh Opera 2011 at the Theatre Awards UK) for Quixote (West Yorkshire Playhouse). Much of College of Music and Drama, and works Music Theatre Wales. Mike’s work for the last 5 years has been as a designer and scenic artist in theatre, with Stage Sound Services, working as sound opera, dance and community performance. designer and production consultant on theatre Ruth previously worked with National Theatre and corporate events. Wales in association with Wildworks as a design assistant in The Passion, and was designer/curator for the Passion Memory Exhibition the following year. Her designs also featured in the feature film The Gospel of Us. Previous theatrical production designs include Mammals (Caird Studio), The Wind in the Willows (Theatre 503), The Darkroom (Alma Tavern Theatre) and The Master-Madam (Eastmoors). Ruth has also collaborated extensively with London-based performance company Shunt on various installations and events in their Shunt Lounge project.

CREATIVE TEAM

EMERGING DIRECTOR LOWRI JENKINS COMPANY STAGE MANAGER MATTHEW NORTH ASSISTANT STAGE MANAGER CASSIE BROOM COSTUME SUPERVISOR JO NICHOLLS Lowri is from the Vale of Glamorgan. She works After starting his theatre career with the Royal Cassie has recently graduated from Jo studied Theatre Design at Royal Welsh mainly devising new theatre in Spain and the Shakespeare Company’s Swan Theatre lighting Metropolitan University where she studied College of Music and Drama, graduating in UK. As dramaturg/writer, Lowri created three department at 16, Matthew went on to become Technical Theatre. Coriolan/us is Cassie’s third 2004. She went on to work as a costume shows with site-specific theatre company the youngest sound designer the company has show with National Theatre Wales after Shelf maker at Welsh National Opera. Since leaving 19;29. In 2010 she began writing for award- had working on their fringe season. He then Life and The Passion. Cassie has recently to become freelance she has worked for winning bilingual theatre company Teatro Entre went on to train in stage management at the finished working as stage manager on Mal various theatre companies in the UK working Escombros, with whom she most recently Royal Welsh College of Music and Drama, where Pope’s award-winning show Cappuccino Girls on a wide range of shows including wardrobe premiered Fuga Per Canonem at Escena he was awarded the college’s 2004 Stage at the Evening Post Theatre, Swansea. Other assistant on Love Never Dies (Really Useful Abierta Festival in Burgos. She has trained Management Award. This is Matthew’s fourth theatre credits include several tours of Wales Group, The ). Film credits with Tamasha and SITI Company (Suzuki and production for National Theatre Wales after The with TPP Theatrical Productions: Aladdin, include costume maker on Viewpoints). Lowri is currently developing Passion, A Provincial Life and Little Dogs. Other Aesop’s Fables, The Wizard of Oz, Little Frankie, (HBO) and The Gospel of Us (Rondo Media and a show about lemons. companies he has worked for include: Royal Sleeping Beauty, Jack and the Beanstalk, Dead National Theatre Wales). For the past 5 years Shakespeare Company, Wales Theatre Company, Air, and The Great Easter Adventure, productions she has also been co-designer with National London Classic Theatre, 360 Events, Bare & with Eddie Ladd, Shaun Tuan John, The Clarks Youth Theatre Wales. This is her sixth show Ragged Theatre Company, Caerphilly Youth and National Dance Company Wales. with National Theatre Wales having previously PRODUCTION MANAGER DAVID EVANS Theatre, Production 78, Second Thoughts Theatre worked on The Devil Inside Him, Mundo David is the Head of Production for National Company and Special Events Paralelo (with ), The Passion, Team. Matthew also works in television and A Provincial Life and The Radicalisation of Theatre Wales. Prior to joining the company last SITE MANAGER TIM RICH year, he has Production Managed in a variety of film. Credits include: The Gospel of Us, Doctor Bradley Manning. locations, including dance in a shed in Jamaica, Who, , City, , The Tim trained in Stage Management at RADA. Chicago in a 3,000-year-old temple in the Sarah Jane Adventures, , Gwaith/ He has worked in various roles at , Cartref, Great British Stories, Mankind, Totally Lebanon and Measure for Measure in a Roman Watford, Contact, Lyric , The WARDROBE MISTRESS LEIGH CONROY-HORSCRAFT amphitheater in Verona. He naturally feels at , Jools Holland’s Hootenanny Royal Shakespeare Company, Irish National home in an aircraft hangar just west of Cardiff. and Sacrifice. Ballet, National Dance Company Wales, The Leigh has recently graduated with a degree in Interestingly, some years ago he bought a Sea Old Vic and the in the West Theatre Design from the Royal Welsh College of Harrier Jump Jet for a show, which may well End, as well touring extensively in the UK Music and Drama. Whilst there she specialised have been serviced in this hangar. DEPUTY STAGE MANAGER BRYONY RUTTER and abroad. His work for Welsh companies in costume and particularly enjoyed working on includes Gwent Theatre, India Dance Wales production. With experience in both television Bryony trained at Clwyd Theatr Cymru and and Hijinx. He has also site managed many and theatre the challenge and variation of has worked there extensively, most recently outdoor events for Cardiff Council, the Food both mediums of performance appeals to her as Deputy Stage Manager for As You Like It, and Drink festival being a favourite! This is creative and organisational skills. She also has directed by Terry Hands. Other recent work his first hangar-based production. a keen interest in dance and has previously includes two international Shakespeare tours worked with National Dance Company Wales on with Propeller Theatre Company and a UK their dance platform 2011. tour with Northern Broadsides. She has taken productions into theatres across the world, as well as into more unusual spaces – a disused warehouse, a Roman amphitheatre, a cattle market and an big-top tent. This, however, is her first show in an aircraft hangar. Bryony is delighted to be part of the National Theatre Wales team this summer, and is practising DSM-ing mostly using hand signals and semaphore.

CREATIVE TEAM PRODUCTION AV AND OPERATION DAVID ABRA CAMERA DOLLY OPERATOR IAN MACRITCHIE CAMERA OPERATOR PETE TELFER CAMERA OPERATOR RICHARD HUW MORGAN David Abra trained at the Royal Welsh College A graduate of the sorely missed Dartington Pete Telfer is from the village of Dyffryn Ex-Brith Gof core performer (1990-7, 15 of Music And Drama. Co-founder of Magic College of Arts, Iain MacRitchie lends his Ardudwy in Meirionnydd. He began his productions), Pearson/Brookes performer Wall Productions, his camera credits include time to developing specialised wireless career as a photojournalist, with the Welsh (1999-2005, 7 productions). Co-director, with promotional material for Fujitsu, communication solutions, and integrated language rock scene and Wales-based artists John Rowley, of Das Wunden (1992-4, 4 and live theatre recordings for RWCMD and systems for use in the performance and as his main subject in the 80s, including productions) and good cop bad cop (1994 to Newport Riverfront Theatre. Since leaving Magic arts industry. His experience of ‘ground ’ photographing the phenomenal productions present, 30 productions) touring internationally Wall to concentrate on design and live work, his development and an eye for detail fuels an by Brith Gof. He also documented the fall with the support of Wales Arts International credits include lighting and video design for The extremely flexible approach to nearly all of the Berlin Wall and travelled throughout and British Council. National Theatre Wales’ The Snow Queen (Milford Haven), Angie Le Mar’s In fields of technology, which aids his work as Eastern Europe in the early 90s, including Persians (2010) as member of chorus - the My Shoes ( Theatre), as well as operational a proficient IT and audio technician. His keen the Balkans Conflict. In 1992 he joined the non-speaking with the camera. Devisor, co- credits for HSBC and Horrible Histories tour. interest in the world of contemporary music new Arts and Music Department at BBC producer and co-presenter (with John Rowley) technology and its role in music performance Wales and was part of the team who made of Pitch, the arts and culture programme for has led to many exciting projects while The Slate arts magazine series. In 1995, Pete Cardiff and beyond, on (2011 - collaborating with musicians in the South decided to go freelance and has worked on present). Arts Council of Wales Creative Wales PRODUCTION ELECTRICIAN TOM BENNETT West of and Northern Ireland. all of the arts strands for BBC Wales, ITV Major Award for sound-art project ‘Pharmakon Tom started his career at Stage Lighting Wales and since then. Pete started his - a sonic mapping of Wales’ (2006). Research Services in 2002 where he worked for 5 years own production company ‘Pixel Foundry’ in fellow (2002-4) and lecturer (2004-6) in 2001, and during his career he has made Time Based Practice at Cardiff School of and then moved to 11th Hour events. In his CAMERA DOLLY OPERATOR TOM PAYNE time working for both companies he worked over 70 documentaries for television and Art & Design (currently Cardiff Metropolitan on such events as Wales rugby pre-show, True Tom is a PhD student with Aberystwyth countless items for magazine programmes. University) vocational research fellow in Taste Awards and the . In University. He is currently writing up his Pete now makes films for the online creative bilingual graphic design through the medium 2011 Tom became freelance and since then has research into the launch year of National network Culture Colony, and was part of the of Welsh at Swansea Metropolitan University toured with Sound Affairs and worked on events Theatre Wales. team who worked on National Theatre Wales’ (2006-7) and visiting lecturer at University of including and . production of The Persians. Glamorgan (2012). Performance director for blown magazine (2010-present). Exhibitor at Y Lle Celf, Eisteddfod Genedlaethol Cymru (2004 PROMOTER CATHERINE PASKELL - with Matt Cook, 2006, 2008 - good cop bad AUDIO-VISUAL BOARD OPERATOR CLAIRE WILKINS cop), contributor to Special Exhibition (2012 - Catherine is a theatre director from Cardiff. good cop bad cop). Arts Council Wales national Born in Wales in 1985, Claire Wilkins lives She was a founding member of National advisor (2002-present). and works in Bristol. Originally trained as an Theatre Wales: a Creative Associate between artist, graduating from Dartington College of 2009 - 2011. She directed the fifth production Arts, she now devotes her time to developing in the company’s inaugural year, The Beach, a personal language using video and projection and ran the Assembly programme and the techniques. Her work is characterised by a New Critics scheme. Catherine has directed desire to experiment with the links between for companies including Sherman Cymru, audio and visual and finding ways to integrate Radio Wales, Unity Theatre , Oldham video into a performance space. These ideas Coliseum, Lyric Theatre Hammersmith, Contact are developed and realised in the form of , Tara Arts and the Octagon Theatre audio-visual performances and installations. Bolton where she was also Resident Assistant Often being site specific, her works are Director. She is a WalesLab supported strongly influenced by questions linked to artist. Catherine is also a theatre producer, audience perception and interaction. Claire often lecturer and promoter, recently working on collaborates with numerous artists, notably with National Theatre Wales’ national tours of The those of Eye4aneye Visuals, of which she is Radicalisation of Bradley Manning and The founding member. Village Social. She trained on the MFA Theatre Directing at Birkbeck and has a degree in American Studies from Nottingham University.

CREATIVE TEAM

8—9 RICHARD LYNCH, RICHARD HARRINGTON AND GERALD TYLER BY MIKE BROOKES PHOTOGRAPH: WARREN ORCHARD / NATIONAL THEATRE WALES

MENENIUS: ‘THE SENATORS OF ROME ARE THIS SHAPING GOOD BELLY, YOU THE MUTINOUS MEMBERS.’ — BRECHT’S CORIOLAN CORIOLAN/US

CREATIVE TEAM In our imaginings, from the inception of this work, As with much of our work over the years, there is a direct Coriolan/us was always going to unfold amongst a crowd, and pragmatic use of technology here. That technology, and as it moved and flowed around the open public space of this the mediation that it allows, is clearly present - structuring event. Act following act, one thing leading another, the rolling both the ‘what’ and the ‘where’ of the events that unfold consequences of our choices and reactions accumulating as within it. But however much its use now shapes they ripple on through the body and structure of a social and experience of Coriolan/us, ultimately, for us, it is forum constituted by all those present. always simply a bridge.

And it was always going to happen at scale. A large open MENENIUS: place where that crowd was free to gather and move ‘THERE WAS A TIME as it needed to. Where scenes and incidents could be placed, constructed, and walked to - finding and revealing WHEN ALL THE BODY’S MEMBERS themselves within a ‘field’ of activity, where ideas and REBELLED AGAINST THE BELLY.’ individuals might meet and locate themselves in actuality. — BRECHT’S CORIOLAN Balancing our hopes and intention for this work has inevitably A genuinely public space, large enough, and open enough, for required that we enable a very specific set of possibilities the things that happen here amongst us to be seen and read and behaviours. Allowing performers, and the text itself, against those happening over there. All viewed within the to move and connect directly, regardless of the physical specific ‘landscape’ of a work that takes shape around us. distances and limitations of the vast space that hosts them. While the rest of us need tools to meet and connect equally And yet, without knowing quite where or how, we had directly, with all aspects of the unfolding events, wherever always imagined that all this would happen inside, behind we may individually be, and however we personally choose closed doors, out of the weather. A field under cover. to engage. The layers of technology that we have employed, A landscape with a lid. while also framing and evoking the place that we have built here, simply bridge those two sets of needs. Allowing things CORIOLANUS: to happen, and be met, that would not otherwise be possible ‘O MOTHER, MOTHER! - either here or elsewhere. WHAT HAVE YOU DONE?’ — SHAKESPEARE’S CORIOLANUS At its heart, for me personally, Coriolan/us is an attempt Walking into Hangar 858 for the first time, halfway through to usefully realise this text, on the south coast of Wales, this process, it was immediately clear that here was amongst the crowd of people who will meet us there, and a building where all these intentions and aspirations might who will ultimately shape each performance of this work. An actually be possible. Built in the late 1930’s, and beautifully event where, in the final analysis, the main thing happening, directly engineered, the vast open space contained and is simply ‘us’ and ‘here’. framed below its sweeping single span cast cement ceiling has provided us with both a place to realise this work, and also a context within which we can locate it. And all the formal and structural details of Coriolan/us have developed and taken shape specifically within that context.

SHAPING CORIOLAN/US

#NTW21 10—11 GERALD TYLER AND NIA GWYNNE PHOTOGRAPH: WARREN ORCHARD / NATIONAL THEATRE WALES

JAN KOTT: ‘CORIOLANUS CAN ONLY CAST CHOOSE HIS PLACE IN THE WORLD THAT HAS BEEN SET ON FIRE.’

BRENDAN CHARLESON — TITUS LARTIUS, GENERAL AGAINST THE VOLSCIANS JONNY GLYNN — COMINIUS, GENERAL AGAINST THE VOLSCIANS NIA GWYNNE — SICINIUS VELUTUS, TRIBUNE OF THE PEOPLE RICHARD HARRINGTON — TULLUS AUFIDIUS, GENERAL OF THE VOLSCIANS CHRIS JARED — JUNIUS BRUTUS, TRIBUNE OF THE PEOPLE RICHARD LYNCH — CAIUS MARTIUS CORIOLANUS RHIAN MORGAN — VOLUMNIA, MOTHER OF CORIOLANUS JOHN ROWLEY — FIRST CITIZEN MATTHEW THOMAS — MENENIUS AGRIPPA, FRIEND TO CORIOLANUS GERALD TYLER — SECOND CITIZEN BETHAN WITCOMB — VIRGILIA, WIFE OF CORIOLANUS SHAPING CORIOLAN/US TITUS LARTIUS BRENDAN CHARLESON COMINIUS JONNY GLYNN TULLUS AUFIDIUS RICHARD HARRINGTON CAIUS MARTIUS CORIOLANUS RICHARD LYNCH Theatre credits include: Bus Stop (New Vic, Theatre credits include: Lucky Seven Theatre credits include: Look Back in Anger Theatre credits include: A Midsummer Night’s Stoke), Roots, The Taming Of The Shrew, Dancing ( Theatre), Much Ado About Nothing, (Theatre Royal Bath), Other Hands (Soho Dream, Kasper, Mountain Language, title role At Lughnasa, Arden Of Faversham, The Suicide, Romeo & Juliet, King John (RSC), Amy’s View, Theatre), Stone City Blue (Clwyd Theatr Cymru), in , Hamlet Machine, Bloody Poetry, Measure For Measure, The Two Princes, Brassed Arcadia (Library Theatre), Gawain and the Art & Guff (), Unprotected Sex Galileo, Shoot Get Treasure Report (Moving Off and To Kill A Mockingbird (Clwyd Theatr Green Knight (), Pera Palas (Sherman Cymru), Gas Station Angel (Royal Being), House of America, Flowers of the Dead Cymru), The Drowned World (Fab Theatre), T (The Gate), Seven Sonnets of Michelangelo Court tour), and House of America (Fiction Red Sea, East from the Gantry, The Myth of he Seafarer (Bolton Octagon), Gulliver (Hi-Jinx (Lyric Hammersmith), Lady Windermere’s Fan Factory tour). Film credits include: The Michael Roderick, Song from a Forgotten City Theatre), The Merry Wives of Windsor, (), The Rivals, I Have Contractor, Daddy’s Girl, The All Together, (Fiction Factory), P.A.X, Camlaun, Patagonia The Winter’s Tale, Twelfth Night, and Been Here Before, Crimes of The Heart, Tartuffe, Joyrider, Mathilde, Secret Passage, Mule (short) (Brith Gof), The Storm (Almeida), The Mysteries The Merchant Of Venice (Ludlow Festival), Beau Count of Monte Cristo (Royal Exchange), and House of America. Television credits (RSC), Penny for a Song (Oxford Stage Group), Rivage (Theatr Y Byd). Television credits include: Hamlet (Birmingham Rep), The New Apartment include: Alys, Larkrise to Candleford, Crash, Snapshots, Ghost Train Tattoo (Manchester Royal Gwaith Cartref, , , (Waterman’s Theatre), The Taming of the Shrew Land Girls, , Holby Blue, 5 Days, Exchange), Macbeth (Clwyd Theatr Cymru), Heartbeat, Doctors, The Palace, Abraham’s (West Yorkshire Playhouse), The Blue Angel, Casualty, Rise & Fall of Rome, Bleak House, Afore Night Come (), Gas Station Angel Point, Living It - Series 2, Dalziel & Pascoe, Measure for Measure (RSC), Merchant of Venice Dalziel & Pascoe, Silent Witness, Spooks, Holby (Royal Court, tour) and The Persians (National Torchwood, Nice Day For A Welsh Wedding, The (English Shakespeare Co), Audience (Bridewell), City, Rehab, Score and Care, MI High, Midsomer Theatre Wales). Television credits include: The Giblet Boys, Waking The Dead, Caerdydd, Pobol The Broken Heart (Arts Threshold). Television Murders, , Collision, Missing, Sold, Healer, Thicker than Water, Breaking Rank, Y Cwm, In Denial Of Murder, , credits include: Clocking Off, Moll Flanders Gunpowder, Treason & Plot, Hustle, Hidden Sticky Wickets, Debylon By-Passed, Fondue Fun In The Funeral Parlour, Without Motive, (Granada), Search (BBC), (Thames) and City (Hall Mark) and Burton. Richard has also Rhyw a Dinosors, A Mind to Kill, Score and City Central, Nice Girls, Dirty Work, , Heartbeat (Yorkshire Television). Film credits worked extensively in radio, for Radio 4 and Pobol y Cwm. Film credits include: Boy Soldier, Jack Of Hearts. Film credits include: Killer include: Submarine (Warp Films). Radio Wales Drama. Darklands, Watermarkes, Brauwen. Directing Elite, Green Street, A Bit of Tom Jones?, Simon credits include: I Saw Myself (Lurking Truth). Magnus, Anazapta and Shadowfalls. Radio credits include dramas and documentaries for SICINIUS JELUTUS NIA GWYNNE JUNIUS BRUTUS CHRIS JARED BBC Radio 4 and Live from Dorothy’s, a radio VOLUMNIA RHIAN MORGAN series on air in 2013. Theatre credits include: Clytemnestra, The Chris Jared trained at the Guildhall School Almond and The Seahorse (Sherman Cymru), of Music and Drama. Theatre credits include: Rhian Morgan studied Drama at UCW The Dark Philosophers (National Theatre Emperor And Galilean (National Theatre), Aberystwyth. Theatre credits include: Deep Cut Wales / Told by an Idiot), The Daughter In Marathon and Out Of The Goldfish Bowl (Wales (Sherman Cymru/Tricicle Theatre), for which Law, Dangerous Corner, Love Me Slender, Billy Theatre), Much Ado About Nothing (Regent’s she was nominated for The Stage’s award Liar, Top Girls (New Vic), Look Back In Anger Park) and Three Sisters (Royal Exchange). Film for Best Actress, Tyˆ Bernarda Alba (Theatr (Northern Stage), Lie Of The Land (Pleasance, credits include: Untitled Robin Hood (dir. Ridley Genedlaethol Cymru), The Importance of Edinburgh), Absurd Person Singular (Bolton Scott), The Drop (short), Clown Café (short) and Being Earnest (Mappa Mundi), Siwan (Theatr Octagon), Mirandolina (Manchester Royal Limbo (dir. Matt McCooey). Gwynedd), Hamlet, A Doll’s House, Miss Julie Exchange), To Kill A Mockingbird, The Invention (Theatrig), Three Sisters (Cwmni Theatr Cymru), of Love (Salisbury Playhouse), Ghost City (Sgript August (Clwyd Theatr Cymru) and Electra Cymru), Who Goes There? (BAC), Dogmouth (Dubrovnic Theatre Festival). Television credits (The Evidence Room). Television credits include: include: Gwaith Cartref (Fiction Factory), Ar y The Syndicate (ITV), Casualty, Zip and Hollow, Tracs (Tidy Productions), Eros Unleashed (ITV Eastenders (BBC), Stick or Twist (BBC Wales), Wales), Jennie Eirian (Cambrensis), Calon Gaeth Belonging (BBC Wales), The Bill (Thames) (Green Bay), and Mine All Mine (ITV). Film and Pam Fi Duw? (HTV). Film credits include: credits include: The Black Dog, August (BAFTA Resistance (Rich Films) and The Organ Grinder’s nominee). Radio credits include plays for Radio Monkey (Film 4 & Warp Films). 4 and Radio Cymru and Comedy in the Ll Files and The Royal Diamond Jubilee (Radio Wales).

CAST FIRST CITIZEN JOHN ROWLEY SECOND CITIZEN GERALD TYLER John has been working as a professional actor, Gerald Tyler trained at Dartington College theatre maker and artist for the past 20 years. of Arts. Theatre credits include: The Passion In the 1990s he was a core member of the (National Theatre Wales/WildWorks), In the Welsh site-specific performance company Brith Penal Colony (Music Theatre Wales), The Gof, involved in the creation of shows such Persians (National Theatre Wales), Big Hands #NTW21 as Pax, Haearn, DOA and Prydain. Since 2000 and Something’s Wrong with Abel (Year of the he has been touring the world with the highly Bear). He has been a core company member of acclaimed, Sheffield-based theatre company Earthfall Physical Theatre, and has performed Forced Entertainment. As a visual artist John with Brith Gof / Man Act and Scottish Dance has been commissioned to make a number Theatre. Television credits include: A Mind to of short films, including works for Kill (S4C), Nuts & Bolts (ITV Wales) and Gobble and the BBC and has received several awards (BBC/Hat Trick). Film credits include: The Gospel from the Arts Council of Wales, including the of Us, The Darkest Day, Too Old to Dream, prestigious Creative Wales Award. In 2010, he My Pipes Need Cleaning and Put It Where It performed in The Persians, directed by Mike Doesn’t Belong. Writer/director credits include: Pearson. In early 2012, John was cast as Year of the Bear, Errol White Dance, The Lovely CREATING THE nature-phobic Richard in Spirit of the Wood, Cari Munn, Gerald Tyler vs LIMBO (poetry and a First Light, BFI-funded film. He is currently music). Design credits include: At Swim Two SOUNDTRACK researching two new theatre pieces for his Boys (Earthfall), Attempts on her Life /Ceisio’i company, good cop bad cop, with his long- Bywyd Hi (Sherman Cymru). term collaborator, Richard Huw Morgan. John has recently returned from Cairo, where he performed Quizoola with Forced Entertainment. VIRGILIA BETHAN WITCOMB John’s first children’s book, The Big Book of Bugs (Hodder Books) is due to be published Bethan Witcomb trained at Royal Welsh College in early 2013. of Music & Drama. Theatre credits include: Bruised (Theatr Clwyd), 24 Hour Plays: Old Vic New Voices (Old Vic), Cost the Earth and Sing To SAXOPHONES MENENIUS AGRIPPA MATTHEW THOMAS Me (Gwent Theatre). Film credits include: Deadly JO ATKIN-REEVES — ALTO Tantrum (short). Bethan is currently filming the BEN TREACHER — ALTO Theatre credits include: Sea Plays (), second series of Stella (Tidy Productions). GREG STERLAND — A Comedy of Errors, Richard II, Titus Andronicus, NICK JORDAN — TENOR Love’s Labour’s Lost, Macbeth, The Changeling DAN SMITH — (Shakespeare at the Tobacco Factory), Bronte (Shared Experience), Lady Chatterley’s Lover BRASS (Hull Truck), PVT Wars (Finborough), and The TEDDY SMITH — TRUMPET Ruffian on the Stair (Old Red Lion). Television CORBEN LEE — TRUMPET credits include: Spooks (BBC), Afterlife (ITV) and TONY LOVELL — TROMBONE Never Never (Channel 4). He has performed in JOHN HARDY — ADDITIONAL TRUMPET many radio plays for BBC Radio 4. RECORDED IN WESTON GALLERY, RWCMD, BY ODILON MARCENARO

CREATIVE RESEARCH, RECORDING AND COMPOSITIONAL ASSISTANCE ON THE MUSICAL SOUNDTRACK:

BENJAMIN TALBOTT TRYSTAN HARDY VICTORIA ASHFIELD THOMAS WILLIAMS ODILON MARCENARO CAST 12—13 COSTUME PALETTE: SIMON BANHAM

#NTW21 PHOTOPGRAPHS 01 02 WARREN ORCHARD / NATIONAL THEATRE WALES

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01 THE CAST

02 04 MICHAEL CORBIDGE, LOWRI JENKINS AND RHIAN MORGAN THE CREATIVE TEAM WOULD LIKE TO THANK:

03 LOWRI JENKINS BRUCE WARBOYS AT THE WHITE HORSE 03 THE BRECHT ESTATE 04 MATTHEW THOMAS, CHRIS JARED AND NIA GWYNNE 05 06 IN THE PLAYTEXT FOR THIS PRODUCTION THE DIRECTORS HAVE COMBINED 05 CHRIS JARED, MICHAEL CORBIDGE SHAKESPEARE’S PLAY WITH MATERIAL FROM BRECHT’S 1950S ADAPTATION, CORIOLAN. SHAKESPEARE’S TWO CITIZENS HAVE BEEN REPLACED WITH THE AND NIA GWYNNE TWO CITIZENS FROM THE BRECHT, IN A TRANSLATION BY JOHN WILLETT. WE ARE GRATEFUL TO THE BRECHT ESTATE FOR THEIR PERMISSION AND 06 RICHARD HARRINGTON AND SUPPORT IN THIS PRODUCTION. RICHARD LYNCH

PAGE 15 07 08 07 JONNY GLYNN

08 JONNY GLYNN AND BRENDAN CHARLESON 09 09 NIA GWYNNE AND CHRIS JARED

10 GERALD TYLER

11 RHIAN MORGAN

10 11

THIS PRODUCTION IS IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY. COMMISSIONED FOR THE WORLD SHAKESPEARE FESTIVAL, WHICH IS PRODUCED BY THE ROYAL SHAKESPEARE COMPANY FOR THE LONDON 2012 FESTIVAL.

REGISTERED COMPANY NO. 6693227 CHARITY REGISTRATION NO. 127952 DESIGN BY ELFEN.CO.UK The World Shakespeare Festival is produced by the Royal Shakespeare Company and is taking place across the UK until November, as a major part of the London 2012 Festival, the biggest cultural festival the UK has ever seen

STRATFORD-UPON-AVON LONDON BIRMINGHAM EDINBURGH NEWCASTLE/GATESHEAD BRIGHTON WALES WWW.WORLDSHAKESPEAREFESTIVAL.ORG.UK #WSF2012 @WSF2012