I’m sure it will not have escaped your attention that I have just written a blog post about National Theatre Wales’s second year production programme. That blog post was very positive because I do believe that their programme is strong, blending their trademark location-driven productions with more traditional theatre. However, I do have one, rather large, issue with the programme – the large discrepancy between the number of shows staged in South Wales and North Wales.
Of the eight productions that will be staged in Wales - (ignoring therefore The Dark Philosophers stint in Edinburgh) two, The Village Social and the NoFit State production will tour, another, Branches (Working Title) will be staged in the forests of North Wales. The other five, will all be performed in South Wales. A Provincial Life at Sherman Cymru in Cardiff, The Radicalisation of Bradley Manning in Haverfordwest, Little Dogs at the Patti Pavilion in Swansea, In Water I’m Weightless at the Wales Millennium Centre in Cardiff and Coriolan/us at the Dragon Film Studios near Bridgend.
I understand that there could be a number of creative and practical or logistic reasons for this – the company is based in Cardiff, larger population centres in South Wales, critics/ reviewers who are unwilling to venture far from locations on the Paddington – Swansea train route, a larger number of creative professionals/ companies in South Wales, especially Cardiff, larger number of appropriate theatres/ venues in South Wales. Or it could just be that the majority of those who work for, and with, NTW have a better knowledge of South Wales having lived or worked there.
However this problem is not unique to NTW’s second year production programme – their first year programme included thirteen productions, of which four (For Mountain, Sand and Sea – Barmouth, The Beach – Prestatyn, The Dark Philosophers – Wrexham, The Weather Factory – Penygroes) came to North Wales, another (Outdoors – Aberystwyth) was in Mid Wales, whilst the rest (nine –The Dark Philosophers was performed in both Wrexham and Newport) were in South Wales.
I hope that this is merely a teething problem, and that as NTW develops it will not only start to explore the vast swathes of the country untouched by its latest programme, but also consider the geographical distribution of its productions whilst devising its programme. After all, it would be a pity if a large chunk of the population missed out on what NTW has to offer.
Tuesday, 14 June 2011
National Theatre Wales Y2
A couple of weeks ago National Theatre Wales unveiled their second year of productions, and although it’s not quite as ambitious as their first year programme of performing a different show every month, it is nevertheless very interesting.
The company will be staging nine productions, although two of these The Dark Philosophers tour to the Edinburgh Fringe and the NoFit State tour, are in fact revivals from the first year.
I am looking forward to seeing the reaction to NTW’s work in Edinburgh, because it has generally received very favourable reviews on both sides of Offa’s Dyke, and it will therefore be interesting to see what the Edinburgh audience make of it. But perhaps more importantly, because of the vital role played by location, and a production’s relationship with a particular community within NTW’s first year productions, it will be fascinating to see how this works outside of Wales. After all, the production will not have the same relationship with its location as it did when it was performed in Newport and in the old miners’ institute in Rhos, near Wrexham.
I am glad that NoFit State’s production will be going on tour because it was an accomplished and polished show, which will go a long way to showing people the development in “circus theatre”, and that there is a lot more to the circus than merely a marquee in a soggy field. Furthermore, as this was one of the productions with the weakest or least tangible link to its location (Milford Haven) it should travel well. I just hope that NTW and NoFit state will work on the production to strengthen the narrative, and give the show a solid emotional core.
The other seven productions are a mix of location-driven productions such as The Radicalisation of Bradley Manning by Tim Price, which will be staged in Haverfordwest, where Manning attended Tasker Milward school. This production shows a continuation of NTW’s emphasis on location and community, but also indicates a new willingness to deal with, not only the social, but also the political, this is most definitely a good thing.
Little Dogs, inspired by Dylan Thomas, produced in partnership with Frantic Assembly and staged at the Patti Pavilion in Swansea, is another location-driven production. It should be interesting seeing how NTW decide to deal with Dylan Thomas, but is refreshing to see their willingness to put their own stamp on his life and work, rather than merely satisfy themselves with a staging of Under Milk Wood.
The other location driven productions are Coriolan/us based on the works of Shakespeare and Brecht, which will be staged at Dragon Film Studios (Valleywood!) and Branches (Working Title) a new commission from Constanza Macras/ Dorkypark, which is to be performed in the forests of North Wales. Both these productions will take NTW’s work to unusual locations, and it is good to see that they have not lost their flair for seeing possibilities in the most unlikely of locations. Furthermore, both productions are part of NTW’s contribution to the London 2012 Cultural Olympiad. It is reassuring to see, that despite the London-centric outlook of the Olympics themselves, that the Cultural Olympiad has deemed it fit to stage productions in Wales, and chosen a fitting partner in NTW.
NTW’s third Cultural Olympiad production is In Water I’m Weightless by Kaite O’Reilly, the dramatist behind their triumphant production of The Persians. This work will be inspired by the lives of disabled and deaf people, bringing a wider scope to the London 2012 Cultural Olympiad. After all, the Paralympic Games rarely garner even a fraction of the attention given to the Olympic Games, and the same is true of society as a whole where the lives of disabled people are shoved to the sidelines. This will put their lives, problems, worries, hopes and successes at centre stage. Although it is to be staged at the Wales Millennium Centre, and is somewhat of a rarity in NTW’s programme, because it will not tour and is not driven by its location, it will continue their focus on various communities by giving a voice to one of the most ignored communities in the country.
A Provincial Life, based on Chekhov’s story, which will be one of the first productions staged in the newly refurbished Sherman Cymru, is another non-location driven production, which shows NTW’s development from merely location or community driven work, to regular auditorium and audience productions. However, as with Coriolan/us and Little Dogs, it shows a willingness to take inspiration from the classics, without merely slavishly re-staging old work.
The only touring show (apart from the NoFit State tour) is a Village Social by Dafydd James and Ben Lewis. This will tour village halls across Wales, and hopefully attract audiences that may otherwise either not have the opportunity or the inclination to go and see a NTW production. I can see this production occupying the same popular and populist position as A Good Night Out.
Over all, the programmes seems to strike a balance between the modern and the classic, the contemporary and the traditional – I just hope they manage to pull it off.
The company will be staging nine productions, although two of these The Dark Philosophers tour to the Edinburgh Fringe and the NoFit State tour, are in fact revivals from the first year.
I am looking forward to seeing the reaction to NTW’s work in Edinburgh, because it has generally received very favourable reviews on both sides of Offa’s Dyke, and it will therefore be interesting to see what the Edinburgh audience make of it. But perhaps more importantly, because of the vital role played by location, and a production’s relationship with a particular community within NTW’s first year productions, it will be fascinating to see how this works outside of Wales. After all, the production will not have the same relationship with its location as it did when it was performed in Newport and in the old miners’ institute in Rhos, near Wrexham.
I am glad that NoFit State’s production will be going on tour because it was an accomplished and polished show, which will go a long way to showing people the development in “circus theatre”, and that there is a lot more to the circus than merely a marquee in a soggy field. Furthermore, as this was one of the productions with the weakest or least tangible link to its location (Milford Haven) it should travel well. I just hope that NTW and NoFit state will work on the production to strengthen the narrative, and give the show a solid emotional core.
The other seven productions are a mix of location-driven productions such as The Radicalisation of Bradley Manning by Tim Price, which will be staged in Haverfordwest, where Manning attended Tasker Milward school. This production shows a continuation of NTW’s emphasis on location and community, but also indicates a new willingness to deal with, not only the social, but also the political, this is most definitely a good thing.
Little Dogs, inspired by Dylan Thomas, produced in partnership with Frantic Assembly and staged at the Patti Pavilion in Swansea, is another location-driven production. It should be interesting seeing how NTW decide to deal with Dylan Thomas, but is refreshing to see their willingness to put their own stamp on his life and work, rather than merely satisfy themselves with a staging of Under Milk Wood.
The other location driven productions are Coriolan/us based on the works of Shakespeare and Brecht, which will be staged at Dragon Film Studios (Valleywood!) and Branches (Working Title) a new commission from Constanza Macras/ Dorkypark, which is to be performed in the forests of North Wales. Both these productions will take NTW’s work to unusual locations, and it is good to see that they have not lost their flair for seeing possibilities in the most unlikely of locations. Furthermore, both productions are part of NTW’s contribution to the London 2012 Cultural Olympiad. It is reassuring to see, that despite the London-centric outlook of the Olympics themselves, that the Cultural Olympiad has deemed it fit to stage productions in Wales, and chosen a fitting partner in NTW.
NTW’s third Cultural Olympiad production is In Water I’m Weightless by Kaite O’Reilly, the dramatist behind their triumphant production of The Persians. This work will be inspired by the lives of disabled and deaf people, bringing a wider scope to the London 2012 Cultural Olympiad. After all, the Paralympic Games rarely garner even a fraction of the attention given to the Olympic Games, and the same is true of society as a whole where the lives of disabled people are shoved to the sidelines. This will put their lives, problems, worries, hopes and successes at centre stage. Although it is to be staged at the Wales Millennium Centre, and is somewhat of a rarity in NTW’s programme, because it will not tour and is not driven by its location, it will continue their focus on various communities by giving a voice to one of the most ignored communities in the country.
A Provincial Life, based on Chekhov’s story, which will be one of the first productions staged in the newly refurbished Sherman Cymru, is another non-location driven production, which shows NTW’s development from merely location or community driven work, to regular auditorium and audience productions. However, as with Coriolan/us and Little Dogs, it shows a willingness to take inspiration from the classics, without merely slavishly re-staging old work.
The only touring show (apart from the NoFit State tour) is a Village Social by Dafydd James and Ben Lewis. This will tour village halls across Wales, and hopefully attract audiences that may otherwise either not have the opportunity or the inclination to go and see a NTW production. I can see this production occupying the same popular and populist position as A Good Night Out.
Over all, the programmes seems to strike a balance between the modern and the classic, the contemporary and the traditional – I just hope they manage to pull it off.
Thursday, 26 May 2011
Afghanistan Crossroads of the Ancient World – British Museum
Once again just catching a glimpse of the artefacts on display in the Afghanistan Crossroads of the Ancient World exhibition was a challenge due to the enormous crowds. Most visitors spent the entire time craning their necks, jostling and nudging. Others had given up on seeing the exhibition in any great detail and decided to take a passing glance rather than having to squeeze and shove amongst the amassed throng.
The inability to see, let alone, savour the exhibition will undoubtedly affect the visitor’s experience and enjoyment. However, this problem is not unique to the British Museum, and is seen more and more at the big blockbuster exhibitions.
Despite having to fight to see the artefacts the exhibition was extremely interesting due to the new insight it gave into Afghanistan. This is a country that is rarely out of the headlines, but the present depiction of Afghanistan as the war-torn base of the oppressive, fundamental Taliban, is far removed from the country’s ancient history.
More than two thousand years before the existence of the Taliban, and hundreds of years before Islam came to Afghanistan, the country was a vast melting- pot of diverse influences. The most prominent of these influences were Greece and India, which came about due to Afghanistan’s prominent position on many ancient trade routes.
Afghanistan was part of the ancient Silk Road, and it was not only trade that travelled along this route but also ideas and artistic traditions. This goes a long way to explain how such a varied collection of artefacts – Roman glass, Indian ivory furniture and Chinese lacquer ware – was found in Afghanistan as well as giving an insight into the fusion of ideas, methods and traditions to be seen in much of the work on display.
This merging of ancient cultures is apparent in some of my favourite objects from the exhibition:
Woman Standing on a Makara – 1st Century AD
This beautifully detailed ivory statue is remarkable in its depiction of feminine beauty. Here is a sculpture of a woman whose clothing, jewellery, face and body show an obvious Indian influence. In fact, it would not look out of place in an exhibition on early Indian art.
Painted Beaker – 1st Century AD
This vibrant and colourful glass beaker - awash with sunshine yellows, deep blues, powerful crimsons and refreshing greens - shows a clear Roman influence not only in the figures depicted harvesting dates, and especially their clothing, but more importantly in the method of creating the beaker itself. Painted glassware was a Roman speciality during this period, and this piece proves the exchange of ideas and techniques between the Rome Empire and Afghanistan. The bright and lively images are truly extraordinary and the delicate decorations are a joy to behold.
Crown – 1st Century AD
This was the centrepiece, and masterpiece, of the exhibition. A stunning and delicate gold crown, made from thin flower- shaped, teardrop-shaped and rounded pieces of gold. This intricate piece is technically sublime, showcasing the masterful craftsmanship of the early inhabitants of Afghanistan. Furthermore the piece can be deconstructed into six pieces and transported should the need arise.
The exhibition succeeded in showing Afghanistan’s position as a trading crossroads and the influence this had on the country’s culture. However, it would have been interesting to see later artefacts and works of art from Afghanistan in order to understand the development of the country’s culture, and how tribes and peoples settling from different areas had affected and influenced that culture.
Over all, this was a very interesting exhibition that succeeded in revealing a little known chapter in Afghanistan’s history; it was just a pity that at times it was very hard to actually see the artefacts on display.
The inability to see, let alone, savour the exhibition will undoubtedly affect the visitor’s experience and enjoyment. However, this problem is not unique to the British Museum, and is seen more and more at the big blockbuster exhibitions.
Despite having to fight to see the artefacts the exhibition was extremely interesting due to the new insight it gave into Afghanistan. This is a country that is rarely out of the headlines, but the present depiction of Afghanistan as the war-torn base of the oppressive, fundamental Taliban, is far removed from the country’s ancient history.
More than two thousand years before the existence of the Taliban, and hundreds of years before Islam came to Afghanistan, the country was a vast melting- pot of diverse influences. The most prominent of these influences were Greece and India, which came about due to Afghanistan’s prominent position on many ancient trade routes.
Afghanistan was part of the ancient Silk Road, and it was not only trade that travelled along this route but also ideas and artistic traditions. This goes a long way to explain how such a varied collection of artefacts – Roman glass, Indian ivory furniture and Chinese lacquer ware – was found in Afghanistan as well as giving an insight into the fusion of ideas, methods and traditions to be seen in much of the work on display.
This merging of ancient cultures is apparent in some of my favourite objects from the exhibition:
Woman Standing on a Makara – 1st Century AD
This beautifully detailed ivory statue is remarkable in its depiction of feminine beauty. Here is a sculpture of a woman whose clothing, jewellery, face and body show an obvious Indian influence. In fact, it would not look out of place in an exhibition on early Indian art.
Painted Beaker – 1st Century AD
This vibrant and colourful glass beaker - awash with sunshine yellows, deep blues, powerful crimsons and refreshing greens - shows a clear Roman influence not only in the figures depicted harvesting dates, and especially their clothing, but more importantly in the method of creating the beaker itself. Painted glassware was a Roman speciality during this period, and this piece proves the exchange of ideas and techniques between the Rome Empire and Afghanistan. The bright and lively images are truly extraordinary and the delicate decorations are a joy to behold.
Crown – 1st Century AD
This was the centrepiece, and masterpiece, of the exhibition. A stunning and delicate gold crown, made from thin flower- shaped, teardrop-shaped and rounded pieces of gold. This intricate piece is technically sublime, showcasing the masterful craftsmanship of the early inhabitants of Afghanistan. Furthermore the piece can be deconstructed into six pieces and transported should the need arise.
The exhibition succeeded in showing Afghanistan’s position as a trading crossroads and the influence this had on the country’s culture. However, it would have been interesting to see later artefacts and works of art from Afghanistan in order to understand the development of the country’s culture, and how tribes and peoples settling from different areas had affected and influenced that culture.
Over all, this was a very interesting exhibition that succeeded in revealing a little known chapter in Afghanistan’s history; it was just a pity that at times it was very hard to actually see the artefacts on display.
Wednesday, 25 May 2011
The Cult of Beauty: V and A Museum
There was barely enough room to breathe, let alone enjoy the works displayed as part of the Cult of Beauty exhibition at the V and A Museum. On a sweltering Saturday people were squeezed into every nook and cranny of the exhibition space as everybody jostled for a glimpse of each work of art. It is always nice to see people coming in droves through the doors of any museum, but perhaps the V and A should have taken a leaf out of the National Gallery’s book and limited the number of tickets available each hour. This might have ensured that all the visitors had an opportunity to savour the exhibition rather than having to shove, nudge and elbow just to catch a glance of each work on display.
Clearly this was not the best day to try and see the Cult of Beauty exhibition, and it would have been a far more enjoyable experience on a quieter day, nevertheless, each and every piece of art on display was exceptionally beautiful. The exhibits were worth the wait when they - at last - came into view – decadent paintings, luxurious textiles, elegant ceramics, stunning furniture, wonderful patterned wallpaper and splendid posters.
There is very little point in describing all the pieces on display, but here are a few of my personal favourites:
The Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana – Frederic Leighton
This huge painting awash with vibrant colours shows an exotic scene of colourfully robed women, lions, leopards, tigers and bright flower garlands. The painting reveals the new depiction of women amongst the Aesthetic artists. It shows a new depiction of female beauty – an exotic and (at that time) unusual depiction and ideal of female beauty.
Screen – William Eden Nesfield
This is a beautiful, decadent screen with golden Japanese silk paper decorated with birds and flowers, as well as a dark wooden frame gilded with stunning intricate gold patterns. It shows the new attitude that the Aesthetics had towards other cultures, and especially the Orient. The Aesthetics were influenced and inspired by other cultures, and often this would be the first opportunity for many people to see art from other countries.
Charger – William de Morgan
This stunning charger with a flamboyant turquoise peacock is a typical symbol of aestheticism. The peacock was a motif that was often used by the artists of the aesthetic movement to symbolise decadence luxury, beauty and pride in beauty.
The Climax – Aubrey Beardsley
This monochrome illustration for Salome by Oscar Wilde shows the clear link in the aesthetic Movement between art and literature. Many of the ideas and images were shared by artists, authors and poets alike.
The diverse objects on display allowed the visitor to appreciate the diverse artists (and poets) which were part of the Aesthetic Movement as well as the varying methods, ideas and art forms within this group. However, the exhibition’s focus on the Aesthetic Movement’s central principles - the artists attempts to escape the ugliness and materialism of the age through their art as well as the ideal of Art for Art’s Sake : art that existed to be beautiful and no more – ensured that the exhibition was complete and well-rounded.
The exhibition succeeded in charting the history, influences and development of the Aesthetic Movement. This was done by organising the exhibition chronologically - not always the most exciting way to exhibit pieces of art – but in this case it was the most effective. However, the exhibition did miss a trick in not chronicling the influence of the V and A Museum itself. After all, the V and A Museum’s history is intrinsically linked to the influence of aestheticism and its very presence owes a great deal to the period when artists realised the increased importance of the decorative arts.
The Cult of Beauty not only showed the changing attitudes of artists but also the changing attitudes of the public towards art. Handmade pieces of art and furniture such as those created by William Morris and Burne-Jones were no longer the preserve of the very wealthy few because a number of the artists and designers of the Aesthetic Movement developed the mass production of stylish household goods. This brought about the idea that everybody (with reasonable means) could furnish their homes with pieces of art, and everybody could therefore enjoy Art for Art’s Sake.
This was a stunning exhibition that succeeded in bringing new life to the Aesthetic Movement; it was just a pity that it was almost impossible to fully appreciate the art on display because of the huge crowds.
Clearly this was not the best day to try and see the Cult of Beauty exhibition, and it would have been a far more enjoyable experience on a quieter day, nevertheless, each and every piece of art on display was exceptionally beautiful. The exhibits were worth the wait when they - at last - came into view – decadent paintings, luxurious textiles, elegant ceramics, stunning furniture, wonderful patterned wallpaper and splendid posters.
There is very little point in describing all the pieces on display, but here are a few of my personal favourites:
The Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana – Frederic Leighton
This huge painting awash with vibrant colours shows an exotic scene of colourfully robed women, lions, leopards, tigers and bright flower garlands. The painting reveals the new depiction of women amongst the Aesthetic artists. It shows a new depiction of female beauty – an exotic and (at that time) unusual depiction and ideal of female beauty.
Screen – William Eden Nesfield
This is a beautiful, decadent screen with golden Japanese silk paper decorated with birds and flowers, as well as a dark wooden frame gilded with stunning intricate gold patterns. It shows the new attitude that the Aesthetics had towards other cultures, and especially the Orient. The Aesthetics were influenced and inspired by other cultures, and often this would be the first opportunity for many people to see art from other countries.
Charger – William de Morgan
This stunning charger with a flamboyant turquoise peacock is a typical symbol of aestheticism. The peacock was a motif that was often used by the artists of the aesthetic movement to symbolise decadence luxury, beauty and pride in beauty.
The Climax – Aubrey Beardsley
This monochrome illustration for Salome by Oscar Wilde shows the clear link in the aesthetic Movement between art and literature. Many of the ideas and images were shared by artists, authors and poets alike.
The diverse objects on display allowed the visitor to appreciate the diverse artists (and poets) which were part of the Aesthetic Movement as well as the varying methods, ideas and art forms within this group. However, the exhibition’s focus on the Aesthetic Movement’s central principles - the artists attempts to escape the ugliness and materialism of the age through their art as well as the ideal of Art for Art’s Sake : art that existed to be beautiful and no more – ensured that the exhibition was complete and well-rounded.
The exhibition succeeded in charting the history, influences and development of the Aesthetic Movement. This was done by organising the exhibition chronologically - not always the most exciting way to exhibit pieces of art – but in this case it was the most effective. However, the exhibition did miss a trick in not chronicling the influence of the V and A Museum itself. After all, the V and A Museum’s history is intrinsically linked to the influence of aestheticism and its very presence owes a great deal to the period when artists realised the increased importance of the decorative arts.
The Cult of Beauty not only showed the changing attitudes of artists but also the changing attitudes of the public towards art. Handmade pieces of art and furniture such as those created by William Morris and Burne-Jones were no longer the preserve of the very wealthy few because a number of the artists and designers of the Aesthetic Movement developed the mass production of stylish household goods. This brought about the idea that everybody (with reasonable means) could furnish their homes with pieces of art, and everybody could therefore enjoy Art for Art’s Sake.
This was a stunning exhibition that succeeded in bringing new life to the Aesthetic Movement; it was just a pity that it was almost impossible to fully appreciate the art on display because of the huge crowds.
Thursday, 19 May 2011
Ruthin Craft Centre
I was expecting great things of Ruthin Craft Centre.
Following the completion of its renovation in 2008, the building itself had garnered a lot of media attention and was nominated for the RIBA Stirling Prize for architecture. Therefore, I was looking forward to seeing the building that looked so interesting in the press photographs as well as finding out what one of the few galleries dedicated specifically and solely to the applied arts had to offer.
On both counts I was sorely disappointed.
Although the space created by the shape of the building, a large empty rectangle surrounded on three sides by the gallery, could have been used very effectively and could have increased the space available – it was not used to its full potential and neither was the building itself.
The three galleries flowed from one to the other, giving a feeling of continuity and completeness – but all three were relatively small. And in actual fact, gallery two and three were actually very small. Any substantial exhibition would require the use of all three galleries.
This meant that all three exhibitions felt like shoddy snapshots of the artists’ work, rather than well-prepared, well-presented displays. Furthermore, even though the spaces were designed specifically to exhibit the applied arts, it was no different to an “ordinary” art gallery. There were no glass cases to ensure that the visitor could see the garments or pieces of ceramic displayed rather than merely the front.
The shop had a large and varied selection of unusual books and magazines on the applied arts, which would be useful for students, practitioners and anyone else with a particular interest in this field of the arts. However the products (jewellery, ceramics, textiles) on sale in the shop were aimed at the higher end of the market as were the offerings (and prices) in the cafe. There is nothing wrong with this in itself, but any shop/ cafe must take its location into account when setting its prices, and I think that the Ruthin Craft Centre might have failed to do so.
There were a number of artist’s studios on site, which gave the visitor the opportunity to see a variety of different crafts. However, it was a pity that the vast majority of the site was used for these studios to the detriment of the space available for the galleries.
Overall, having a centre for the applied arts in North Wales is undoubtedly a good thing, however if the space provided by Ruthin Craft Centre and been used to its full potential, the visitor’s experience would be greatly improved.
Following the completion of its renovation in 2008, the building itself had garnered a lot of media attention and was nominated for the RIBA Stirling Prize for architecture. Therefore, I was looking forward to seeing the building that looked so interesting in the press photographs as well as finding out what one of the few galleries dedicated specifically and solely to the applied arts had to offer.
On both counts I was sorely disappointed.
Although the space created by the shape of the building, a large empty rectangle surrounded on three sides by the gallery, could have been used very effectively and could have increased the space available – it was not used to its full potential and neither was the building itself.
The three galleries flowed from one to the other, giving a feeling of continuity and completeness – but all three were relatively small. And in actual fact, gallery two and three were actually very small. Any substantial exhibition would require the use of all three galleries.
This meant that all three exhibitions felt like shoddy snapshots of the artists’ work, rather than well-prepared, well-presented displays. Furthermore, even though the spaces were designed specifically to exhibit the applied arts, it was no different to an “ordinary” art gallery. There were no glass cases to ensure that the visitor could see the garments or pieces of ceramic displayed rather than merely the front.
The shop had a large and varied selection of unusual books and magazines on the applied arts, which would be useful for students, practitioners and anyone else with a particular interest in this field of the arts. However the products (jewellery, ceramics, textiles) on sale in the shop were aimed at the higher end of the market as were the offerings (and prices) in the cafe. There is nothing wrong with this in itself, but any shop/ cafe must take its location into account when setting its prices, and I think that the Ruthin Craft Centre might have failed to do so.
There were a number of artist’s studios on site, which gave the visitor the opportunity to see a variety of different crafts. However, it was a pity that the vast majority of the site was used for these studios to the detriment of the space available for the galleries.
Overall, having a centre for the applied arts in North Wales is undoubtedly a good thing, however if the space provided by Ruthin Craft Centre and been used to its full potential, the visitor’s experience would be greatly improved.
Wednesday, 18 May 2011
Sasha Kagan – My Life in Textiles : Ruthin Craft Centre
This retrospective, looking back over 40 years of knitwear design by Sasha Kagan, was disappointing. The exhibition failed because there was very little to see – less than a dozen actual garments and a handful of pattern samples.
The pieces displayed were beautiful – with rich colours and attractive and innovative patterns – but there is no way that such a small exhibition could be a retrospective for such a prolific knitwear designer. Furthermore, not only were there very few actual items to see, but those displayed didn’t fit together to create a coherent exhibition. It felt as if Kagan had opened her wardrobe or store cupboard and chosen a few random items.
As such the exhibition was organised according to the themes of the patterns on the knitwear – geometric, leaves, florals, abstract. Although it was interesting to see how the designs within each theme had changed and evolved over time - this was a missed opportunity. If the exhibition had been organised chronologically, it would have shown far more effectively the development of Kagan’s work. We could have seen the changes and developments in her ideas, designs and garments, which would have given a more rounded and complete picture of both Kagan’s work and of Kagan herself as a knitwear designer.
All the items exhibited were either finished garments or sample squares of a particular design – it could have been interesting and enlightening to see the complete design process, rather than merely the finished product. Kagan could have displayed the inspiration and ideas, sketches, samples and then the final garment, for one of her designs. This would have given the viewer a real insight in to how Kagan works – what inspires her, how the patterns evolve and ultimately how a design develops from the original idea into the finished product.
The lack of insight into Kagan’s work and the lack of any new or previously unseen work means that a visitor to this exhibition would have been better off staying at home and flicking through the Sasha Kagan book on the shelf.
The pieces displayed were beautiful – with rich colours and attractive and innovative patterns – but there is no way that such a small exhibition could be a retrospective for such a prolific knitwear designer. Furthermore, not only were there very few actual items to see, but those displayed didn’t fit together to create a coherent exhibition. It felt as if Kagan had opened her wardrobe or store cupboard and chosen a few random items.
As such the exhibition was organised according to the themes of the patterns on the knitwear – geometric, leaves, florals, abstract. Although it was interesting to see how the designs within each theme had changed and evolved over time - this was a missed opportunity. If the exhibition had been organised chronologically, it would have shown far more effectively the development of Kagan’s work. We could have seen the changes and developments in her ideas, designs and garments, which would have given a more rounded and complete picture of both Kagan’s work and of Kagan herself as a knitwear designer.
All the items exhibited were either finished garments or sample squares of a particular design – it could have been interesting and enlightening to see the complete design process, rather than merely the finished product. Kagan could have displayed the inspiration and ideas, sketches, samples and then the final garment, for one of her designs. This would have given the viewer a real insight in to how Kagan works – what inspires her, how the patterns evolve and ultimately how a design develops from the original idea into the finished product.
The lack of insight into Kagan’s work and the lack of any new or previously unseen work means that a visitor to this exhibition would have been better off staying at home and flicking through the Sasha Kagan book on the shelf.
Monday, 16 May 2011
The Case of the Disappearing Artist
At the opening of two exhibitions – Circle of Animals/Zodiac Heads at Somerset House and Ai Weiwei at the Lissen Gallery – there was one man missing. Ai Weiwei.
The artist has not been seen, save for a short visit granted to his wife in an undisclosed location on Sunday night, since he was detained at Beijing airport by the Chinese authorities on April 3rd.
His wife’s visit proved that he was in good health, but the most pressing questions surrounding his incarceration are yet to be answered. Why has he been arrested? Has he actually been arrested? What are the charges against him? And most importantly of all – when will he be freed?
Artists have rightly been up in arms about his arrest – Anish Kapoor dedicated a new installation unveiled at the Grand Palais in Paris to Ai Weiwei and described his detention as “barbaric”. But what can be done to bring more attention to Weiwei’s plight? What can be done to put pressure on the Chinese authorities? After all, if they can detain one of the country’s foremost artist’s with impunity, will the words of a few artists have them quaking in their boots?
Is it not now time for the politicians to step forward and condemn the detention of Ai Weiwei?
The Foreign Secretary, William Hague, released a statement on April 4th:
“I call on the Chinese government to urgently clarify Ai’s situation and wellbeing and hope he will be released immediately.”
But he has kept silence since then.
It will take more than a statement from the Foreign Secretary to put pressure on the Chinese authorities, public condemnation by Prime Ministers and Presidents would be a step in the right direction. And perhaps it is time for governments to re-think their relationships with China.
For too long governments have been willing to take a softly softly approach to China’s human rights abuses, believing that favourable trade relations are more important than basic rights.
If China can get away with detaining such a high profile public figure without fearing the consequences, God knows what it does to ordinary citizens.
The artist has not been seen, save for a short visit granted to his wife in an undisclosed location on Sunday night, since he was detained at Beijing airport by the Chinese authorities on April 3rd.
His wife’s visit proved that he was in good health, but the most pressing questions surrounding his incarceration are yet to be answered. Why has he been arrested? Has he actually been arrested? What are the charges against him? And most importantly of all – when will he be freed?
Artists have rightly been up in arms about his arrest – Anish Kapoor dedicated a new installation unveiled at the Grand Palais in Paris to Ai Weiwei and described his detention as “barbaric”. But what can be done to bring more attention to Weiwei’s plight? What can be done to put pressure on the Chinese authorities? After all, if they can detain one of the country’s foremost artist’s with impunity, will the words of a few artists have them quaking in their boots?
Is it not now time for the politicians to step forward and condemn the detention of Ai Weiwei?
The Foreign Secretary, William Hague, released a statement on April 4th:
“I call on the Chinese government to urgently clarify Ai’s situation and wellbeing and hope he will be released immediately.”
But he has kept silence since then.
It will take more than a statement from the Foreign Secretary to put pressure on the Chinese authorities, public condemnation by Prime Ministers and Presidents would be a step in the right direction. And perhaps it is time for governments to re-think their relationships with China.
For too long governments have been willing to take a softly softly approach to China’s human rights abuses, believing that favourable trade relations are more important than basic rights.
If China can get away with detaining such a high profile public figure without fearing the consequences, God knows what it does to ordinary citizens.
Sunday, 15 May 2011
Where have all the original musicals gone?
Shrek the Musical has recently opened in the West End, the latest in a long line of musicals (on both sides of the Atlantic) – The Wizard of Oz, Spiderman, Legally Blonde – adapted from the screen to the stage. Even Cameron Mackintosh’s first new show in a decade, Betty Blue Eyes, is a musical adaption of A Private Function, a 1984 film written by Alan Bennett.
Why are there so few new, original musicals in the West End? What does this tell us about British theatre, and especially British musical theatre today?
It would be very easy to lay a substantial amount of the responsibility for the tide of adapted musicals in the West End at the feet of one man – Andrew Lloyd Webber. After all, his series of talent shows on the BBC have all been for adapted musicals or revivals – The Sound of Music, Joseph, Oliver and The Wizard of Oz. These shows have undoubtedly brought more people to the West End, but how many will have returned to see other productions as well as those championed on the BBC?
A golden opportunity was misssed to use a primetime television slot to celebrate and promote new original musical theatre productions. It is hard enough as it is to try and attract an audience to a new, relatively unknown show when competing with long-running, ever popular shows. Why not use the television talent show to redress the balance a little, and showcase a new production? This would at least give a few new shows a fighting chance of success.
But perhaps this criticism is misplaced – after all has the West End ever been the home of new, innovative musicals?
Or does it rather just snap up productions that have been popular or critically acclaimed elsewhere?
Some of the most popular, and long-running musicals in the West End began life elsewhere – Les Miserables, the longest running musical in London, if not the world, opened at the Barbican before transferring to the West End.
But it is worth remembering that Les Miserables, The Phantom of the Opera and Cats, some of the most popular musicals ever, are all based on novels/ books. Perhaps there has never been a “golden age” of original British musical theatre.
Perhaps the only difference between the shows opening today and those earlier productions is that producers are increasingly taking their inspiration from films rather than books when trying to find the next blockbuster.
Why are there so few new, original musicals in the West End? What does this tell us about British theatre, and especially British musical theatre today?
It would be very easy to lay a substantial amount of the responsibility for the tide of adapted musicals in the West End at the feet of one man – Andrew Lloyd Webber. After all, his series of talent shows on the BBC have all been for adapted musicals or revivals – The Sound of Music, Joseph, Oliver and The Wizard of Oz. These shows have undoubtedly brought more people to the West End, but how many will have returned to see other productions as well as those championed on the BBC?
A golden opportunity was misssed to use a primetime television slot to celebrate and promote new original musical theatre productions. It is hard enough as it is to try and attract an audience to a new, relatively unknown show when competing with long-running, ever popular shows. Why not use the television talent show to redress the balance a little, and showcase a new production? This would at least give a few new shows a fighting chance of success.
But perhaps this criticism is misplaced – after all has the West End ever been the home of new, innovative musicals?
Or does it rather just snap up productions that have been popular or critically acclaimed elsewhere?
Some of the most popular, and long-running musicals in the West End began life elsewhere – Les Miserables, the longest running musical in London, if not the world, opened at the Barbican before transferring to the West End.
But it is worth remembering that Les Miserables, The Phantom of the Opera and Cats, some of the most popular musicals ever, are all based on novels/ books. Perhaps there has never been a “golden age” of original British musical theatre.
Perhaps the only difference between the shows opening today and those earlier productions is that producers are increasingly taking their inspiration from films rather than books when trying to find the next blockbuster.
Thursday, 5 May 2011
What next for National Theatre Wales?
National Theatre Wales’s first year programme came to an end with their triumphant production of The Passion in Port Talbot, and what a way to end their first year. The Passion received great reviews, was watched by an audience of thousands on the streets of Port Talbot, and rejuvenated the town over the Easter weekend. Without a doubt this was the highlight of their first year programme, and garnered as much media attention as all the other productions combined.
However, this first year was a huge collage or collection of journeys around Wales, its varied landscape, locations and communities. Each piece of this zig-zagging journey was just as important as the other. Each location brought a fresh outlook not only to its particular production, but more importantly to the role of the theatre – what it can and should do.
Nowhere was this more apparent than in my favourite production – For Mountain, Sand and Sea in Barmouth. Similar to The Passion, but on a far smaller scale, this production used the whole town – its streets, shore and shops- as a stage. It gave the audience a fresh perspective on the town, and shared the memories and secrets of its residents. This Barmouth was not filled with tourists, tacky souvenirs shops and blaring amusement arcades, but was rather the location for the first piece of land bequeathed to the National Trust, the dramatic death of a circus elephant and the home of the tailor who dressed Mick Jagger and The Beatles. And it says something about the emotional effect of the production, that I remember all those little snippets of information, all those shared secrets, almost a year after seeing the production.
National Theatre Wales have stretched the definition of “theatre”, and perhaps more importantly the “theatre in Wales”, and this has undoubtedly opened many people’s (including my own) eyes to its endless possibilities. No longer is drama the preserve of dusty auditoriums and middle-class, middle-aged theatregoers. NTW have proven beyond a shadow of a doubt that theatre is relevant to everyone, and belongs to everyone. This has been achieved by bringing the theatre to the people. This may sound like a trite cliché, but it is true. The company has gone into communities and worked with the residents to create its productions.
This co-operation between the company and residents seems to have been equally meaningful and rewarding to both parties, rather than a theatre company parachuting into a community, bringing with it its own ideas, agenda and grand plan for the production. NTW seems to have been genuinely interested in the opinions, ideas and stories of ordinary people in the communities it has visited. This is apparent from many of its productions (For Mountain Sand and Sea, The Beach, The Passion) where the problems and issues facing local people as well as their memories and anecdotes have been weaved into the show.
My favourite NTW productions have all depended heavily on allowing the audience to share the experiences of local people, as well as retaining a strong link to its location, and a relevance to its community.
Having emphasised the importance of both location and community in its first year, will NTW continue to create location-driven productions in its second year, will it decide to create productions it can tour throughout Wales or a combination of both? We will soon find out as its next programme is unveiled at the end of the month. I for one cannot wait.
However, this first year was a huge collage or collection of journeys around Wales, its varied landscape, locations and communities. Each piece of this zig-zagging journey was just as important as the other. Each location brought a fresh outlook not only to its particular production, but more importantly to the role of the theatre – what it can and should do.
Nowhere was this more apparent than in my favourite production – For Mountain, Sand and Sea in Barmouth. Similar to The Passion, but on a far smaller scale, this production used the whole town – its streets, shore and shops- as a stage. It gave the audience a fresh perspective on the town, and shared the memories and secrets of its residents. This Barmouth was not filled with tourists, tacky souvenirs shops and blaring amusement arcades, but was rather the location for the first piece of land bequeathed to the National Trust, the dramatic death of a circus elephant and the home of the tailor who dressed Mick Jagger and The Beatles. And it says something about the emotional effect of the production, that I remember all those little snippets of information, all those shared secrets, almost a year after seeing the production.
National Theatre Wales have stretched the definition of “theatre”, and perhaps more importantly the “theatre in Wales”, and this has undoubtedly opened many people’s (including my own) eyes to its endless possibilities. No longer is drama the preserve of dusty auditoriums and middle-class, middle-aged theatregoers. NTW have proven beyond a shadow of a doubt that theatre is relevant to everyone, and belongs to everyone. This has been achieved by bringing the theatre to the people. This may sound like a trite cliché, but it is true. The company has gone into communities and worked with the residents to create its productions.
This co-operation between the company and residents seems to have been equally meaningful and rewarding to both parties, rather than a theatre company parachuting into a community, bringing with it its own ideas, agenda and grand plan for the production. NTW seems to have been genuinely interested in the opinions, ideas and stories of ordinary people in the communities it has visited. This is apparent from many of its productions (For Mountain Sand and Sea, The Beach, The Passion) where the problems and issues facing local people as well as their memories and anecdotes have been weaved into the show.
My favourite NTW productions have all depended heavily on allowing the audience to share the experiences of local people, as well as retaining a strong link to its location, and a relevance to its community.
Having emphasised the importance of both location and community in its first year, will NTW continue to create location-driven productions in its second year, will it decide to create productions it can tour throughout Wales or a combination of both? We will soon find out as its next programme is unveiled at the end of the month. I for one cannot wait.
The Passion : Port Talbot
The Passion : Port Talbot
****
The Passion, the largest, longest and last of National Theatre Wales’s location-driven first year productions, was a 72 hour performance in the streets of Port Talbot. Created in conjunction with Wildworks, and both starring, and co-directed by Port Talbot’s prodigal son, Michael Sheen, the production resurrects the traditional Easter Passion play and places the town and its residents at the very heart of the story.
From the moment I walked into Aberafan shopping centre at Saturday lunchtime, it was apparent that the production, starring 15 professional actors and over a thousand local people, had spectacularly transformed the town. People talked about the previous day’s action and deliberated if Sheen really had slept on the hill overlooking the town the previous evening. Parents chatted about their child’s part in the production and waited impatiently for the next episode. Without a doubt there was a real buzz and a tangible sense of excitement amongst the people of Port Talbot.
The press release and publicity championed Michael Sheen’s involvement – but this was their production. From the local brass band, male voice choirs, school children, dance groups and gymnastic troops, local bands and singers, this was a showcase and a celebration of the town’s talent. More than that, it was an opportunity to tell their story, share their memories of the town, their hopes for its future, and breathe new life into the community.
This was truly immersive theatre. The “Resistance” scene at the shopping centre succeeded in creating the stifling, oppressive environment of a police state. Armed soldiers in black patrolled the precinct, whilst uniformed police supervised and scrutinised the shoppers. The sensational shouting protestors snaking through the crowd encouraged us to join in their chants – people were cheering, clapping their hands and stamping their feet. As a wonderful community choir appeared from amongst the crowd audience members pointed out friends, neighbours and work colleagues within its ranks.
The highlight of the scene was the brief, but striking, appearance of Michael Sheen as The Teacher, a Christ-like figure, dressed in a grey hoodie and striped jogging bottoms. This might have been a far cry from the conventional portrayal of Christ preaching the gospel and spreading God’s word, but his fleeting appearance had an extraordinary effect on the crowd. Heads craned to catch a glimpse, fingers pointed, mothers whispered to their children about their family connection to Sheen.
This celebration of the lives of ordinary people, and the ability of an ordinary town to answer its critics and surpass expectations was apparent throughout the exceptional production, and nowhere more so than during the “Return”. This was a haunting scene in Llewellyn Street, a community torn apart during the building of the M4 motorway, which continues to cast a long shadow over the area.
A lone local man, Alfie (Darren Lawrence), shares his melancholy memories of this once bustling and busy community- the children playing in the street, the beautiful lonely wife singing whilst waiting for her husband to return from the sea and the boy who played the same song over and over again on his record player. This changed an ordinary street into the scene of an extraordinary emotive performance as a man tried his utmost to hold on to his past by sharing his most personal memories. Larwence’s performance as the erratic, eccentric Alfie was touching, and brought a painful poignancy to the production.
Alfie’s story, tucked away in a tiny side street was compelling and moving. The shadows of the past were beautifully portrayed by the appearance of the white spectral figures of the long-dead residents of Llewellyn Street. The presence of these ghosts was overwhelming as they sang a stirring ode to their former home. The song echoed from the concrete pillars of the motorway above, as the crowd stood still, silent and solemn.
The production was a triumph, marrying Hollywood and Port Talbot to create extraordinary and lasting images. I will remember the sight of John the Baptist eating an ice cream in Aberafan shopping centre whilst sweltering in his furs and animal skins for a very long time.
****
The Passion, the largest, longest and last of National Theatre Wales’s location-driven first year productions, was a 72 hour performance in the streets of Port Talbot. Created in conjunction with Wildworks, and both starring, and co-directed by Port Talbot’s prodigal son, Michael Sheen, the production resurrects the traditional Easter Passion play and places the town and its residents at the very heart of the story.
From the moment I walked into Aberafan shopping centre at Saturday lunchtime, it was apparent that the production, starring 15 professional actors and over a thousand local people, had spectacularly transformed the town. People talked about the previous day’s action and deliberated if Sheen really had slept on the hill overlooking the town the previous evening. Parents chatted about their child’s part in the production and waited impatiently for the next episode. Without a doubt there was a real buzz and a tangible sense of excitement amongst the people of Port Talbot.
The press release and publicity championed Michael Sheen’s involvement – but this was their production. From the local brass band, male voice choirs, school children, dance groups and gymnastic troops, local bands and singers, this was a showcase and a celebration of the town’s talent. More than that, it was an opportunity to tell their story, share their memories of the town, their hopes for its future, and breathe new life into the community.
This was truly immersive theatre. The “Resistance” scene at the shopping centre succeeded in creating the stifling, oppressive environment of a police state. Armed soldiers in black patrolled the precinct, whilst uniformed police supervised and scrutinised the shoppers. The sensational shouting protestors snaking through the crowd encouraged us to join in their chants – people were cheering, clapping their hands and stamping their feet. As a wonderful community choir appeared from amongst the crowd audience members pointed out friends, neighbours and work colleagues within its ranks.
The highlight of the scene was the brief, but striking, appearance of Michael Sheen as The Teacher, a Christ-like figure, dressed in a grey hoodie and striped jogging bottoms. This might have been a far cry from the conventional portrayal of Christ preaching the gospel and spreading God’s word, but his fleeting appearance had an extraordinary effect on the crowd. Heads craned to catch a glimpse, fingers pointed, mothers whispered to their children about their family connection to Sheen.
This celebration of the lives of ordinary people, and the ability of an ordinary town to answer its critics and surpass expectations was apparent throughout the exceptional production, and nowhere more so than during the “Return”. This was a haunting scene in Llewellyn Street, a community torn apart during the building of the M4 motorway, which continues to cast a long shadow over the area.
A lone local man, Alfie (Darren Lawrence), shares his melancholy memories of this once bustling and busy community- the children playing in the street, the beautiful lonely wife singing whilst waiting for her husband to return from the sea and the boy who played the same song over and over again on his record player. This changed an ordinary street into the scene of an extraordinary emotive performance as a man tried his utmost to hold on to his past by sharing his most personal memories. Larwence’s performance as the erratic, eccentric Alfie was touching, and brought a painful poignancy to the production.
Alfie’s story, tucked away in a tiny side street was compelling and moving. The shadows of the past were beautifully portrayed by the appearance of the white spectral figures of the long-dead residents of Llewellyn Street. The presence of these ghosts was overwhelming as they sang a stirring ode to their former home. The song echoed from the concrete pillars of the motorway above, as the crowd stood still, silent and solemn.
The production was a triumph, marrying Hollywood and Port Talbot to create extraordinary and lasting images. I will remember the sight of John the Baptist eating an ice cream in Aberafan shopping centre whilst sweltering in his furs and animal skins for a very long time.
Monday, 18 April 2011
Frankenstein : National Theatre
Frankenstein : National Theatre
****
The National Theatre’s Frankenstein, directed by Danny Boyle, is a stunning spectacle from start to finish.
From the moment the “creature” erupts onto the stage the shows is superb in each and every aspect. A huge light installation on the ceiling is used to great affect, both to change the mood on stage and to convey the electricity that brings the creature to life. This light is almost blinding in its brilliance, and reflects the genius and the danger of Frankenstein’s science.
A train crashes onto the stage, and the screaming and shouting masked people onboard attack the “creature” as sparks fly from underneath the wheels.This portrayal of the coming industrial age, with its noise, destruction, violence and chaos is in stark contrast to the way in which nature is portrayed.
As the “creature” develops an understanding of the natural world, he finds joy in the changing seasons; the rain, snow, sun, fire, and the new life which blossoms in the spring. Even though his existence goes against all the rules of nature, it is amongst the natural world that he is safest. And although he was created by the hand of a man, it is mankind that is disgusted by him, and mankind that wishes to destroy him.
This production reinforces the idea of the “creature” as a tabula rasa or a blank slate which is shaped and influenced by his experiences of society. Society shows him only violence, hate and loathing, and he therefore learns to hate, hurt and loathe. But more than merely recreating Mary Shelley’s “creature”, this production brings a real humanity to the character and challenges our assumptions about the “creature”. This is due in no small part to Benedict Cumberbatch’s outstanding performance as the “creature”.
Cumberbatch brings an emotional depth to the character, this is not the “creature” seen in horror films with a bolt between his ears, but a real human being. An artificial human being, but a human being nontheless. A “creature” that feels pain, love, jealousy, anger, hate and kindness.
The “creature” is put at the very heart of this production, this is the creature’s story, not Frankenstein’s. This gives Cumberbatch the opportunity to truly devleop the “creature’s character and mannerisms, and allows the audience to understand him as a character of flesh and blood, rather than merely a horror charicature.
The story of Frankenstein’s “creature” is as relevant now as it has ever been because fundamentally it is a tale of humanity and morality. It portrays society’s inability to deal with diversity and difference, the continual fear of the “other”, and man’s duty to his fellow man. Or more precisely Frankenstein’s duty and responsibility as creator of the “creature”. Frankenstein is ultimately responsible for the “creature”. The “creature’s crimes are also Frankenstein’s crimes.
This is the matter that gives the production its meaning – the indestructable ties between Frankenstein and the “creature”. The “creature” hates Frankenstein, but is also completely dependent on him, and ultimately loves him. Whilst Frankenstein’s revulsion towards his creation cannot hide his pride and vanity.
Frankenstein, is without doubt, a truly amazing production.
****
The National Theatre’s Frankenstein, directed by Danny Boyle, is a stunning spectacle from start to finish.
From the moment the “creature” erupts onto the stage the shows is superb in each and every aspect. A huge light installation on the ceiling is used to great affect, both to change the mood on stage and to convey the electricity that brings the creature to life. This light is almost blinding in its brilliance, and reflects the genius and the danger of Frankenstein’s science.
A train crashes onto the stage, and the screaming and shouting masked people onboard attack the “creature” as sparks fly from underneath the wheels.This portrayal of the coming industrial age, with its noise, destruction, violence and chaos is in stark contrast to the way in which nature is portrayed.
As the “creature” develops an understanding of the natural world, he finds joy in the changing seasons; the rain, snow, sun, fire, and the new life which blossoms in the spring. Even though his existence goes against all the rules of nature, it is amongst the natural world that he is safest. And although he was created by the hand of a man, it is mankind that is disgusted by him, and mankind that wishes to destroy him.
This production reinforces the idea of the “creature” as a tabula rasa or a blank slate which is shaped and influenced by his experiences of society. Society shows him only violence, hate and loathing, and he therefore learns to hate, hurt and loathe. But more than merely recreating Mary Shelley’s “creature”, this production brings a real humanity to the character and challenges our assumptions about the “creature”. This is due in no small part to Benedict Cumberbatch’s outstanding performance as the “creature”.
Cumberbatch brings an emotional depth to the character, this is not the “creature” seen in horror films with a bolt between his ears, but a real human being. An artificial human being, but a human being nontheless. A “creature” that feels pain, love, jealousy, anger, hate and kindness.
The “creature” is put at the very heart of this production, this is the creature’s story, not Frankenstein’s. This gives Cumberbatch the opportunity to truly devleop the “creature’s character and mannerisms, and allows the audience to understand him as a character of flesh and blood, rather than merely a horror charicature.
The story of Frankenstein’s “creature” is as relevant now as it has ever been because fundamentally it is a tale of humanity and morality. It portrays society’s inability to deal with diversity and difference, the continual fear of the “other”, and man’s duty to his fellow man. Or more precisely Frankenstein’s duty and responsibility as creator of the “creature”. Frankenstein is ultimately responsible for the “creature”. The “creature’s crimes are also Frankenstein’s crimes.
This is the matter that gives the production its meaning – the indestructable ties between Frankenstein and the “creature”. The “creature” hates Frankenstein, but is also completely dependent on him, and ultimately loves him. Whilst Frankenstein’s revulsion towards his creation cannot hide his pride and vanity.
Frankenstein, is without doubt, a truly amazing production.
Wednesday, 13 April 2011
Outdoors: Aberystwyth
Outdoors: Aberystwyth
**
Outdoors, a journey through the narrow moonlit streets of Aberystwyth, created by National Theatre Wales and the alternative German theatre company Rimini Protokoll, sends its tiny audience of twelve tramping the cobbles and paving stones of the town with no more than an IPod screen and a pair of earphones.
The experience -it cannot in all honesty be called a “performance”- asks its audience to follow the paths of various members of Aberystwyth’s Heartsong Choir around the town. This should allow us to engage with the choir members: their personalities, lives and stories. However, due to the fact that each audience member is sent on a solo journey with no more than the technological wizardry for company, it is an isolating, lonely experience. The audience only fleetingly interact with each other, and the choir members are seen in the flesh only at the very end of Outdoors.
T
his production could have been an opportunity to guide a visitor through the nooks and crannies of Aberystwyth and reveal those hidden stories that are ignored in the tourist information brochures. However, far from succeeding in opening our eyes to a different Aberystwyth to that seen on postcards and pamphlets, Outdoors merely repeats the tired old clichés of the prom, the pier and the pubs. In fact, the experience could have been a journey around any medium-sized seaside town in Britain.
The audience was given very little insight into the real Aberystwyth: its history, its residents and its everyday goings-on. In fact the journey was no more than an aimless walk along the same handful of streets, looking at the same buildings over and over again. The on-screen instructions of various choir members took the audience to the promenade on the town’s magnificent seafront, but made very ineffective use of this commanding location. At times I was left staring out over the dark, rough, menacing sea, for minutes on end. These pointless pit-stops in the journey were not merely to be had at the prom, but throughout the production. Outside the majestic old college I was left staring blankly at a close up screen-shot of a red sign for what felt like an eternity and lost interest outside the Tourist Information Centre as I was forced to stare at yet another blank red screen.
Outdoors failed to bring the choir members to life even though the audience were following their every move around the town. This was due not only to the barrier created by the use of the iPod which seemed artificial and unnatural, but also to the way in which they chose to present themselves and their lives in Aberystwyth. The choir members discussed their employment, education, the techniques used by the choir to learn new material and their position within the choir, but very few were willing to give a deeper insight into their lives. The audience learnt nothing of their hopes, ambitions, fears and disappointments- those things that make us who we are.
The traipse finally came to an end at the choir’s rehearsal. This could, at last, have allowed for some meaningful interaction between the audience and the choir members, but this failed to materialise as the audience was instructed to sit silently listening to the choir finishing its last few songs. This felt as if we were uninvited guests disrupting the choir’s rehearsal, rather than giving the audience an opportunity to engage with the members.
The great failure of Outdoors was its lack of depth and its willingness to sweep superficially along the surface of both Aberystwyth and the lives of the choir members. For this reason, at the end of the journey the feeling was one of deflation and disappointment.
**
Outdoors, a journey through the narrow moonlit streets of Aberystwyth, created by National Theatre Wales and the alternative German theatre company Rimini Protokoll, sends its tiny audience of twelve tramping the cobbles and paving stones of the town with no more than an IPod screen and a pair of earphones.
The experience -it cannot in all honesty be called a “performance”- asks its audience to follow the paths of various members of Aberystwyth’s Heartsong Choir around the town. This should allow us to engage with the choir members: their personalities, lives and stories. However, due to the fact that each audience member is sent on a solo journey with no more than the technological wizardry for company, it is an isolating, lonely experience. The audience only fleetingly interact with each other, and the choir members are seen in the flesh only at the very end of Outdoors.
T
his production could have been an opportunity to guide a visitor through the nooks and crannies of Aberystwyth and reveal those hidden stories that are ignored in the tourist information brochures. However, far from succeeding in opening our eyes to a different Aberystwyth to that seen on postcards and pamphlets, Outdoors merely repeats the tired old clichés of the prom, the pier and the pubs. In fact, the experience could have been a journey around any medium-sized seaside town in Britain.
The audience was given very little insight into the real Aberystwyth: its history, its residents and its everyday goings-on. In fact the journey was no more than an aimless walk along the same handful of streets, looking at the same buildings over and over again. The on-screen instructions of various choir members took the audience to the promenade on the town’s magnificent seafront, but made very ineffective use of this commanding location. At times I was left staring out over the dark, rough, menacing sea, for minutes on end. These pointless pit-stops in the journey were not merely to be had at the prom, but throughout the production. Outside the majestic old college I was left staring blankly at a close up screen-shot of a red sign for what felt like an eternity and lost interest outside the Tourist Information Centre as I was forced to stare at yet another blank red screen.
Outdoors failed to bring the choir members to life even though the audience were following their every move around the town. This was due not only to the barrier created by the use of the iPod which seemed artificial and unnatural, but also to the way in which they chose to present themselves and their lives in Aberystwyth. The choir members discussed their employment, education, the techniques used by the choir to learn new material and their position within the choir, but very few were willing to give a deeper insight into their lives. The audience learnt nothing of their hopes, ambitions, fears and disappointments- those things that make us who we are.
The traipse finally came to an end at the choir’s rehearsal. This could, at last, have allowed for some meaningful interaction between the audience and the choir members, but this failed to materialise as the audience was instructed to sit silently listening to the choir finishing its last few songs. This felt as if we were uninvited guests disrupting the choir’s rehearsal, rather than giving the audience an opportunity to engage with the members.
The great failure of Outdoors was its lack of depth and its willingness to sweep superficially along the surface of both Aberystwyth and the lives of the choir members. For this reason, at the end of the journey the feeling was one of deflation and disappointment.
Mundo Paralelo : Milford Haven
Mundo Paralelo : Milford Haven
***
National Theatre Wales’s latest production, Mundo Paralelo, is a ground-breaking collaboration with NoFitState circus company. This ambitious show sees the hectic high-wire acrobatics and the mind-bending magic of the circus transported from the high top to the auditorium.
Juggling, tigh rope walking, trapeze artists and magicians are no longer the preserve of sticky fingered, candy floss eating children in seaside resorts, but a mainstay of a constantly developing and evolving art-form. But can contemporary circus succeed in portraying real, well-rounded characters rather than mere caricatures? Does it have the emotional intensity to develop a narrative? Or is it merely a dazzling distraction with no real depth?
The production is visually stunning from start to end. As the curtain rises masked black figures on the stage and figures descending from the ceiling above the audience with fibre-optic lights covering their faces show a clear intent to move away from the cute and comfortable world of the traditional circus.
This is followed by further superb spectacles which stretch the stage to its limits: an acrobat hesitates before jumping from a window suspended from the ceiling, a trapeze artist flies higher and higher, and yet still higher, until its seems inevitable that she will collide with the very structure of the theatre and a juggler contorting in a maze of twists, turns and tricks.
The show sparkles as a host of trapdoors on the stage are used both cleverly and playfully to suggest a parallel world below. This is a world full of contrast between fragile beauty and cruel darkness. A world of bitter sweet courtship rituals between a playful acrobatic ladder performer and a stubborn, independent-minded rope artist. A world of sadness and disappointment where a magician struggles to charm the object of his affections despite his remarkable gift; turning water into glass globes, and making these globes disappear into thin air.
Mundo Paraleo’s appeal lies in its departure from our rose-tinted memories of the circus and its willingness to portray a darkness which is never far from the surface of its parallel world. Following an acrobatic argument between two sleek, almost shape-shifting twins, a curtain is pulled aside to reveal one lying dead with a knife in her back. Throughout the show a menacing, ring-master figure, controls the action on stage; acting as a puppeteer as the juggler does his bidding, violently pulling the high-wire to pieces as the acrobat displays her skills and forcing the trapeze artist to swing higher and higher.
The production attempts to distant itself from the old-fashioned end of the pier world of the circus by drawing the audience into its own wonderful parallel world. This is a complex, dark world far removed from that of the top- hat wearing ring master and dancing ponies. However, this fresh outlook on the circus is not completely engaging.
We are treated to a collection of snapshots of the parallel world, rather than a complete, well-rounded portrayal, with a structured narrative. The snapshots are undoubtedly well executed, but the lack of any real narrative cohesion or carefully crafted characters means that the production feels like little more than an accomplished circus performance, rather than a fully-fledged piece of theatre.
***
National Theatre Wales’s latest production, Mundo Paralelo, is a ground-breaking collaboration with NoFitState circus company. This ambitious show sees the hectic high-wire acrobatics and the mind-bending magic of the circus transported from the high top to the auditorium.
Juggling, tigh rope walking, trapeze artists and magicians are no longer the preserve of sticky fingered, candy floss eating children in seaside resorts, but a mainstay of a constantly developing and evolving art-form. But can contemporary circus succeed in portraying real, well-rounded characters rather than mere caricatures? Does it have the emotional intensity to develop a narrative? Or is it merely a dazzling distraction with no real depth?
The production is visually stunning from start to end. As the curtain rises masked black figures on the stage and figures descending from the ceiling above the audience with fibre-optic lights covering their faces show a clear intent to move away from the cute and comfortable world of the traditional circus.
This is followed by further superb spectacles which stretch the stage to its limits: an acrobat hesitates before jumping from a window suspended from the ceiling, a trapeze artist flies higher and higher, and yet still higher, until its seems inevitable that she will collide with the very structure of the theatre and a juggler contorting in a maze of twists, turns and tricks.
The show sparkles as a host of trapdoors on the stage are used both cleverly and playfully to suggest a parallel world below. This is a world full of contrast between fragile beauty and cruel darkness. A world of bitter sweet courtship rituals between a playful acrobatic ladder performer and a stubborn, independent-minded rope artist. A world of sadness and disappointment where a magician struggles to charm the object of his affections despite his remarkable gift; turning water into glass globes, and making these globes disappear into thin air.
Mundo Paraleo’s appeal lies in its departure from our rose-tinted memories of the circus and its willingness to portray a darkness which is never far from the surface of its parallel world. Following an acrobatic argument between two sleek, almost shape-shifting twins, a curtain is pulled aside to reveal one lying dead with a knife in her back. Throughout the show a menacing, ring-master figure, controls the action on stage; acting as a puppeteer as the juggler does his bidding, violently pulling the high-wire to pieces as the acrobat displays her skills and forcing the trapeze artist to swing higher and higher.
The production attempts to distant itself from the old-fashioned end of the pier world of the circus by drawing the audience into its own wonderful parallel world. This is a complex, dark world far removed from that of the top- hat wearing ring master and dancing ponies. However, this fresh outlook on the circus is not completely engaging.
We are treated to a collection of snapshots of the parallel world, rather than a complete, well-rounded portrayal, with a structured narrative. The snapshots are undoubtedly well executed, but the lack of any real narrative cohesion or carefully crafted characters means that the production feels like little more than an accomplished circus performance, rather than a fully-fledged piece of theatre.
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