"Gods & Kings" / "The Story" / "Grease" / "The Invisible Woman" / Roathbud

Another startlingly diverse couple of weeks of theatre reviewing. Starting in Newport with the mental health themed monologue “Gods & Kings”, cleverly staged as a duet between actor Robert Bowman and sign-language interpreter Sami Thorpe; then came Tess Berry-Hart’s clever and pointed political allegory “The Story” at The Other Room, the latest in their Violence Series. In stark contrast was a large-scale touring production of 1950s-set, 1970s-written “Grease” at the Wales Millennium Centre, beautifully performed by a largely youthful cast, if not entirely coherent plot-wise; and, in the same building, “The Invisible Woman”, a lively piece about a disregarded middle-aged woman which kicked off their Performances For The Curious season.

Hannah McPake and Siwan Morris in "The Story" (Photo: Kirsten McTernan)

There’s no Made In Roath arts festival this year, but there was a Roathbud film event last night, at which my Delia Derbyshire / John Peel film had its first public screening, along with several other intriguing pieces.

"The Weir" / "Told By The Wind" / Roathbud 2016

Being a part-time/amateur theatre critic certainly throws up some startling contrasts.

Last week, I was privileged to see the Sherman’s production of Conor McPherson’s modern classic “The Weir”, all about the power of story-telling, and full of profane, quicksilver Irish wit. And the very next night, at Chapter, was The Llanarth Group’s “Told By The Wind” featuring dancer Jo Shapland – all about quietude and stillness, apparently within a relationship, influenced by Japanese “Noh” theatre. I have to say I found the former more entertaining and trenchant, but “Told By The Wind” had its moments.

 

"The Weir" - photo by Nick Allsop

The annual Made In Roath arts festival has taken place this week, livening up the neighbourhood. Since it is run by unpaid enthusiasts, not everything which is advertised actually materialises, but Roathbud, the evening of film screenings by local artists is always reliable, and this year I was proud that my aria film “In Limbo” was part of the programme. It’s always good to see one’s work on a big screen, and in the company of an indulgent audience.

"Kiss Me Kate", "The Mountaintop", film festivals etc

I got a late call to review “Kiss Me Kate”, from Welsh National Opera at the Wales Millennium Centre, which I was unable to resist – it’s not often that one gets the chance to see one of the classic Broadway musicals performed by one of the great companies. It helped that I already knew many of the songs, although listening to them in the context of the plot (which, frankly, didn’t really hang together), one gained a new appreciation of Cole Porter’s musical inventiveness and lyrical wit.

Other recent review assignments were Alan Harris’ playful examination of guilt, “The Terrible Things I’ve Done” at Chapter; and, at The Other Room, Fio’s wonderfully acted Welsh premiere of “The Mountaintop”, Katori Hall’s multi-award-winning examination of the life and legacy of Martin Luther King.

"The Mountaintop" (photo - Aenne Pallasca)

On Friday, I attended a day-long workshop for emerging filmmakers, organised by BFI Wales, at which Rwandan-born director Kivu Ruhorahoza spoke, outlining his struggles and strategies, and giving insights not only into the kinds of films which inspire him (e.g. “Elephant”, “American Psycho”), but also about the practicalities of surviving as a creative, and of selling your work to producers and festivals. Inspiring, in a subtle way. It was also interesting to note that many of the attendees were reassuringly middle-aged.

There have been a couple of small ego-boosts – my film of Lissa Kiernan’s poem “Census” has been accepted into the Zebra Poetry Film Festival in Munster, Germany – my first successful entry for this prestigious, biennial event; and my adaptation of Carl Sandburg’s “Jazz Fantasia” will be screened at the inaugural New York Jazz Film Festival in a few weeks’ time. Which is nice.

"The Martian" / Made In Roath 2015

During a scientific mission on Mars, astronaut Mark Watney is presumed dead after an explosion. Left behind by his crewmates, he faces a struggle, not only to survive, but also to alert his bosses on Earth as to his plight; and even if he were to succeed, any successful rescue would take years…

“The Martian” is Sir Ridley Scott’s most satisfying film in quite some time, possibly since “Gladiator”. Matt Damon’s irreverent, resourceful hero is supported by an excellent cast, including Jessica Chastain as his ship’s commander, Jeff Daniels as the careworn head of NASA, Kristen Wiig as a PR chief, Donald Glover and McKenzie Davis as minor but crucially important nerds, and a number of Brits – Chiwetel Ejiofor, Sean Bean, Benedict Wong - in pivotal roles. As might be expected from the director of “Blade Runner”, the visuals are breath-taking; but there is also much humour, the 1970s disco soundtrack underlining Watney’s determination to remain upbeat.

Written by Drew Goddard, based on a novel by Andrew Weir, and set only a little way into the future, the science is on a believably human level – no chatty computers, no magical food-generating machines, no instant transportation through wormholes, etc. This is a tale of human courage, ingenuity and co-operation. In fact, in a genre which thrives on dystopianism, “The Martian” is hearteningly positive and optimistic. I almost wish I’d paid the extra to see it in 3D.

This past week saw Cardiff’s boutique Made In Roath Arts Festival, with artists’ open houses, pub theatre, music, photography etc.  I managed to contribute this year, with a purpose-made video inspired by “The Book Of American Negro Poetry” (ed. James Weldon Johnson, 1922), shown in the garden of vegetarian bar/restaurant Milgi.

The Aframerican Poet from OTHNIEL SMITH on Vimeo.

Oscar Wilde

Not a lot happening on the "going to see things" front. I spent much of last week involved in drama workshops, via Youth Of Creative Arts, in a secondary school and at a mental health drop-in centre. Interesting stuff, which may pay dividends later.

My most recent mash-up video is my trickiest yet - around two dozen Oscar Wilde epigrams with associated illustrative film clips. A lot of work, but jolly fun.




The Wisdom of Oscar Wilde from OTHNIEL SMITH on Vimeo.

"A Good Clean Heart" / "Punk Rock..."

My most recent theatre reviewing assignment was for the third play in the first season at The Other Room – “A Good Clean Heart”, the debut full-length play from actor Alun Saunders. A bilingual piece focussing on an eventful night in the lives of two long-separated half-brothers who meet up in London, it manages to have a positive take on familial love and sacrifice without being mawkish; an excellent pair of performances, too, from actors which whom I was previously unfamiliar.

A Good Clean Heart (Pallasca Photography)

Meanwhile, I discovered an archive of readings by the late American beat poet Allen Ginsberg, and couldn’t resist the temptation to make a mashup film of this short poem, in which, speaking in 1978, he suggests that the punk rock movement was insufficiently punk rock.

"Punk Rock, You're My Big Crybaby" by Allen Ginsberg from OTHNIEL SMITH on Vimeo.

"Mermaid" / "Little Sure Shot" / Poetry Storehouse

Two British Theatre Guide reviewing assignment on consecutive nights this week; both shows aimed at young audiences.

Firstly, “Mermaid”, from Shared Experience at Sherman Cymru; Polly Teale’s contemporary take on Hans Christian Andersen’s “The Little Mermaid” – some dazzling aquatic-themed movement, but there were some issues with the intersecting narratives, and I found it slightly ironic that in a piece about female empowerment, the most interesting character was a man.

Next, at the Royal Welsh College of Music and Drama, “Little Sure Shot”, Lucy Rivers’ musical take on the story of cowgirl superstar Annie Oakley; also with a vaguely feminist empowerment theme. Very well done, but shockingly poorly attended. The first televised Welsh election debate was taking place in the larger performance space in the same building – probably less edifying.

 Little Sure Shot (Farrows Creative)

This week, I notched up my 50^th video for verse taken from The Poetry Storehouse. It’s been a wild ride.

"The Noisy Person I Am" - by Christine Potter from OTHNIEL SMITH on Vimeo.

"Grav"/ Aphex Twin

Been mostly writing. And rewriting.

I got to review a play for British Theatre Guide – “Grav”, a biography of rugby player Ray Gravell, at Sherman Cymru, featuring an excellent solo performance by Gareth John Bale.

And found the time to make a few more poetry films; as well as making use of some music offcuts from Soundcloud, possibly posted by Aphex Twin, and combining them with burlesque footage from the New York World’s Fair in 1939-40, taken from the Prelinger Internet Archive...

Dali Swimsuit from OTHNIEL SMITH on Vimeo.

Classic Poetry Cinema

"Reasons To Be Thankful"

Reasons To Be Thankful from OTHNIEL SMITH on Vimeo.

I took advantage of the Vimeo Weekend Challenge entitled "Thankful List" to make this minute-long tribute to... good things, generally.

"Romeo and Juliet", National Theatre Wales, etc

An unusually busy week, which saw me spending a few days up in Bangor, North Wales, as part of my arts facilitator training, observing as National Theatre Wales put together an Assembly, in which a number of poets came up with a performance exploring the democratic process. Highly stimulating (further reading).

Then, back in Cardiff, two plays to review on successive evenings: “Romeo and Juliet”, Rachel O’Riordan’s debut as director at Sherman Cymru; and Lucy Gough’s adaptation of Dylan Thomas’ “Adventures in the Skin Trade” at Chapter; both innovative, and enjoyable for different reasons.

And this weekend, I have a short play entitled “Effete” on as part of “Dirty, Gifted and Welsh”, the joint venture between National Theatre Wales and Dirty Protest at the Angel Hotel in the middle of Cardiff. Should be a lark.

Not to mention the continuing adventures of my “Inside The Poetry Storehouse” film as part of Outcasting’s contribution to Cardiff Contemporary.

"Crazy Gary's Mobile Disco" / "Wendy Hoose"

I could have sworn I’d once attended a rehearsed reading of Gary Owen’s first play “Crazy Gary’s Mobile Disco”, but a few minutes into Waking Exploits’ revival of it at Chapter, the first in Wales, I realised that it was entirely unfamiliar to me. The vividness of the writing earned glowing critiques back in 2001, and the inventive direction and acute characterisations in this production, which I reviewed for the British Theatre Guide, ensured that it remains a powerful, disturbing piece about too-easily recognisable lives.

My other recent theatre-reviewing visit was to Sherman Cymru to see Scottish play “Wendy Hoose”. It was sold as a sex comedy “with a difference”, although the merest glance at the publicity material made it clear that a central theme was disability. Very funny, too, with engaging performances, although at least one person I’ve spoken to since has suggested that the writers were possibly trying too hard to be un-PC in their treatment of the issue.

In other news, my training to become a community arts facilitator has continued; and my film of Bill Yarrow’s poem “Florid Psychosis” has been accepted into the Visible Verse Festival in Vancouver, Canada – something of an achievement when one assesses the pedigree of the other pieces.

"Florid Psychosis" by Bill Yarrow from OTHNIEL SMITH on Vimeo.

Colony 14 / O4W / YOCA

I was delighted to learn that my short film, “The Want Of Intimacy” is being included in a proper, grown-up art exhibition, as part of Colony 14, in Cardigan, West Wales in late August.

Meanwhile, more details of Outcasting’s Fourth Wall (O4W) exhibition of artists’ films, which will include some of my Poetry Storehouse videos, have been announced: they will be showing at various venues in Cardiff starting late in September.

Added to this, I recently learned that a script of mine, entitled “Rump”, reached the final stage (the top 1%) in the most recent BBC Writersroom call-out, Script Room 5. Which means absolutely nothing in terms of it ever getting produced, but it a little validation is always welcome.

Meanwhile, I’ve just started training as a participatory arts facilitator, with Youth Of Creative Arts (last week I attended a sobering but entertaining workshop on child protection issues in TV, film and theatre), and will be helping with Project Fio, assisting a group of young people in creating a new piece of work for public performance. One hopes it will only be moderately traumatic for all concerned.

"Love In The Age Of The EU" by Björn Kuhligk

"Love In The Age Of The EU" by Björn Kuhligk from OTHNIEL SMITH on Vimeo.

"Mercury Fur" / Harry Holland vs Sally Bliumis-Dunn

My most recent reviewing assignment for the British Theatre Guide was Philip Ridley’s controversial “Mercury Fur”, from Company Of Sirens at Chapter; all about grim doings amongst hoodie-clad youth and City types in a post-apocalyptic London. Mercifully, most of the violence takes place off-screen, but it’s all suitably disturbing. Google searches suggest that it’s quite popular amongst drama students, providing, as it does, a variety of meaty roles for young men (and one older woman).

For my latest Poetry Storehouse video experiment, I summoned up the courage to e-mail locally based painter Harry Holland to ask if I could use some of his paintings to accompany a poem by Sally Bliumis-Dunn. Luckily, he was kind enough to allow it…

"Woman As Bird, Woman As Song" - poem by Sally Bliumis-Dunn (with paintings by Harry Holland) from OTHNIEL SMITH on Vimeo.

"Say It" (2013) - my BBC / It's My Shout film.

Bare Fiction / Wales Blog Awards

I received the news last week that my ever-growing collection of short bootleg films – The Blakeson Mashup – has been nominated in the Best Multimedia category at the 2014 Wales Blog Awards. Very pleasing, obviously, but up against some worthy competition. Frankly, it’s just nice to be noticed.

One of the films featured on the blog is an adaptation of Byron's poem "When We Two Parted", which was in competition at the recent Reversed Poetry Film Competition held in Amsterdam.

In other news, this weekend I received an advance copy of the second edition of the excellent literary magazine Bare Fiction, which includes a piece of mine:– “The Naked Major” (note the subtle Goya reference), a brief two-hander, which was given a reading by Dirty Protest in 2008. Again, one finds oneself in very good company.

"Contractions" / Moving Poems Interview

I went to see the Welsh premiere of Mike Bartlett’s brutal corporate satire “Contractions” at Chapter, reviewing it for the British Theatre Guide. Another small company successfully getting bums on seats by importing a play by a trendy writer from elsewhere in the UK, but one can’t complain about the quality of the production.

The website Moving Poems has published an e-mail interview which I gave to Nic Sebastian, of the website The Poetry Storehouse, whose contents, contemporary poems made available for creative remix, I’ve used in my filmmaking. Jolly fun.

"Littoral"

My latest short film, based on a piece from The Poetry Storehouse; written and narrated by Kristin LaTour. As always, the images are taken from the public domain Internet Archive; the vintage glamour model is Adele Dolman.



"Littoral" by Kristin LaTour from OTHNIEL SMITH on Vimeo.

"Blue/Orange" / "Mundane Dreams"

Several years ago, I went to see Joe Penhall’s mental health themed play “Blue/Orange” on one of my birthday West End Theatre trips. The cast was to die for – Bill Nighy, Andrew Lincoln, and Chiwetel Ejiofor – and it was an entertaining and thought-provoking experience but I don’t think I quite got it. Last night I saw it again, for the British Theatre Guide, produced by the newly formed Canoe Theatre at Sherman Cymru, and it all seemed much clearer. Excellent work all round.

I’ve made another short mashup film, based on an amusing piece from The Poetry Storehouse, by Jessy Randall and Daniel Shapiro. Jolly fun.

"Mundane Dreams" by Jessy Randall and Daniel Shapiro from OTHNIEL SMITH on Vimeo.