The Moot Virginity of Catherine of Aragon @ShermanTheatre

This production is currently showing at the Sherman, Cardiff:

Europe divides in two. An act of teenage love could be the cause. Catherine of Aragon’s first wedding night with Henry VIII’s brother, Arthur comes into question in this no-nonsense music-theatre first. Did they? Didn’t they?

With live on-stage musicians and an award-winning team, this immersive show is a must as we reconsider one of history’s misremembered women.

Performed by Abigail McGibbon (winner Best Supporting Actress, Irish Times Theatre Awards, 2016)

Directed by Conor Mitchell

This is an immersive piece where audiences can choose to stand or sit.

 

More information

Running time: 50 minutes

Contains strong language and themes of an adult nature and a short scene which includes the use of a real deceased pig’s head

Performed by Abigail McGibbon
Directed, Written and Composed by Conor Mitchell

An immersive piece where audiences can choose to stand or sit

Date	Time
Tuesday 24 January	8.00pm
Wednesday 25 January	8.00pm
Thursday 26 January	8.00pm
Friday 27 January	8.00pm
Satuday 28 January	3.00pm
Saturday 28 January	8.00pm

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Review of Shakespeare’s Two Gentlemen of Verona @RWCMD

Royal Welsh Colege of Music and Drama, Cardiff

Thursday, 1 December 2016

Director: Caroline Byrne

Review by @LucyMenon

The Two Gentlemen of Verona is considered to be one of Shakespeare’s first works and as such is often held up as an example of the immature playwright experimenting with ideas that will later return in his more established comedies.  To an extent this is true as we are presented with a love triangle, a disguised boy-heroine and an escape to the green world of the forest where all the knots can be untangled and the correct pairs can be united in marriage.  These are plot devices that will be used in later comedies such as As You Like It and A Midsummer Night’s Dream.  This play however, also causes consternation in its seeming disregard for women and the value it places on homosocial bonds between men and the importance of friendship over and above that of male-female relationships.

A reflection from Johann Gregory:

Shakespeare’s play speaks to our own time in a very unsettling way. Near the opening of the play, for example, the heroine Julia is represented wishing she hadn’t returned an unread letter via her servant:

And yet I would I had o’erlooked the letter.
It were a shame to call her back again
And pray her to a fault for which I chid her.
What fool is she, that knows I am a maid
And would not force the letter to my view,
Since maids in modesty say ‘No’ to that
Which they would have the profferer construe ‘Ay’.
(1.2.50-56)

Julia says that she wishes that she had read the letter and hadn’t rejected it. The servant is a fool, she says, not to force the letter on her when the servant knows that she must for modesty’s sake say no to something, even if she really wants it. Of course, this moment of ‘forcing’ something on a maid could be easily read differently without too much of a stretch of the imagination. ‘What do you mean?’ is Justin Bieber’s highly popular song, controversial for arguably promoting a rape culture. Sofia Lyons wrote in a blog for The Huffington Post that

the lyrics perpetuate the idea that unwanted advances or sexual misperceptions are at the fault of the woman because she wasn’t clear about her intentions or a man thought she wanted it because she couldn’t ‘make up her mind’.

How ‘What do you man?’ Promotes Rape Culture

So in a year that saw such a high profile case at Cardiff Crown Court concerning a charge of rape that rested on the issue of consent, the language and actions presented in Shakespeare’s play are uncomfortable to say the least. Of course, it remains an open question how disturbing this ‘comedy’ would have actually been in its own time to those who viewed it – apparently many, now, will listen comfortably to Bieber’s song.

***

Two friends, Proteus and Valentine each have their own love, but when Proteus meets Valentine’s paramour, Silvia, he seems to forget his own beloved, Julia.  He reveals Valentine’s plot to elope with Silvia to her father and this results in his friend’s exile.  In the meantime, Julia, who has been at home, decides to risk her reputation and follow Proteus to Italy, disguised as a page boy.  The play culminates in the attempted rape of Silvia by Proteus.  After firstly chastising Proteus for his behaviour and vowing to sever friendship, Valentine is quickly swayed when Proteus begs forgiveness and within a few lines, the men have reinstated their friendship and, most disconcertingly, Valentine has promised that ‘All that was mine in Silvia I give thee’ (5.4, line 81).  Frequently, this line is cut from productions as it is at odds with Valentine’s earlier behaviour and also emphasises the uncomfortable ease with which men can consider women as possessions and commodities.  The resultant marriages, or implied marriages at any rate, are therefore troublesome as we are left wondering whether or not the commitment to the women will be true and if the love the women bear the men is indeed, well placed.

With such a depth of characterisation to explore and treacherous issues to negotiate, I was interested to see how the cast at the Royal Welsh College of Music and Drama would interpret this play.  Using an interesting mix of the ancient world, through the use of stone-effect and pillars in the set and contrasting it with a more contemporary feel through the use of costume and music, the production quickly established the idea of incongruity that runs through the play itself.  The start of the play opens with Proteus (Joe Wiltshire Smith) bidding farewell to Valentine (Aly Cruickshank); this was played for laughs and in a sarcastic tone that reflected well the notion of the masculine bravado of youth which was strengthened further with the secret handshake the two had which was a nice touch.  This gesture was repeated throughout and served to show the close bond between the two friends which later makes Proteus’s betrayal even more shocking.  Julia’s tumult over receiving a letter from Proteus was extremely well delivered by Lola Petticrew and bringing the letter to members of the audience to show it off was a source of amusement.  The fact that Proteus also did this was a nice mirroring move.  Having the lovers exchange rings with an echo-like voiceover for their lines added a dreamlike quality to proceedings and made Proteus’s departure seem part of a fairytale which obviously is later undercut by his infidelity.

As with all good comedies, we have the scenes with the servants, and in this particular play, we have Launce (Charlotte O’Leary), complete with his dog, Crab.  Here, Luke Rhodri, completely excelled himself by having the tricky task of playing Crab, but executing it well.  The use of music was good, with a tense background sound of something like a police siren and radios to create a jarring atmosphere while Proteus debates love and friendship and what he is meant to do with his feelings.  When he screws up a letter and throws it to the floor, coupled with the line of Julia being dead, the action is heavy indeed.  I feel a special mention should go to Tom Murton who played Silvia’s father, the Duke of Milan.  Throughout, he delivered his lines well and commanded a very believable relationship with each character he encountered whether that was his daughter, his friends or Valentine.

Unfortunately, there was quite a lot of confusion as to whether or not there was an interval in this production.  The house lights went down and several people got up, but the actors were back on stage very quickly and the lights then dimmed.  Valentine and Speed (Elysia Welch) were shown in slow motion fleeing to the forest in exile and in the foreground, Julia was changing her costume to become a boy.  Whilst it is very probable that this was a time-filler, as there was no need for either of these processes to be staged for so long, I found it uncomfortable that the audience was leaving and entering and actually missing a silent showing of the despair and the lengths to which lovers will go for each other.

In the second half, we were treated to an entertaining spectacle of a band and song sung by Thurio (Louis Carrington) and Proteus to try and woo Siliva (Hannah Barker) who was sat in the balcony with the audience.  There were many instances where the characters came into the audience and I felt that this worked really well as it made the audience feel more involved and complicit with the action.  In order to be with Valentine, Silvia enlists the help of Sir Eglamour (Luke Rhodri) who is supposed to be a man of great virtue and chastity who still mourns the death of his love.  Silvia asks him to help her and, in this production, also kisses him deeply.  I felt that this was an incongruous interpretation as the very point was that there was somebody truly chivalrous left to rely upon and that he does aid Silvia out of genuine care rather than seeking any kind of gratification.  Silvia is also constantly confessing her love for Valentine, especially when rejecting Proteus’s advances, so it seems unrealistic and at odds with what should have been intended here.  It would also be incredibly tragic if Silvia was meant to feel obliged to offer herself in this way to ensure Eglamour’s help.

However, as the play moved towards its disturbing denouement of Proteus attempting to take Silvia’s love by force, the four central characters held their roles incredibly well.  It’s difficult to maintain the tension in this scene when the emotions alter so drastically in the space of a few lines.  Both male leads convincingly delivered their lines, even though we are left feeling that it is an inappropriate reaction to events: is it really so simple to excuse your friend for nearly raping your partner just because he says “Forgive me”?  Valentine’s line of offering Silvia to Proteus was kept in and served to cause distress and both women were shocked by the way the friends seem to value each other over them.  Even though each couple was united in the end, the women did an excellent job of showing little enthusiasm for getting married.  Silvia wraps her robe around Julia and continues the show of female solidarity that has been displayed throughout and Julia walks sombrely towards Proteus and in the final moments looks out into the audience, away from him, though he is gazing at her.  Even Silvia and Valentine are at different ends of the stage and exit off different sides: promised to each other yet distanced by events.

A troubling play, dealt with in varying degrees of success in this production. But, ultimately, this was a thought-provoking staging that didn’t gloss over the unsettling aspects of The Two Gentlemen of Verona, instead opting to leave the audience with a complex set of emotions and unanswered questions.

This production runs until December 10th. Find out more and book tickets.

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Romeo and Juliet @New_Theatre 9 & 10 September @nyaw_ccic

 

To celebrate its 40th anniversary year, National Youth Theatre of Wales 2016 presents Shakespeare’s most famous love story about star-crossed lovers destined to end in tragedy. This is a dynamic, modern version of Shakespeare’s classic with movement from renowned physical theatre company, Frantic Assembly, plus live music and vibrant storytelling.

Showing:

Friday 9 September, 19.30pm

Saturday 10 September, 14.00pm and 19.30pm

 

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Open Air Theatre Festival in Cardiff: Shakespeare, 21-30, July

 

 

Everyman Theatre is back in Cardiff for the Open Air Festival.

Their Shakespeare productions include:

Richard II, 24th, July, 2016

Everyman Youth Theatre are delighted to return to the Open Air Theatre Festival this summer to perform Shakespeare’s historical play, Richard II. Running time is approximately 90 minutes including an interval.

Romeo and Juliet, 21-30th, July, 2016

Everyman Theatre are delighted to welcome directors Mark Modzelewski and Jack Paterson to our Open Air Theatre Festival and the depiction of Shakespeare’s classic tale of “star-cross’d lovers”, forbidden love and blind passion is a tale of firsts.  Swept away in their first love, teenagers Romeo and Juliet irresistibly drawn to each other, fall in love and marry in secret as their families’ long standing feud comes to a head.  When you are passionately in love, nothing else matters – not even life itself.  Defying the hatred and violence surrounding them, they dare to believe they can, and must, be together.

In modern Verona, violence erupts between the Montagues and Capulets with tragic consequences.  With the death of their children, the citizens come together and through song, movements and story examine how they came to such tragedy.

Find out more.

 

 

 

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Taking Flight with Romeo and Juliet in Cardiff: A Review

Review by Emily Garside @EmiGarside

Taking Flight Theatre are back for their annual outdoor Shakespeare, this year with Romeo and Juliet. Taking Flight are an inclusive theatre company, meaning all their productions are accessible for audiences and performers alike. Unlike other theatre companies who treat accessibility as an add-on for Taking Flight accessibility is a part of the performance.

This means for Romeo and Juliet, there is live audio description as well as BSL interpretation and dialogue. Juliet and her Nurse converse in BSL and Romeo must attempt to learn some to communicate with his love. Meanwhile inventive and witty audio description serves to enable accessibility and move the narrative along.

Set in 1963 against a boarding school backdrop, a combination of swinging 60s design and music gives the show an energetic lift, and the promenade performance allows the performers to really engage with the audience and make the story their own.

This is an energetic and youthful interpretation of Romeo and Juliet and one that would serve as an excellent introduction to the text or indeed Shakespeare as a whole to audiences young and old. Set against a backdrop of Wales’ most beautiful venues on its outdoor tour Taking Flight have devised another inventive and engaging take on Shakespeare that all audiences can be included in.

Taking Flight @takingflightco

Touring Wales June 16-August 1st

Thu 16 – Sun 19 June Thompson’s Park, Cardiff

Tue 21 June Caerphilly Castle

Thu 23 – Sat 25 June Denbigh Castle

Sun 26 June Loggerheads Country Park

Wed 29 June Tintern Abbey

Thu 30 June Cyfarthfa Castle, Merthyr

Wed 6 July Tretower Court

Thu 7, Fri 8 & Sun 10 July Blaise Castle Estate, Bristol   Tickets for this venue can be purchased here: www.bristolshakespearefestival.org.uk

Fri 15 – Sat 16 July Valle Crucis Abbey, Llangollen

Sun 17 July Rhuddlan Castle

Tue 19 July Cilgerran Castle

Wed 20 – Sat 23 July Stackpole, Nr Pembroke

Sun 24 July Hilton Court, H’west

Tue 26 July Clyne Gardens, Swansea

Thu 28 July Elan Valley

Fri 29 July Kidwelly Castle

Mon 1 Aug Beechenhurst Lodge, Forest of Dean

 

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Cardiff Shakespeare Timelapses

A team of people from Cardiff University have put together a beautiful and poignant video to celebrate the 400th Shakespeare anniversary.

Sonnet 19 is read by Professor Damian Walford-Davies, Head of the School of English, Communication and Philosophy. Music composed by Oliver Harris, 3rd year BMus student. Aerial timelapses from the School of Psychology Tower – thanks to Steve Michael.

 

 

 

Devouring Time, blunt thou the lion’s paws,

And make the earth devour her own sweet brood;

Pluck the keen teeth from the fierce tiger’s jaws,

And burn the long-liv’d Phoenix in her blood;

Make glad and sorry seasons as thou fleets,

And do whate’er thou wilt, swift-footed Time,

To the wide world and all her fading sweets;

But I forbid thee one more heinous crime:

O, carve not with the hours my love’s fair brow,

Nor draw no lines there with thine antique pen!

Him in thy course untainted do allow

For beauty’s pattern to succeeding men.

Yet do thy worst, old Time! Despite thy wrong

My love shall in my verse ever live young.

 

 

 

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Celebrating Shakespeare in Cardiff @chaptertweets

The British Council and Chapter Arts Centre in Cardiff have teamed up to co-ordinate a number of exciting events to celebrate Shakespeare.

From the facebook event page:

As we commemorate 400 years of Shakespeare, we take a look at his legacy on film and the relevance of his stories in Wales and beyond with discussions, workshops and specially commissioned programme notes. Events co–ordinated by the British Council and Chapter Arts Centre as part of the Shakespeare Lives season celebrating the 400th anniversary of the bard’s death.

Henry V directed by Kenneth Branagh (15)
Sunday 3 April, 5pm
Panel discussion after the film: ‘Shakespeare and Wales’
On Shakespeare’s exploration of national identity and how this is relevant to us in Wales today. Panellists include Gwyneth Lewis, the inaugural National Poet of Wales; poet, editor and literary critic Grahame Davies; Rakie Ayola it will be chaired by Cardiff-based Shakespearian actress and Siobhan Brennan a postgraduate student specialising in Shakespeare and Wales.

Macbeth starring Michael Fassbender (15)
Sunday 10 April, 5pm
Panel discussion after the film: ‘Shakespeare and the Union’
Curated by Siobhan Brennan, how Shakespeare’s Scottish play helps us to explore ideas of national identity in post–devolutionary Britain. Panellists include Phil George, producer of ‘Shakespeare: the King’s Playwright’, and Professor Andrew Murphy of St Andrews University, editor of ‘Shakespeare and Scotland’.

West Side Story (PG)
Sunday 17 April, 5pm
Panel discussion after the film: ‘Shakespeare and the Musical’
Chaired by Rebecca Gould, Head of Arts British Council Wales on our enduring fascination with Shakespeare and his influence on musicals on stage and film.

Ran, adaptation of King Lear directed by Akira Kurosawa (12A)
Sunday 24 April, 5pm
Panel discussion after the film: How does the translation and adaptation of Shakespeare’s works keep him alive for us today?
Panellists include Dr Paul Prescott, convenor of the ‘Global Shakespeare’ degree at the University of Warwick, and Gwyneth Lewis Inaugural National Poet of Wales who has translated ‘The Tempest’ into Welsh.

Hamlet starring Maxine Peake
Sunday 1 May, 3.30pm
Panel discussion after the film: ‘Women and Cross-Casting in Shakespeare’. Featuring Yvonne Murphy, Creative Director of the all-female Shakespearian troupe Omidaze Productions, renowned Shakespeare academic Professor Carol Rutter, and Shakespearian actress Lisa Zahra.

Find out more from Chapter

Extended Programme:
Bill (PG)
Saturday 2 April – Thursday 7 April

Gnomeo & Juliet (U)
Friday 8 April-Sunday 10 April

The Lion King (U)
Saturday 16 April-Sunday 24 April

Chapter 13 presents: Theatre of Blood (15)
Monday 18 April, 6pm

My Own Private Idaho (15)
Tuesday 19 April

10 Things I Hate About You (12A)
Saturday 23 April

Live: Shakespeare 400
Saturday 23 April

Richard III (15)
Thursday 28 April, 7:30pm.

Cinderella (U)
Saturday 30 April-Sunday 1 May

Wrth i ni ddathlu 400 mlynedd ers marwolaeth Shakespeare, rydym yn edrych ar ei etifeddiaeth ar ffilm, a pherthnasedd cyfoes ei straeon yng Nghymru a thu hwnt gyda thrafodaethau, gweithdai a nodiadau rhaglen a gomisiynwyd yn arbennig. Cydlynir y digwyddiadau gan y British Council a Chanolfan Gelfyddydau Chapter fel rhan o dymor ‘Shakespeare Lives’ i goffáu 400 mlynedd ers marwolaeth y bardd.

Henry V wedi’i chyfarwyddo gan Kenneth Branagh
Dydd Sul y 3ydd o Ebrill, 5yh
Trafodaeth ar ôl y ffilm : ‘ Shakespeare a Chymru’
Curadir gan Siobhan Brennan. Fe fydd trafodaeth ynglŷn â defnydd Shakespeare o hunaniaeth genedlaethol, a sut mae hyn yn berthnasol i ni yng Nghymru heddiw. Mae’r cyfranwyr yn cynnwys Gwyneth Lewis, Bardd Cenedlaethol Cymru cyntaf; y bardd, golygydd a beirniad llenyddol Grahame Davies; Rakie Ayola, actores Shakespearaidd o Gaerdydd, a Siobhan Brennan, myfyrwraig ôl-raddedig sy’n arbenigo ar Shakespeare a Chymru.

Macbeth gyda Michael Fassbender
Dydd Sul Ebrill y 10ed, 5yh
Trafodaeth ar ôl y ffilm : ‘ Shakespeare a’r Undeb’
Curadir gan Siobhan Brennan. Sut mae drama Albanaidd Shakespeare yn ein helpu i drafod syniadau o hunaniaeth genedlaethol ym Mhrydain ôl- ddatganoledig? Mae’r cyfranwyr yn cynnwys Phil George , cynhyrchydd ‘Shakespeare : Dramodydd y Brenin’ , a’r Athro Andrew Murphy o Brifysgol St Andrews, golygydd ‘Shakespeare a’r Alban’.

West Side Story (PG)
Dydd Sul 17eg o Ebrill, 5yh
Trafodaeth ar ôl y ffilm : ‘Shakespeare a’r Sioe Gerdd’
Wedi’i chadeirio gan Rebecca Gould, fe fydd y drafodaeth hon am ein diddordeb parhaol yn Shakespeare a’i ddylanwad ar sioeau cerdd ar y llwyfan a ffilm.

Ran, addasiad o King Lear a gyfarwyddwyd gan Akira Kurosawa
Dydd Sul y 24ain o Ebrill, 5yh
Trafodaeth ar ôl y ffilm: ‘Cyfieithiad Shakespeare’
Sut mae cyfieithu ac addasu dramâu Shakespeare yn ei gadw o’n fyw i ni heddiw? Mae’r cyfranwyr yn cynnwys Dr Paul Prescott, cynullydd o’r modiwl ‘Global Shakespeare’ ym Mhrifysgol Warwick, a Gwyneth Lewis, Bardd Cenedlaethol Cymru gyntaf, sydd wedi cyfieithu ‘The Tempest’ i’r Gymraeg.

Hamlet gyda Maxine Peake
Dydd Sul y 1af o Fai, 3.30yh
Trafodaeth ar ôl y ffilm: ‘Merched a Chroes-Castio yn Shakespeare’
Fe fydd y cyfranwyr yn cynnwys Yvonne Murphy, Cyfarwyddwr Creadigol cwmni Shakespeare oll-ferched Omidaze Productions, yr Athro Carol Rutter, yr arbenigwraig academaidd enwog ar Shakespeare, a’r actores Shakespearaidd Lisa Zahra.

 

 

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A Midsummer Night’s Dream Production @actonecardiff

10-13 Feb, 2016

Llanover Hall

Act One Society

A Midsummer Night’s Dream is one of Shakespeare’s most famous comedies. Revolving around three love stories there is plenty of room for farcical drama and of course Shakespeare’s favourite – weddings. However this production of A Midsummer Night’s Dream will look at some of the darker elements hinted in the script – the stark class boundaries and the domination of the wealthy. Set in a dystopian future, it is only within the nature of the forest that the love and laughter can be found.

Director: Bex Landale
Production Manager: Undine Kalcenaua
Choreographer: Lucy Spain

*** TICKETS ARE ON SALE!! ***
For Cardiff Students: http://www.cardiffstudents.com/activities/society/actone/
For General Public:
http://midsummercardiff.wix.com/dream#!blank/c24vq

 

 

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Othello in Cardiff, starts Tue 19th @Chaptertweets

Tuesday 19 January – Saturday 23 January

Book Tickets

Duration: 2 hr 30 mins (including interval)

Rogue’z Theatre presents: Othello

By William Shakespeare

Jealousy and vengeance brings utter destruction of two people in love and all those around them wrought by Iago, the personification of pure evil and Othello’s most trusted Ancient.

Intense and emotionally charged, we witness the tragic and inevitable destruction of Othello, Desdemona and of all those around them.

A true Jacobean tragedy, Othello has remained Shakespeare’s most loved tragedy.

£12/£9 (concessions on Tuesday and Saturday matinee only)

Rogue’z Theatre, as part of their Celebrating 400 years of Shakespeare 1616 – 2016 programme, are offering workshops and free school visits, promoting and exploring the fun of Shakespeare, throwing away the text books and ‘Physicalising Shakespeare’. Having worked with RSC practitioners, we would like to offer you the opportunity of exploring the RSC world of making Shakespeare fun!

For further information contact: Rogue’z Theatre roguetheatre@hotmail.co.uk

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Playing Fluellen: An Auckland Actor Blogs for @CardiffShakes

 

An Auckland actor blogs about her experience playing Fluellen in Auckland New Zealand’s all-female Henry V, which is to be performed at Pop-up Globe in February, 2016.

1. Discovery
Reading Henry V in preparation for the audition I was transported back to my seventh form year twenty five years ago when I first read the play and was introduced to the character of Captain Fluellen. Our English teacher was a passionate Shakespearean tutor who, when reading aloud, showcased Fluellen’s wonderful depth of character and unintended comedy and relished the mispronunciation of bs as ps that Shakespeare uses to caricature Fluellen’s Welshness.

When I heard that a Pop-up Globe was going to be built in Auckland, I was desperate to be a part of it. Director Grae Burton approached Dr Miles Gregory with a proposition to stage an all-female Henry V in conjunction with the predominantly male shows already planned. The proposal was accepted and there are now a total of 8 Shakespearean plays to be staged at the venue by various companies over the summer period. Our production of Henry V will play at three or four venues in total, with four of those nights scheduled at Pop-up Globe.

Our rehearsal period is incredibly tight for such an epic play and lines have had to be learnt in the Christmas break in preparation for our first read-through this coming weekend. It’s been an absolute pleasure to study Fluellen and fall deeper in love with him. His lectorial nature belies an incredibly loyal heart. He is scrupulously honest and prepared to think the best of people unless proven otherwise. His initial perception of the unsavoury Ancient Pistol as being ‘as valiant a man as Mark Antony’, despite being a man of ‘no estimation in the world’ conveys his lack of snobbery and judgement, one of his most endearing qualities. Moreover, he is unafraid of confrontation and quite prepared to tackle issues with people head-on, relishing debate and argument. I personally love the way Shakespeare has drawn the relationship between Fluellen and Gower. The latter is somewhat subjugated, patiently enduring Fluellen’s patronising lectures in the disciplines of war. This initially tricks the audience into believing Fluellen thinks little of his fellow captain when in fact the opposite is true; he can’t speak highly enough of him to others but nor can he censor his own preachiness in his colleague’s company.

Thanks to an audio file of Fluellen’s lines from Cardiff actor and early modern researcher Darren Freebury-Jones, I have an authentic Welsh accent to strive towards and look forward to getting stuck into rehearsals. More on those later!

Kate Watson

 

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