Wednesday 8 October 2014

Performer’s Blog / Blog Perfformiwr: Nick Makoha

See My Father and Other Superheroes in the Weston Studio on 24 October - an exhilarating one-man performance about Spider-Man, Batman, Luke Skywalker and what it takes to discover the hero inside all of us.

Bydd My Father and Other Superheroes yn ein Stiwdio Weston ar 24 Hydref - dyma berfformiad un dyn am Spider-Man, Batman, Luke Skywalker a’r hyn sydd ei angen i ddarganfod yr arwr y tu mewn i ni gyd.





What inspired My Father and Other Superheroes?
The piece was originally called Milestones and it came into being as I looked at the big events in my life. The biggest event for me, easily, was having my daughter and I realised that while I was now a dad, I had no idea how to do that job because my father wasn’t around when I was growing up.

The show represents a true story about my own childhood; there’s very little that’s been tweaked. In many ways it’s a gift to my daughter; she’s the source of the story so it’s something to show her how much she means to me.


What’s been the most challenging aspect of creating and performing something so deeply personal?
I had to have a call of reconciliation with my dad, something I’d been avoiding for years. The first conversation had a lot of blame in it, but ultimately I had to forgive him – that’s what’s at the heart of the play. Part of being a man, a real man, is having the capacity for forgiveness. It’s a logical lesson but for me it was also an emotional and spiritual lesson that I had to go through to really appreciate. 



In the show, you have conversations with a lot of superheroes… Superman, Batman, etc. Which do you most identify with and why?
There are four main heroes in the play and each one represents something different to me. Their external or extrovert powers are amazing, but their real power for me is through their quieter alter egos; that’s where I felt a real connection as a boy, for different reasons. 


As Clark Kent, Superman is an exile from another planet trying to fit in. Luke Skywalker is a farm boy unaware of his royal heritage, wanting to see what life is like outside his small world. Bruce Wayne, Batman, is a man trying to keep the legacy of his father alive. The Hulk's Bruce Banner is a nomadic doctor to find solace and connection with humans. 


If I had to pick one hero, it’d have to be Superman…though I always call him Kal-El!
 

You obviously read a lot of comic books growing up. Are you still a fan now of comics and graphic novels?
Yes.
I have a few collectables stashed away. Comics are modern folklore. They are an excellent way to grab the imagination of a reader. And for people who don’t like to read, comics and graphic novels are a great way into language and literature. 


My Father and Other Superheroes is, at its core, a work of performance poetry. Why is poetry important to you?
Poetry has always been there to help me understand my feelings and how I look at the world. I have two early recollections of writing poetry. One of them was at school when I was six years old. I was told to write a poem about a butterfly and my mum had it framed. I’ve stolen it now as it reminds me that this journey started when I was very young. I wrote another poem a few years later when I was at boarding school in Kenya and a maths teacher, who was almost like a father figure to me, died suddenly of a heart attack. That was a big trauma, but my first instinct was to explore it through writing poetry.



It’s always been said that the best thing you can do is to do something you love and do it well. Poetry is what I love to do. When you have a child, you do everything you can for them and I work hard for her. What I hope she can say one day is that she saw her dad go for his dreams and that helped her realise she could go for her dreams, too. Whether I crash or burn, fall or reach for the highest heights, what I want her to know is there’s nothing like pursuing your passion in life – I think that’s one of the gifts I can give her. 


As the play describes, you had an amazingly international childhood. How does that affect your writing, and your thinking?I think that when you grow up in one place, you see the world through just that keyhole. I’ve seen the world through at least four. I was part of a programme a few years ago called The Complete Works where someone told me I wrote like a writer in exile. When I understood what the term meant, it helped me realise that I’ve always had the voice of someone who doesn’t quite belong…that’s definitely how I’ve always felt.

Along with writing and performing, you also work extensively with young people through community groups and schools. What do you think My Father and Other Superheroes has to say to them?
There are plenty of boys, and girls, who don’t have a father figure and I see how it affects them, their confidence and sense of self-worth. I am not telling this story for me. If anything I want it to belong to the world. I’d love people to find their own truth in it.






Every audience member gets a free graphic novel of the show drawn by Marvel/DC comics illustrator Mike Collins. For more about Nick and the show, visit fathersuperhero.com

 Bydd pob aelod o’r gynulleidfa yn cael nofel graffig am ddim o’r sioe sydd wedi’i lunio gan y darlunydd comics i Marvel/DC, Mike Collins. I gael rhagor o wybodaeth, ewch i fathersuperhero.com

Monday 7 April 2014

Performer’s Blog / Blog Perfformiwr: The Good Earth



The Good Earth, which opens in the Weston Studio on 16 April, originally started life when Fragments were chosen as one of our developing companies for our Incubator Project in 2013. Cast member Hanna Brunt talks about her experience of the Incubator process, from auditions, to the first showing at our Incubator Sharing evening back in Autumn 2013, to this next stage of development.

Dechreuodd bywyd The Good Earth, sy’n agor yn y Stiwdio Weston ar 16 Ebrill, pan ddewisiwyd Fragments fel un o’n cwmnïoedd datblygu ar gyfer ein Prosiect Deori yn 2013. Dyma aelod o’r cast Hanna Brunt, yn sgwrsio am ei phrofiad yn y broses Deori, o’r clyweliadau i’r ddau berfformiad cyntaf yn noson arbennig Deori nôl yn Hydref 2013, i gam nesaf y datblygiad.


In September 2013 I saw an audition notice for an R&D project that was to be performed at the Wales Millennium Centre, Cardiff, as part of their Incubator project. The company was called Fragments, an international group of film and theatre makers and their new project was The Good Earth. They were looking for five, highly versatile actors, with a strong sense of play, to take part in the new production that was inspired by true events, which took place in the village of Troedrhiwgwair. Straightaway I applied and was lucky enough to be invited to take part in a group audition at the Wales Millennium Centre itself. Four days after the audition took place I received an email offering me a spot as one of the five to take part in the rehearsal and development of the piece.
With an old BBC news interview, from the villagers of Troedrhiwgwair, and other articles under our belt, we went on our way to begin developing a piece.  Inspired by true events, we wanted to portray the trials and traumas faced by a small Welsh village in the Sirhowy Valley, who were all asked to leave their homes as the council thought that the mountain they had lived under for decades was dangerous. 

Using the characters from the news report as an aid, we began brainstorming character traits and features we thought would best symbolize the villagers.  We then went on to create characters and relationships we felt the audience could believe and empathise with. Through improvisation we found ourselves creating scenes and discovering aspects of characters that we could expand upon, which helped to keep the rehearsals moving forward.  
The process was fantastic, but at times very difficult, as we would really go in depth on a character and realize it would not work. At this point we would have to leave all the work we had done on certain aspects to the side and start again. However, each new character brought about exciting new discoveries; whether or not we went on to use the character in the final piece.

Once we had discovered and developed characters we believed were strong enough to convey the emotions and portray the raw truth of feeling, we moved on to creating scenes that would tell the stories of our villagers. We wanted to produce a piece that conveyed a strong message of the struggles of a village who were being asked to leave their family homes by a council who could offer no real proof for the apparent danger they were in.
Being able to do this in the Wales Millennium Centre, in similar spaces to the one we would be performing in, was unbelievable. It was amazing to be able to develop ideas and bring a production to life in such a busy theatre environment, being surrounded by so many other artists, such as the Welsh National Opera, Hijinx Theatre and even Dame Edna (the show that was in the Donald Gordon Theatre at the time). The atmosphere was electric and the facilities were next to none. The staff were always friendly and welcoming and the producers in charge of the Incubator project were always popping in and out of rehearsals to show their support and see how things were going on. 

After our two week rehearsal and development period we moved into the Weston Studio, the performance space, where we were now in the hands of the Technical staff. From start to finish they were very professional and helpful, bowing to our every lighting and technical need. Their support was integral in the final stages of the piece and their collaboration with us, especially with our director’s ideas, helped form an atmospheric setting for our piece.
To have been able to rehearse, develop ideas and perform at the Wales Millennium Centre was a once in a lifetime opportunity, and an opportunity I am pleased to have the chance to do again. 

Our project from the Incubator sharing has been accepted to receive funding from the Arts Council of Wales with support from the Wales Millennium Centre, National Lottery and RCT Cultural Services. We will be rehearsing and developing for a further 15 days before performing in the Weston Studio in April.

By Hanna Brunt, cast member.


See The Good Earth in the Weston Studio on 16 & 17 April, 8pm.

Incubator is a platform for artists and companies to develop new work in partnership with Wales Millennium Centre. The project is open for applications throughout the year from artists and companies with an idea that they would like to develop further. Click here to find out more about how you can get involved, or email our producer Fern: fern.george@wmc.org.uk

Dewch i fwynhau The Good Earth yn y Stiwdio Weston ar 16 ac 17 Ebrill am 8pm.

Mae Deori yn llwyfan i artistiaid a chwmnïau ddatblygu gwaith newydd mewn partneriaeth â Chanolfan Mileniwm Cymru. Mae’n bosibl gwneud cais i’r prosiect trwy gydol y flwyddyn ac mae’n agored i gwmnïau sydd â syniad yr hoffent ei ddatblygu ymhellach. I ddysgu mwy am sut allwch chi gymryd rhan a bod yn un o gwmnïau Deori, anfonwch e-bost at at ein cynhyrchydd fern.george@wmc.org.uk




Thursday 3 April 2014

Performer’s Blog / Blog Perfformiwr: It’s Dark Outside

Arielle Gray, creator of and performer in It’s Dark Outside, shares a little about the process behind the show, from playing with puppets and the creative uses of puppet stuffing, to researching dementia. Catch It’s Dark Outside in the Weston Studio on 6 April, 7.30pm. 

Dyma Arielle Gray, crëwr a pherfformiwr yn It’s Dark Outside, yn rhannu’r broses â ni o greu’r sioe, gan chwarae â phypedau a’r gwaith ymchwil i ddementia. Bydd It’s Dark Outside yn ein Stiwdio Weston ar 6 Ebrill, 7.30pm

 

 


Hi everyone!

We have just started our UK tour of It’s Dark Outside and we are already enjoying the beautiful green countryside, the old buildings and the mist! The great thing about touring here (being from Australia) is how close everything is. We can go from one town to another every single day (in our van, driven by the lovely Oz). It’s all so close! When we tour in Australia, it’s a flight or a fairly hefty drive to get from one place to another.

It’s Dark Outside is a theatre show commissioned by Perth Theatre Company created and performed by Tim Watts, Chris Isaacs and myself. It also has a beautiful original score by the incredibly talented Rachael Dease. I’m going to write a little something about the process we went through to create it!
 

We started with the idea of wildness. In the beginning we were playing with all sorts of things: gorillas, the Wild West, a tarzan-esque child, an old man. Some ideas stayed, some didn’t. When we generate content for the shows we do it by getting into a space, bringing a whole bunch of stuff and playing. We had gorilla puppets, cowboy boots, we made a crude wild boy puppet, and we got an old man mask off the Internet, heaps of stuff.

Eventually we realised we were creating two different storylines, one was the gorilla and the wild boy and the other was the Wild West and the old man. We chose the old man.

We had been looking into dementia and the effects it had on sufferers and we came across a fascinating phenomenon called ‘sundowners syndrome’. Boiled down: As the sun sets (and shadows lengthen) Alzheimer’s patients can become more agitated and the instances of wandering increase. The idea that someone who has lost parts of themselves could have this natural urge to escape into the world (wild) at sunset really captured our imagination. It became our central image (which the whole show revolves around): An old man wanders into the wild at sunset.

From there we played with shadows, the old man, westerns, a tent and much more. One day, we were in the middle of making an old man puppet body and there was some stuffing in the space. We often end up playing with pretty much anything that’s in the space. So lo and behold the stuffing ended up in the show, but not only that, it ended up being a fairly central image. An image for thoughts, memories and all that came with that.


From the stage where we generate ideas and play with things we moved onto the editing stage. This is where we string the ideas together into a narrative and find ways to transition from one scene to another. Throughout the whole process we also have consistent showings, where we show scenes and ideas to a variety of people (other theatre-makers, Tim’s parents, friends, sometimes general public) and get feedback. Showings give you several gifts.

1.      You aren’t precious about ideas, images or scenes that you are creating.

2.      You get to constantly check what the audience is reading from the ideas meaning you know exactly what the show is saying.

3.      You know if something is a bit naff!

4.      Sometimes audience give you new ideas of what direction something should go in.

Eventually we had the show and have now done several seasons around the world and in our hometown of Perth in Western Australia. We still chat to audiences after the show and have made tweaks based on feedback we have received and also little changes based on things we weren’t 100% happy with.

If you do come and see the show, please come say hi afterwards, we’d love to hear what you think!

Arielle


Don’t miss It’s Dark Outside, showing in the Weston Studio on 6 April, 7.30pm. Click here for full details and to book.

 

Peidiwch â cholli It’s Dark Outside, sydd yn ein Stiwdio Weston ar 6 Ebrill am 7.30pm. Cliciwch yma am ragor o wybodaeth ac i archebu eich tocynnau.

Friday 28 March 2014

Director’s Blog \ Blog Cyfarwyddwr: The Good Earth


Written by Rachael Boulton, National Theatre Wales emerging director. 
See The Good Earth in the Weston Studio, 16 & 17 April, 8pm.

Wedi’i ysgrifennu gan Rachael Boulton, cyfarwyddwraig newydd National Theatre Wales.

Dewch i weld The Good Earth yn ein Stiwdio Weston ar 16 a 17 Ebrill, am 8pm.



The development of our piece first started last November, when I submitted an idea to the centre’s Incubator programme. If you don’t know too much about Incubator, it’s a programme that nurtures new work, giving emerging artists a safe environment to try out and develop their ideas.I didn’t quite know what the outcome of the piece would be at the time, but I definitely knew that I needed five exceptional actors with a passion for play and improvisation to work with me, and help bring this story to life.


The story is inspired by true events that took place in Wales back in the seventies. Nestled in a small ex mining community near Tredegar, a group of villagers fought to save their homes and mountain against outside forces for almost twenty years.Using this as a springboard for our story, we worked as an ensemble for ten days to create fictional characters, improvising dozens of scenes each day before discovering the plot.

Since then, Wales Millennium Centre partnered up with us to coproduce the next stage of development, while RCT theatre’s, Arts Council Wales and the National Lottery Fund also came on board to support our development. We’re thrilled, to say the very least!


We’re now embarking on our second stage of R&D, devising for 15 days, before presenting our work in the Weston Studio on the 16th and 17th of April. I can’t wait to get back in the rehearsal room with such a brave, generous and talented ensemble, and while working from scratch with no script is beyond challenging, it’s possibly the most rewarding.


The Good Earth combines Welsh song, physical theatre and new writing, resulting in an hour of explosive and moving new theatre. Well, that’s what we’re saying on the tin, but, we’d love to get your feedback on the piece, so please come on down and chat to us after the show. Or, if that’s not your thing, you can tweet your thoughts to #thegoodearth.

We’ll be posting updates, footage and photo’s from the rehearsal room over the next few weeks, so ‘til then I’ll say, “Ta’ra for now then.”

Read more here... http://fragments.ie/people/rachael


The Good Earth is a new play in development by National Theatre Wales’ emerging director Rachael Boulton, co produced by Wales Millennium Centre. Devised by Fragments and directed by National Theatre Wales’ emerging director Rachael Boulton.



“Moving on every level”
Audience Feedback from Incubator 2013 / Adborth Gan Gynulleidfa Deori  2013

Darn newydd sydd wedi ei gynhyrchu a’i ddatblygu ar y cyd â Chanolfan Mileniwm Cymru yw The Good Earth. Mewn cydweithrediad â Gwasanaethau Diwylliannol RCT ac wedi ei gefnogi gan Gyngor Celfyddydau Cymru. Wedi’i greu gan Fragments a’i gyfarwyddo gan gyfarwyddwr addawol National Theatre Wales Rachael Boulton.