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Comment by Jenni Derrick on July 2, 2011 at 5:51

Carmen: Thanks a lot! I'll get on to that right away ;)

Comment by meredydd barker on July 2, 2011 at 5:26

@johnmcgrath. You're quite right to point out the strengths of The Sherman's programme in that regard. Co-incidently I was having  a similarly themed chat with a friend about how The Everyman in Liverpool used to book some brilliant continental shows that you'd have trouble seeing elsewhere. 

The Everyman closes tonight and The Bistro will be no more. I wrote most of my debut play in The Bistro between shifts. I'm going to miss it terribly as will everyone else who knew it and the people involved.

Comment by National Theatre Wales on July 2, 2011 at 2:23

Brad, I think your point about writers and audiences being exposed to many different forms of theatre is important.  And Wales has a proud history of doing this - way before the likes of the Barbican got in on the act!!  To my mind one of the great strengths of the Sherman's programme prior to closing for rebuild was that they were bringing companies like DV8 and Ontroerend Goed (from Belgium!) to audiences here.  In England those kind of companies would almost never get shown in a theatre that also focuses on 'new writing' - they'd tend to be seen in places like Battersea Arts Centre or Sadlers Wells.  I think that there is a great opportunity for us to avoid the artificial distinction between 'new writing' and 'new theatre forms'.  In Belgium, theatre writers don't tend to have quite the same role as in the UK: they tend to work more interactively with directors and performers, helping to shape the work; sometimes but not always leading on its conception.  Welsh theatre can be and sometimes is a place where everything, including the role of the writer, can be reinvented...

Comment by Jenni Derrick on July 2, 2011 at 2:23

Hiya,

I'm new to this group and I'd like to get some advice.

 

I've just left school and I'd like to be a writer. I have been writing for about three years especially since joining my local young writers squad but I think I need a lot more experience and well guidance on how best to go about things.

 

Any help would be much appreciated. 

Comment by meredydd barker on July 1, 2011 at 23:13

Why did The Sherman do Measure for Measure within a couple of years of Clwyd doing it? I know it's a couple of years but in Welsh theatre terms it's practically one following the other, when there are so many classic texts out there begging to be staged and re-appraised.

Comment by Rebecca Gould on July 1, 2011 at 20:17

Absolutely even....that'll learn me for typing on my phone in a restaurant after 2 glasses of wine. Talking of Belgian companies does anyone know Victoria deluxe? I've  been talking to director Chris White and playwright Hannah Kahil about a possible mapping project with them.

http://translate.google.co.uk/translate?hl=en&sl=nl&u=http:...

Comment by Amy Hodge on July 1, 2011 at 20:13

I think its a really valid point Brad, its so crucial that all of us theatre makers writers, directors, etc see a variety of work from a variety of influences to learn for our own practise.  I think everyone would embrace the ambition to see a wide scope of work in the visiting company programme of the Sherman to inspire that throughout the city.  And in terms of the work we make in Wales, getting practitioners from different disciplines and with different influences will certainly help stimulate work that does not have to stem from the John Osborne tradition of a well made play.

I think the Sherman doing Measure For Measure last autumn was an important step for the organisation in terms of the organisation not just producing new writing – as the main producing house in the city it has to have in its repertoire classic texts as well as new work. Audiences want to see it and as people have said we can all learn from seeing those plays that are lauded as classics; they are so for a reason.

There were many points raised in this chat about should we tour should we not. I think it’s worth saying – just to share knowledge – that every piece we have toured in the English language since I have been at the Sherman has either had a specific project grant from the Arts Council Wales so that we could meet that agenda for them of work being seen beyond Cardiff, or has been cost neutral to us. The bulk of the cost being in getting a piece made in the first place, Deep Cut for example cost us £3,000 to tour for 10 weeks or so, as it basically paid for itself.

Should we do more RAWS yes – I’m really pleased with how they’ve gone down – is it about not having enough money of course, cause we’ve got the work. Crucially RAWs give a clear way to produce work that has been developed through our various writer development schemes, so long may it continue.

Totally up for a how tall are you meet up, I’ll get a date sorted and offer it out.

Happy Saturday everyone!

A

 

A

Comment by Brad Birch on July 1, 2011 at 9:20

To kinda pick up on the point made about international work (I think Greg made it), I'd love to see Venue 2 house works that don't necessarily fall under the label "new" but comes from... um, other shores. Amy mentioned being in Brussels for the festival over there and I've spoken to others who were there also. Everyone told of how great it was and how inventive and new and so different from what we're doing over here. Why aren't we doing work that has this reputation? And why can't we see it unless we go to Belgium? There’s a reason Edward Bond and like have ditched us for much freer, ambitious shores. What if Wales was seen theatrically in the same vein as France or Germany or Belgium? I think a great start would be building relationships with companies in these countries.

If I had a dream "Venue" at the Sherman then I'd hope it would be able to incorporate bringing over this kind of stuff as well as new plays. I think we could learn a lot from seeing how the others are doing it. And, whilst we’re at it, maybe even reviving work that doesn't normally get revived yet is still considered important. Like Woyzeck, for example. It would be perfect for a second venue.

I think it's important that we keep learning as writers. And we only learn by reading or seeing (more importantly, seeing). And there’s stuff out there. Stuff that’s leftfield, exciting and like nothing that we see in the mainstream UK theatres. The Young Vic are about to do In The Penal Colony. And by “do”, I mean invite the over ShiberHur from Palestine – a company with a history with the Young Vic and are being fantastically received. I know we don’t have the same resources as, say, the Young Vic (well... possibly), but I even saw an adaptation of Metamorphosis in Brighton Fringe Festival and the ambition of it was absolutely fantastic and I’ve seen nothing as bold as that recently. And we’ve certainly got more resources than they had. If we punched above our weight with quite as much vigour then we’d be putting on work that’d put the Royal Court to shame (and hey, we’ve got a great opportunity there at the moment).

Maybe it’s a big ask, I don't know. But I did say "dream".

Comment by Tim Price on July 1, 2011 at 9:07

Hi Amy and Chris, we might not agree on many things as a group, but I'm pretty sure we're unanimous in our appreciation of you both taking the time to follow our debate and for commenting. And I think everyone looks forward to your further posts in response to issues raised so eloquently and passionately by the group.

 

On another note, these online relations and debates are really great for us all, but I feel online networks should augment relationships rather than replace them. Perhaps there's some kind of social event we should throw so we can all meet up and say things like 'I thought you'd be taller' and 'you have terrible grammar' etc...I can tell you all now Greg Cullen is a lot taller than he writes.

Comment by Amy Hodge on July 1, 2011 at 3:11

I think I should rephrase the comment for venue 2 as MAINLY designated to new writing as there will be times when other work is in there I'm sure as the years progress

A 

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