Arthaus Berlin
The end of summer was a bit of a blur to be honest. Finishing up my Howl tour, with a great final performance for Span Arts in Pemrokshire. We were already set up and the audience were gathering as the rain started. It was touch and go to be honest, and I was sheltering in the gazebo with Dan (sound designer and musician) peering out with a feelign of despondance, when the rain slowed and finally stoppped. The Welsh audience were well prepared, and we were all happy to go ahead. Internally I thought, this is it, one last chance (for 2023) to do a great show. So we did it, and it felt like the best show of the tour, the audience were well behind us and there was a touch of magic in the air. It was a great show to finish on. From there, it was a whirlwind of packng down, dropping things off, packing a bag for Malawi and one for Berlin.
I mentioned in my previous post, my trip to Malawi. Straight from there, I went to Berlin to join a full time course- Devised Theatre and Performance. Doing this course has been a dream of mine for many years, but it felt difficult to take so much time out of my career, but this year I decided to take the plunge.
It has been one of the best decisions I have ever made, and I realise now that, had I have done the course sooner, I may not of got so much out of it, that I'm now in a place to really get so much out of it. Arthaus Berlin (formerly LISPA) is one of the highest regarded physical theatre schools in Europe. They take their training very seriously, the quality of the teaching and the culture of the school ensures a really fundamentally quality experience for the students.
The course is a deep dive into the practice of embodiement, and combines a movement based pedagogy with emotional resonance, voice work, writing practices, art, academic research and a deep devising process. It strongly encourages you to develop your own creativity in response to the provocations of the course.
It has been wonderful to be a student again, so refreshing and as I have already mentioned the quality of the tution is excellent, I feel my brain, body and creativity really coming alive,am stimulated and inspired by the course and my colleagues on it. It's also really fun to be in such a dynamic and happening city as Berlin, where there is so much going on, especially in the worlds of theatre, art, dance and film.
I'm doing the course part-time, so in Decemeber 2023 I completed term one, and willl now wait unitl Januar 2025 to return, which gives me plenty of time to digest and integrate the learnings so far into my life nad artistic practice.
Podcast episode with Dr Sandy Belle Rosales Cadena
This autumn has seen a diverse range of new adventures come my way. Mostly, I've been in training in Berlin on a physical theatre course, but more about that in another post. This post is about a podcast- previous collaborator Dr Sandy Belle Rosales Cadena (Belle) got in touch. Belle is a doctor of psychology and her research is around female body image and she has had an interest in performance for a long time. We met back in 2018 when we collaborated on a project with The National Fairground and Circus Archive to create a performance to celebrate the 250th anniversay of circus in the UK. Mirrors & Ribbons was performed in Sheffield Cathedral as part of Festival of the Mind and is a circus theatre peformance about female body image in circus. You can read more about it on the Circus Theatre page of my website.
Belle got in touch saying she was creating a pop-up podcast with the University of Sheffield and would I be interested in being one of the speakers. Obviously, I said yes. The podcast is about body image in circus and focused on body image and body confidence, specifically around physicality, strength and functionality. Our episode talks about attitudes towards female bodies in circus, weight, training and how pressures of society can hinder performers achieving their true potential through concerns about size and appearance. I delve into some personal issues in this episode, in the hope that it will help others to conquer unhealthy attitudes and practices towards their bodies. Belle talks about her research into gratitude, body positivity and self compassion as tools to help those who struggle with body image and conventional beauty standards. In episode 2, Belle talks to Farrell Cox a black actor and aerialist about her journey as a circus performer.
https://player.sheffield.ac.uk/events/circus-confidence-body-image-revolution-episode-1
September took an unexpected turn with a trip to Malawi to teach aerial to a group of trainees working for the charity Anno's Africa. It came about through a conversation with my friend and colleague Kate Jones of Cimera- a welsh community circus company who I have worked with many times. Kate was hugely supportive in the creation of my new show Howl this year, working officially as Welsh language support and costume designer/maker. Anyway, at some point it came up that some of Cimera were returning to Malawi to teach circus and costume making with Anno's Africa- a charity providing arts activities to underpriveledged children in Africa, and Kate invited me along too.
We were based in Mzuzu, in the north of Malawi, myself and Daisy Williams taught aerial to a group of trainees from the Malawi team, in an aerial intensive that took place in a tobacco auction house (it wasn't tobacco season at the time) and joined Kate, Alex, Lia, Bea and Andrew teaching stilts, juggling, slack line, hula hooping, unicycling, diablo and devilstick in the schools in Mzuzu. As well as costume and film making to some of the Malawian team- Emmanuel, James, Bilton and Hassan who work year round teaching drama, dance, song, circus and art.
The aerial trainees- Alinafe, Blessing, Foster, Mercy and Hassan took to aerial like ducks to water and worked incredibly hard to learn silks, trapeze, rope and hoop in the short time that we had. The project culminated in a celebration that involve children from Chipotula school showing off their ground based circus skills, the aerial trainees doing short aerial performances and Hassan and Mercy stilt walking in beautiful costumes made by Bilton and Kate, at Macondo camp, with the hope of attracting interest and investment in the project. It was a beautiful day and a great way to celebrate the end of our visit, The team gained many skills to pass on in the workshops and training they do in schools around Mzuzu. The hope is that they continue to work on their skills and eventually a circus centre will be opened in Malawi.
It was a wonderful and eye opening experience for me, and the positivity, willingness and commitment of the trainees and children really was humbling. I hope to get the opportunity to return to carry on teaching before too long. It was also a great priveledge to visit Malawi and to be immersed in a different culture even for a short time.
You can check out the work of Anno's Africa here: http://www.annosafrica.org.uk/
I was at The Circus Village/Yr Pentref Syrcas for 2 projects this spring, a residency with Kitsch n Sync Collective and my own residency with News From Nowhere, a project in development.
This is an idea that I have been working on in different ways for a wee while now. The idea is pretty big compared to my previous work- creating an ensemble narrative circus theatre performance with a bespoke piece of aerial equipment and commuity engagement. As the idea is complex it has been hard to gain support in the form of residencies, many venues simply can't accomodate the equipment. However, the Circus Village had an amazing, can-do team, a whole range of rigs and tents and equipment at their disposal and they were happy to offer us a residency.
The idea is still in its very early stages, the performance is a series of intersecting journey stories that meet in the performance moment, using a unique configuration of aerial equipment to play out that story. This residency focused on the exploration of the equipment, generating ideas and vocabulary under the guidance of Rowan Fae as director. There is still a lot of work to do to bring this idea to fruition, but it felt so good to begin working on it with Daisy Black , Saya Yamaguchi and Maisie Luk. I'd also like to extend my thanks to the whole team at the Circus Village who made it all possible. Watch this space for further developments.
Howl! Performances have been going well with the show bedding in nicely. We have some more dates coming up before summer comes to an end. If you haven't seen it yet then come along.
Mae perfformiadau wedi bod yn mynd yn dda, a dwi'n mwynhau gwneud y sioe. Mae gennym fwy o ddyddiadau yn ddod i fyny cyn i'r haf ddod i ben. Os nad ydach i weld eto, dewch draw.
Eisteddfod Genedlaithol Cymru 10 & 11 Aug/Awst https://eisteddfod.wales/programme
Awen Trust, Bryngarw Country Park 30 Aug/Awst https://www.bryngarwcountrypark.co.uk/whats-on/
Span Arts, Scolton Park 31 Aug/Awst https://span-arts.org.uk/whats-on/
Commissioned by Wales Outdoor Arts Consortium.
I'm super excited to finally announce (long overdue!) that I have been commissioned to make a show in Wales this year.
Howl! is a magical tale of a wild were-wolf woman. A narrative aerial theatre show performed in Welsh.Written by me, Directed by Gwen Thompson. Original musical score by Daniel Rhys Lawrence with Welsh support and costume design by Kate Jones.
Commissioned by Wales Outdoor Arts Consortium.
Rehearsed in my Mum's field.
We have loads of performance dates throughout Wales this summer, posts coming soon!
Rwy'n hynod gyffrous i gyhoeddi o'r diwedd fy mod wedi cael fynghomisiynu i wneud sioe yng Nghymru eleni. Mae Howl! yn stori hudolus am blaidd-ddynes wyllt. Sioe theatr awyrol naratif yn cael ei pherfformio yn Gymraeg. Ysgifennwyd gennyf fi, cyfarwyddwyd gan Gwen Thompson. Sgor gerddoral wreiddiolgan Daniel Rhys Lawrence, gyda chefnogaeth Gymreig a chynllun gwisgoedd gan Kate Jones. Comosiynwyd gan Gonsortiwm Celfyddydau Awyr Agored Cymru. Wedi Ymarfer yng cae fy Mam. Mae gennym ni lwyth a ddyddiadau perfformio dros Cymru yr haf yma.
The Cabaret of Misfits was a real treat this autumn, it really filled me with joy. Curated by Combine to Create artist, Rachael Macintyre as part of the Findhorn Bay Arts festival, it was my second opportunity to perform in my new home in teh North East of Scotland. The theme of the cabaret was LGBTQ and queerness in circus, and for me the perfect excuse to create an act based on Barbette. Barbette was a cross dressing trapeze and tighwire performer to rose to great fame in the 1920's and 30's and I came across them while researching my show Mirrors & Ribbons. Known to be both exquisitely feminine and in turn reveal themselves to be a macho man, Barbette was much admired.
The biggest problem I had in creating the act was deciding which way to play it- as a woman dressing as a man or vice versa, having it tried numerous versions, I settled on playing high-status feminine, becoming more uncomfotable with my idenitity and then transforming into a man mid-act. Of course I added some extra drama, some of my favourite rope tricks and a healthy dose of the ridiculous and in the end was really pleased with the result.
The cabaret was a tour de force, stuffed full of high quality scottish circus acts, and the audience in the Universal Hall were as lively and lovely as ever. They were treated to hair hanging, aerial chains, contortion, silks, trapeze, sword swallowing, hula hoops and of course rope. The whole night was a roaring success, and I was lucky enough to be in the headline slot, the act couldn't have gone any better or recieved a better reception. It was an absolute pleasure to perform, I hope an opportunity comes up soon to play Barbaretta again.
Credit for the night goes mostly to Racheal Mcintyre, Findhorn Bay Arts Festival, Ruariadh Milne and Emma Robbie for pulling it all together.
The what? I hear you ask, The Eisteddfod, something, being Welsh, I thought everyone knew about. Apprently not, many of my friends had never heard of the Eisteddfod, well, it is Wales' largest cultural festival and I learned this year that it is also the largest touring festival in Europe. It is 2 weeks of competitions, presentations and performances in singing, dancing, poetry, theatre, spoken word, music and much much more, alongside the compeitions there are bands, stalls, networking events, workshops and this year, for the first time, a large scale, outdoor contemporary circus show.
The show was dreamed up by the directors of The Eisteddfod, along with circus producer Zoe Munn and made in collaboration with Gorilla Circus. With a cast of 3 Welsh and 3 non Welsh artists the show was set to a specially commissioned poem by Wales' Childrens Poet Laureate, Casi Wyn. Casi performed the first part of the poem live from on top of an upturned car at 10m high, whilst myself and felow artist Kelsy Bell descended on ropes from inside the car to gasps from the crowd.
The show continued with an excellent hair hanging solo by Poppy Plowman, Counterweighted Trapeze and Hoop by Ophelia Atkinson and Daisy Williams, and me on rope. Then came the undisputed highpoint of the show, a high wire walk by Ellis Grover, the crowd holding their breath as he made his way across. The grand finale saw all the performers spinning on a carousel and big jets of flame!
The show was a great success, and as a Welsh performer, a real honour to be a part of something new at our largest cultural festival. Diolch yn Fawr!
It was so lovely to do my first performance in my new locality earlier this year, at the Highland Bagpipe Championships. I also felt like I'd definitley been accepted by Scotland! For you non-Scots there is a longstanding tradition of Bagpipe bands in Scotland and there are gatherings where bands compete. The bands consist of a number of bagpipers and drummers and they create and amazing sound and spectacle.
I was there with Moray Flying Circus to provide some light relief from the competitions by doing walkabout, aerial shows and circus workshops.
The day dawned fair and we had a great time on the walkabout sets with those who had already competed and their supporters in a relaxed and generally buoyant mood. The shows went well, with Ruaraidh starting with a dance trapeze solo, followed by my rope act and then Emma and Rachael doing doubles hoop. Our second show coincided with a break in the competitions so we persuaded a couple of young pipers to play along with our show.
All in all a lovely day!
It's been a while since I updated my news, because it has, as ever, been a busy summer, and I'm not complaining! July saw me heading south into England, firstly to be a rigger for Farrell Cox's new show- Ambivalence. She played two venues- Northern Stage in Newcastle and Derby Theatre. I have worked with Farrell as a performer and rigger quite a bit these last years, mostly through The Gramophones Theatre's shows- Tarzanna and Aidy the Awesome. It felt really good to be supporting Farrell on her journey with this brave aurobiographical show- about living with psychosis and as a black queer woman navigating the world. It combines these narratives with aerial, dance and text, and Farrell delivers a powerful and moving performance.
The rigging was fairly straightforward for me, just a lifting system for a hoop and aerial plastic. I actually Iove getting in the roofs of theatre's and seeing what their grids look like, I often remember the grid more than the rest of the theatre if I rig in there.
Anyway I look forward to seeing how it develops and to her touring the show further afield. You can find out more about Ambivalence on the link below.