NTW18 The Radicalisation of Bradley Manning - Newspaper by National Theatre Wales

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TH NA EA TIO TR NA E L W AL ES

NATIONAL THEATRE WALES

THE NATION OF WALES IS OUR STAGE: FROM FORESTS TO BEACHES, FROM AIRCRAFT HANGERS TO POSTINDUSTRIAL TOWNS, FROM VILLAGE HALLS TO NIGHTCLUBS. WE BRING TOGETHER STORYTELLING POETS, VISUAL VISIONARIES AND INVENTORS OF IDEAS. WE COLLABORATE WITH ARTISTS, AUDIENCES, COMMUNITIES AND COMPANIES TO CREATE THEATRE IN THE ENGLISH LANGUAGE, ROOTED IN WALES, WITH AN INTERNATIONAL REACH. YOU’LL FIND US ROUND THE CORNER, ACROSS THE MOUNTAIN AND IN YOUR DIGITAL BACKYARD. “ One of the best things to happen to the stage in the past five years ” Susannah Clapp, The Observer

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Matt Ball / Creative Associate @mattball_ntw Lucy Davies / Executive Producer @lucy_ntw Devinda De Silva / TEAM Co-ordinator @devinda_ntw David Evans / Head of Production @david_ntw Stephen Grant / Finance Manager @stephen_ntw Donna Jones / Finance Assistant @donna_ntw Rhian Jones / Administrator @rhian_ntw Matthew Lawton / Communications Director @matt_ntw John McGrath / Artistic Director @john_ntw Yusuf Mohamed / Community Engagement Associate (De Gabay) @yusuf_ntw Gavin Porter / Creative Associate (De Gabay) @gavinp0rter Catrin Rogers / Media Officer @catrin_ntw Michael Salmon / Company Assistant @michael_ntw Abdul Shayek / Creative Associate @abdul_ntw Jen Thornton / Communications Assistant @jen_ntw

Steve Blandford Phil George (Chair) Jon Gower Richard Hogger Deborah Martell Powell Gemma McAvoy Judi Richards Chris Ryde (Vice Chair) Peter Stead

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THE PASSION HOW BIG IS YOUR TOWN?

Words by Lucy Davies

We are one year on from that alchemical weekend, when everything seemed to collide and you knew, from within it, that you were part of something historic – for Port Talbot, for Wales, for theatre, for us as a young company. After two years of planning, we all flew through the intense non-stop 72 hour frenzy of the weekend (“72 hours of theatre heaven” for The Guardian) and then… it was done. Everyone scattered, the streets went quiet again, a small apple tree appeared where the crucifix had stood, and the rhythms of real life resumed. But everyone kept talking about it, couldn’t stop talking about it, sharing photos and movies, painting it, some even got tattoos. What happened? Why did such a powerful thing happen? Why was it so life-changing, so extraordinary, so special? Part-festival, partcarnival, part-pageant, part political demo, part ritual, part-gig, part-pure theatre – it was genredefying and genre-defining. Port Talbot has a population of about 35,000 people, and I now know that this is the perfect size to make a lot of noise and leave a lot of legacy. You can take the town over geographically. By the law of averages, you can ensure everyone in the town knows about it. You will have enough groups to access and get involved (but not leave out), and if 12,000 people come – which they did - that’s a third of the town. It’s small enough to involve every voice and big enough to shout very loudly.

All the things you normally do as a producer to mitigate against risk were bypassed here. There were some key things which we knew would work, some key things which we hoped would work, but there were also things we never could have predicted or known, but which looking back made The Passion what it was. More often than not, it was where we let go and handed everything over to that brilliant town. Somewhere halfway through Saturday, I realized the town was the force behind it, not us, and by Sunday we were surfing an unstoppable event horizon. Ultimately, this fearless trust of being on a co-created, co-owned journey with a whole town, a whole glorious overlooked community, is what made it so unique – so seat of the pants – and therefore so liberating and transcendent. The mass participation, the mass happening of it all, broke down all the barriers and norms of weekend life in a small town huddled under the M4, so that everyone opened up their hearts and minds and spirits and went into a third space: a semi-fictional version of themselves, their town, and their world. Lyn Gardner in The Guardian put it more beautifully than I from inside, could have dreamed: “(it) was like watching a town discovering its voice through a shared act of creation. Fact and fiction, myth and memory, rumour and reality, even the living and the dead stalk side by side. I’m prepared to bet that over the last three days, Port Talbot was one of the happiest places on Earth”. None of it, them, or us looked and felt quite the same afterwards. And for me, a show now feels small if I can’t cycle around it, and speak to the chief of police at the end of every scene.

Get in Touch – Lucy Davies @lucy_ntw find me at nationaltheatrewales.org/community

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“ (it) was like watching a town discovering its voice through a shared act of creation. Fact and fiction, myth and memory, rumour and reality, even the living and the dead stalk side by side. I’m prepared to bet that over the last three days, Port Talbot was one of the happiest places on Earth ” Lyn Gardner, The Guardian

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2011

The Secret Beginning Photograph: Ian Kingsnorth

Friday 22nd April The Arrival Francine Morgan, Michael Sheen Photograph: Richard Hardcastle

Saturday 23rd April The Resistance Photograph: Ian Kingsnorth

Sunday 24th April The Procession, Michael Sheen Photgraph: Ian Kingsnorth

To see how this event unfolded, get online: port-talbot.com

THE GOSPEL OF US By Owen Sheers shop.nationaltheatrewales.org

NATIONAL THEATRE WALES

WE ARE HYPER– CONNECTED

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National Theatre Wales has its own online community - where theatre goers, theatre lovers and theatre professionals come together to network and share. The community has over 4000 members, and is a great place to share information about What’s On in theatre in Wales, projects in development, courses and opportunities. Some of the most active parts of the community are the groups, which are a place for specific networks to come together.

Join nationaltheatrewales.org/community to play your part.

Each National Theatre Wales production also has its own group (e.g. NTW18 - The Radicalisation of Bradley Manning). These groups are where any behind-the-scenes content is shared, and are updated during the production process. You can also create a group for any common interest, or real-life group such as a theatre company. Groups are a great way to debate and discuss shared interests, share projects, or network with people across the industry. You’ll find groups on the community as diverse as ‘1.168 Theatre’ and ‘Barmouth Road Trip Survivors’!

GROUPS The focus of each group will be on sharing specific group-related information, whether that’s a job advert or a smaller niche debate. You are welcome to join as many of these groups as you like, and start or continue debate and discussion any time.

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TECHNICAL

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2011

Waleslab Norman and Judith Photograph: Rachel Helena Walsh

Waleslab Norman and Judith Photograph: Racheal Helena Walsh

Waleslab Muncha Luncha Photograph: Alex Robertson

Over the next five years, WalesLab will use the nation as a landscape for developing new theatre projects. Twice a year, open calls will be published inviting theatre makers and artists from other disciplines to apply for short residencies to develop an idea or piece of work. This is all thanks to significant investment from the Esmée Fairbairn Foundation. The initiative is split into three strands: Pollinate: A summer camp for up to 20 theatre makers and artists of varied experience to share ideas, learn from each other and stimulate new collaborations and projects. Fertilise: For around a week, small groups will work on the development of a project they have proposed. There will be up to eight Fertilise projects a year, some of which may have an international element. Germinate: Three times a year small groups of artists will be offered an opportunity to spend around two weeks somewhere in Wales developing an idea or project which they have already begun working on, and will share their work with a local audience. There will be three Germinate projects a year, one of which will have an international element.

There are currently seven ongoing WalesLab projects. These include projects about Mexican wrestling ballet dancers, the definitive answer to “Is there life after death?”, a ditch near Aberystwyth for throwing bodies into, replacing the performers with text-to-speech software, an exploration of the Denbigh Asylum, and Internet dating scams. Projects are taking place throughout Wales, from Denbigh to Castle Martin, Cardiff Airport to Cilgerran, physical space to cyber space; the only limitations are the artists’ imaginations.

WL01 – Rachel Helena Walsh Norman & Judith Castlemartin, October 2011

The first WalesLab residency took place last November in a former post office in Castlemartin, where Rachel Helena Walsh and Owain Roach holed themselves up for a week to begin development on Norman & Judith, a chance discovery in a charity shop of 90 unopened Royal Mail First Day Covers sent from Norman to Judith from the 1960s-80s.

WL04 – Bambo Soyinka Dial 419 for Love, Cardiff Airport, March 2012

During their week’s residency, the pair delved into the material, piecing together Norman & Judith’s life and working out how they wanted to tell this story. You can find out more about their project, and what happened to it after WalesLab, through their group on the NTW community (http://bit.ly/waleslab01). Have an idea you’ve always wanted to explore? Been inspired by reading this? Think you could do better? The next round of applications will take place in April, and will be for individuals who want to take part in our first annual Pollinate summer camp. To find out more about how to apply, deadlines and to be kept up to date, join the WalesLab group on the NTW community http://bitly.com/waleslab Get in Touch – Matt Ball @mattball_ntw join me at nationaltheatrewales.org/community

WL02 – Bridget Keehan Day to Go - Barry, November 2011 WL03 – Good cop bad cop Text to Speech, Cardiff & cyberspace December 2011 & March 2012

WL05 – Bethan Marlow Denbigh, May 2012 WL06 – LIVEARTSHOW Life after death, Haunted Houses, March 2012 WL07 – Angharad Evans Walking in the Shadows of Tom Mathias, Cilgerran, April 2012 WL08 – Kylie Ann Smith Mucha Lucha, Llandysul, April 2012 WL09 – Catherine Paskell The Brautigan Project, TBC WL10 – Rebecca Smith Williams As We Drown Nant-y-moch, TBC Waleslab QR Code Scan with your smart-phone.

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National Theatre Wales has transformed its innovative Assembly programme into bespoke, democratically-elected creative arts projects, which will take place across Wales. Eight creative projects will be made in total over 18 months, in four areas - south, midm north and west Wales. Organisations and individuals will be invited to submit proposals, of which three will be shortlisted at each regional submissions stage. The general public will be asked to vote for their preferred project online, and the project with the most votes will be given the green light. The first Assembly of 2012 took place at Eastmoors Community Centre and with a celebratory barbecue on Anderson Fields. The night saw people from the area gather, discuss and create their notions of what their ideal community would look like. There were Lego, cupcakes, singing and even a cinema to help create those conversations. Finally, we ended the evening with music and food over at Anderson Fields. Now we are onto Assembly 2 - West Wales. Currently we are in the voting period of the Assembly with two projects vying of your votes: Assembly Proposal - Pembrokeshire: A local charity run by and for adults with learning disabilities wants to challenge the stereotypes and bullying and hate crime that are an everyday part of their lives.

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ASSEMBLY FAQ

HOW TO APPLY

Q: W hat if I live on the border of two areas (e.g. north Wales and west Wales)? Can I choose which one I’m in? A: Yes, you can choose.

The process requires local people, organisations and groups to suggest creative project ideas, from which three will be shortlisted. The shortlisted ideas will then go through a two-week online public voting period, and the idea which receives the most votes will be the event that is delivered.

Q: D o I need to pay or do I get paid to take part? A: No, there are no financial requirements, and the project is to be delivered for the community. The person proposing should be doing so to make a difference to their community. Q: W hat if I have an idea but no venue or anywhere to put on an event? A: That is fine, the more unusual the location the better. The Assembly team will help to find solutions to any problems with location or other issues. Q: How will the development week work? Does my group need to be available all week? A: The week will be an intensive period of work. The group doesn’t necessarily need to be available for the whole period, but this will depend on how much involvement you would like in the final event.

The application questions will give you a chance to think through the project and also who could possibly get involved. Get in touch – Abdul Shayek @abdul_ntw join me at nationaltheatrewales.org/community

Q: C an I speak to someone before applying, to get some more information? A: Yes, it is highly recommended that you speak with someone before sending through an idea. Please contact Abdul Shayek, Creative Associate at National Theatre Wales.

Assembly Proposal - Carmarthen: A group of students want to explore mental healthcare and the implications of the recent NHS cuts through discovering more about St David’s Hospital and sharing its history with the community. Vote for the project you want to be delivered online at assembly.nationaltheatrewales.org We are also currently looking for proposals for Mid Wales. If you are interested in and live in or around Powys, please get in touch abdulshayek@nationaltheatrewales.org

Keith Murrell Singer/Performer

Angharad Evans Actor/Choreographer

Laura Jeffs Actor/Choreographer

Sarah Mumford Movement practitioner

Owain Roach Actor/Clown

Claire Hathway Performer/Facilitator

NATIONAL THEATRE WALES 2012

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Photographs Top: Dimitris Legakis / National Theatre Wales Bottom four: Dan Green / National Theatre Wales

BEHIND THE SCENES

01 NATIONAL THEATRE WALES THE RADICALISATION OF BRADLEY MANNING

HYPER–CONNECTED THEATRE

#NTW18 @ntwtweets

National Theatre Wales is pioneering an exciting new tradition of experimenting with digital and internet technologies in theatre. I first worked with the company in 2009, at the very inception of the company, when we created the National Theatre Wales Community - a dedicated social network for the company and wider theatre-making community in Wales. The community now has over 3,500 members sharing events, opportunities and discussions on every aspect of theatre in and about the country. It has helped to shape the very nature of the new national company and the developing arts scene in Wales.

Each social network or internet platform is slightly different from the others, each with unique opportunities for communication, storytelling, sharing or collaboration. And that’s what has happened with this show.

From early experiments with social media in their productions, the company’s first significant success in using internet platforms to reach and engage audiences was this time last year, when thousands of internet users from 130 countries around the world experienced The Passion through a live blog at port-talbot.com, where we published videos and updates from the event as they happened.

Our collaboration has created something that we have called hyper-connected theatre, and I hope that you manage to catch the show online, at nationaltheatrewales.org/ bradleymanning. It is an experience that we have designed as a native web experience, not merely an adaptation of live performance for the screen.

After The Passion, when National Theatre Wales launched its second year programme, I met with Artistic Director John McGrath, to explore new opportunities to develop our work to bring audiences to live performance through internet technologies. The Radicalisation of Bradley Manning was the show that leapt out from the programme as a key opportunity to do something new and exciting. There are as many approaches to what is becoming known as multiplatform or transmedia storytelling as there are projects, with no easy formula having emerged yet to dominate the field. The National Theatre in London live-stream high definition videos of their productions to cinemas around the country. Social media is used to develop storylines and characters, with varying degrees of success. Photographs: Dan Green / National Theatre Wales

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My own view, for what it’s worth, is that the design of internet projects working with other storytelling platforms needs to be closely knitted into the creative process, with multiplatform working alongside writers, directors and other designers, and that the work we do online has to work in close harmony with the story that is being told. It should also pay close attention to the culture and behaviours that are seen in the media platforms being used.

The internet lies at the heart of Bradley Manning’s story. It was the medium of his early obsessions, the site of the actions of which he’s accused. Now it is the place where his unfolding journey is relayed and discussed among millions, and it felt right that Tim Price’s play of his story should find its way into the online world.

CCTV cameras and microphones embedded in the set design will provide an audiovisual feed of the show, and it will be broadcast live to the world. But this is not television, and we have disabled the ‘fullscreen’ option to encourage people to do more than just simply sit back and watch the show. The internet is about connecting people and information, so alongside the video feed, you can chat to others who are sharing the experience with you, explore links around the web that have inspired us as the show unfolds and let your own networks know what’s happening. If you’re lucky enough to attend the show in person, we hope that you will revisit our telling of Bradley’s story online, with an experience that we hope will be distinct, unique and pioneer new frontiers in using the internet alongside theatre.

BY TOM BEARDSHAW MULTIPLATFORM DESIGNER

MATTHEW AUBREY

HARRY FERRIER

THE CAST

THE RADICALISATION OF BRADLEY MANNING

THE CAST

NATIONAL THEATRE WALES

THE CAST

GWAWR LOADER

Matthew Aubrey trained at the Royal Welsh College of Music and Drama.

Harry Ferrier trained at Royal Academy of Dramatic Art.

Gwawr Loader trained at the Royal Welsh College of Music and Drama (RWCMD).

Theatre credits include:

The Passion (National Theatre Wales & WildWorks); War Horse (National Theatre); Thoroughly Modern Millie and Love Labour’s Lost (RWCMD).

Caravaggio’s Head and After the Storm (Both Sgript Cymru).

The Silence, Monroe, Dr. Who and Young Dracula (BBC); and I Shouldn’t Be Alive (Discovery Channel).

My People (development workshop) (National Theatre Wales); Much Ado About Nothing (Mappa Mundi); King Lear (RWCMD); In The Blood (RWCMD); The Magical Myths of the Mabinogi (National Youth Theatre of Wales); Cafe Cariad (National Youth Theatre of Wales); The Merchant of Venice (National Youth Theatre of Great Britain).

Film credits include:

Television credits include:

Television credits include: Privates (Twenty Twenty Television for BBC), Birdsong (WTTV), Gracie (BBC), Framed (BBC) and Sinking of Laconia (Talkback Thames / Teamworx).

Television credits include:

House of Boys (De Lux Productions), Nightwatching (Kassander Productions), Flick (Monster Films) and Calorie (Screen Academy Wales).

Uned 5 (Antena).

Describe Matthew Aubrey in 3 words:

Describe Harry Ferrier in 3 words:

Describe Gwawr Loader in 3 words:

Five, Foot, Ten

Fun loving professional.

Loves a laugh.

What gets you up in the morning?

I try my best to wake up in the afternoons. I enjoy a kip .

The 11:59am alarm on my phone....!

The thought of being late!

Why protest Karl Pilkington for Prime Minister?

Why protest about fair Welsh-language PRS?

Film credits include: Dagenham Girls (Number 9 Films), The Gospel of Us (Rondo Media).

Radio credits include: Lemon Meringue Pie (BBC Radio 4).

Why protest about the NHS?

He is the perfect choice. An absolute genius who We should all be entitled to free health care. The NHS doesn’t beat around the bush. is the most efficient medical service in the world, for lives saved per pound spent. Could you be a whistleblower? Could I be a whistleblower? I’d like to think that Why is there any need for such people can see the wrong in difficult situations.

monumental change? If the cap on private patients being treated is lifted, waiting lists will grow and grow. We are all human beings at the end of the day , and the standard of our health care should not be determined by how much money we’ve got in the bank.

Could you be a whistleblower? I would like to think so. It’s an incredibly brave thing to do. All depends on what I was blowing the whistle on.

Radio credits include: The Verb: The Tempest / Y Storm extract (BBC Radio 3;) Losing Louis (RWCMD); Other Hands (RWCMD); Winner of the Hobsons Prize.

Welsh-language music is equally as important as English-language music and artists in any language should be encouraged to produce work of the highest standard. Without fair PRS, Welsh-language artists will not be able to continue to produce high-standard music to compete with the English-language market due to lack of funds. No funds = no Welsh-language music = lack of modern culture = lack of interest = lack of spoken Welsh.

Could you be a whistleblower? It’s hard to say. I hope I would do what I thought was right in any difficult situation.

KYLE REES

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SION DANIEL YOUNG

ANJANA VASAN

Kyle Rees trained at the Royal Scottish Academy of Music & Drama.

Sion Daniel Young trained at the Royal Scottish Academy of Music & Drama.

Anjana Vasan trained at at the Royal Welsh College of Music and Drama.

Theatre credits include:

The Passion (National Theatre Wales / WildWorks), Three Sisters, Black Snow, Romeo & Juliet, A Midsummer’s Night Dream, The American Clock, Hedda Gabler, Les Miserables, Blood Wedding, Seussical the Musical, My Fair Lady, West Side Story, and Sir, No Sir!

House of America (Theatr Genedlaethol Cymru); Llwyth (Tribe) (Sherman Cymru) and Titus (Imaginate Festival).

Television credits include:

Television credits include: The Indian Doctor (BBC), Emmerdale (ITV), The Cut (BBC), Hollyoaks and Hollyoaks Later (Lime Pictures), Y Pris (S4C).

Film credits include: The Gospel of Us (Rondo Media / Film Agency for Wales) and The Spa.

THE CAST

#NTW18 @ntwtweets

In the Blood and The Stone (RWCMD).

Television credits include:

Fresh Meat (Channel 4) and Asia at War: Fighting for India (The History Channel).

Casualty (BBC); Tissues and Issues (BBC Wales); Hotel Eddie (S4C).

Radio credits include: The Rules-66 Books (Bush Theatre).

Film credits include: Private Peaceful; Daisy Chain; The Street.

Radio credits include: The Dolls Tea Set (BBC Radio 4), and Hoshiko (BBC Radio).

Describe Kyle Rees in 3 words:

Describe Sion Daniel Young in 3 words:

Describe Anjana Vasan in 3 words:

Very! Very! Tired!

The window smasher.

I love potatoes

What gets you up in the morning?

Depends on where I went to sleep!

My alarm.

The promise of potatoes

Why protest about free school dinners?

Why protest about returning Cardiff Blues to the Arms Park?

Why would the Albert Camus quote make you protest?

Cardiff Arms Park is the real home of the Blues.

I don’t think there is any one cause that is more important than another. I think the quote is an important reminder to us that we must never be apathetic when either our own beliefs and convictions are threatened or when we witness an injustice done to someone else.

Well if it’s the law to have to attend school then there should be dinner provided! Can’t make me go to school and not feed me?! Simples!

Could you be a whistleblower? No comment until I’ve spoken to my solicitor!

Could you be a whistleblower? Until I’m in that position of power I have no way of knowing what I would feel compelled to do.

Could you be a whistleblower? Yes.

NATIONAL THEATRE WALES

Photograph: Dan Green / National Theatre Wales

THE RADICALISATION OF BRADLEY MANNING

#NTW18 @ntwtweets

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THE CREATIVE TEAM

NATIONAL THEATRE WALES

THE RADICALISATION OF BRADLEY MANNING

Writer – Tim Price Director – John E McGrath Designer – Chloe Lamford Lighting Designer – Natasha Chivers Sound Designer – Mike Beer Multi-Platform Designer – Tom Beardshaw Emerging Director – James Doyle-Roberts Producer – Lucy Davies Assistant Producer – Michael Salmon Production Manager – David Evans Technical Stage Manager – Jacob Gough Company Stage Manager – Fiona Curtis Deputy Stage Manager – Gemma Thomas Costume Supervisor and Wardrobe Mistress – Jo Nicholls Production Technician – Matt Gibson AV – Dan Trenchard Promoter – Catherine Paskell Choreographer – Kylie-Ann Smith Vocal Coach – Simon Reeves Military Advisor – Jolyon ‘JJ’ Walker Rehearsal Assistant – Richard Lakos Rehearsal Technical Assistant – Rhodri Hunt THE CREATIVE TEAM WOULD LIKE TO THANK: UKIT Recycling Joe Fletcher Chris Brown and all at G39 Kitty Callister Cordelia Ashwell Remy Beasley Alex Beckett Ryan Hacker Bethan Witcomb Ali Saunders at RWCMD Jon Robins at Mean and Green Lindsay Wood at Script to Screen Cardiff Theatrical Services Stage Sound Services Stage Lighting Services White Light Welsh National Opera D A Redman UKIT Recycling

PLEASE NOTE: This play is a fictional account which has been inspired by a true story. The incidents, characters and timelines have been changed for dramatic purposes. In some cases, fictitious characters and incidents have been added to the plot, and the words are those imagined by the author. The play should not be understood as a biography or any other factual account.

#NTW18 @ntwtweets

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TIM PRICE

JOHN E MCGRATH

TOM BEARDSHAW

Writer

Director

Multi-platform Designer

Tim Price’s theatre credits include: For Once (Pentabus, Hampstead Theatre and national tour) Salt Root and Roe (Donmar Warehouse, Trafalgar Studios), Demos (Traverse Theatre) Will and George shortlisted for the Verity Bargate Award 2011, and Café Cariad (National Youth Theatre of Wales).

John E McGrath is Artistic Director of National Theatre Wales. Previously Artistic Director of Contact Theatre, Manchester, John trained in New York, where he was also Associate Director of Mabou Mines. In 2005, he was awarded the NESTA Cultural Leadership Award. He directed National Theatre Wales’ inaugural production, A Good Night Out In The Valleys, in March 2010, and Love Steals Us from Loneliness in October 2010.

Tom Beardshaw is a founding partner of NativeHQ, a social media agency based in Cardiff. Tom has worked with National Theatre Wales since 2009 developing their online community and the digital life of shows such as Love Steals us From Loneliness and The Passion in Port Talbot. He studied Social Anthropology at the London School of Economics, Social Ethics at Cardiff University and Multiplatform Production at the University of Glamorgan.

The Donmar Warehouse has been nominated for the Olivier Award for Outstanding Achievement in an Affiliate Theatre for Salt Root and Roe.

JAMES DOYLE-ROBERTS CHLOE LAMFORD

MIKE BEER

NATASHA CHIVERS

Emerging Director

Sound Designer

Lighting Designer

I started my career in performing arts on large-scale outdoor shows in Manchester with Dogs of Heaven & Walk The Plank; I went on to train in Circus schools in London & France and spent a year performing high-wire aerial stunts in The Millennium Dome central arena show. My introduction to physical theatre came from devising & performing four separate characters for Theatre de Complicite co-founders Kathryn Hunter & Marcello Magni in their production of Aristophanes “The Birds” at London’s National Theatre.

Designer

Chloe’s designs for theatre include: Salt, Root and Roe (Donmar Warehouse), Disco Pigs and Sus (Young Vic), Knives In Hens, An Appointment With The Wicker Man (National Theatre of Scotland); The Gate Keeper (Manchester Royal Exchange), Ghost Story (Sky Arts Live Drama), Britannicus (Wilton’s Music Hall), My Romantic History (Crucible, Sheffield/ Bush), Joseph K, The Kreutzer Sonata (Gate), Songs from a Hotel Bedroom (Linbury Studio ROH + Tour), It Felt Empty… (Clean Break, installation at Arcola’s Studio K), Everything Must Go! and This Since returning to my home town of Wide Night (Soho Theatre), The Mother Cardiff, I co-founded Citrus Arts to Ship, How to Tell the Monsters from the create touring works and collaborate Misfits (Birmingham Rep), The Country with artists from broader disciplines, (Salisbury Playhouse), Desire Lines, The on shows which sit between Theatre, Snow Queen (Sherman, Cardiff), Small Circus and Dance. I’m currently Miracle (Tricycle/ Mercury, Colchesterdeveloping a circus ensemble show Best Design TMA awards), The Wild “Take Your Seats!” for London’s National Party (Rosie Kay Dance Company) Theatre, whilst Citrus Arts will later and The Shy Gas Man (Southwark this year be working in association with Playhouse). Theatr Genedlaethol Cymru on their tented touring production “Y Storm”. Designs for opera include: Working on NTW18 has been a great The Magic Flute (English Touring Opera), learning experience for me - many War and Peace (Scottish Opera/ Royal thanks to a brilliant team. Scottish Academy of Music and Drama), The Cunning Little Vixen, Orpheus in the Underworld (Royal College of Music) and La Calisto (Early Opera Company).

Mike started his career at the Sherman Theatre Cardiff 1986. Since then he has toured Theatre and Corporate events worldwide over the last 20 years with Companies including DV8 Physical Theatre, Theatre Royal Bath, Bristol Old Vic, Diversions Dance, West Yorkshire Playhouse, Birmingham Stage, Theatr Clwyd, Act Productions, Fiery Angel, Theatre Gwynedd, Imagination, Sony, and Ford Motor Car Company.

Theatre / Opera credits include: A Few Man Fridays (Cardboard Citizens), Alice in Wonderland (Royal & Derngate), Judgement Day (Print Room), 27 and The Wheel (National Theatre of Scotland), No Sweat (Generating Company), One Monkey Don’t Stop The Show (Eclipse Theatre), Happy Days (Sheffield Crucible), Chekhov in Hell (Plymouth Theatre Royal), And The Horse You Rode In On (Told By An Idiot), Zaide (Classical Opera/Sadlers Mike’s designs include: Wells), The House of Bernarda Alba, Coasting and Treasure Island (Bristol Empty/Miracle Men, Home and Mary old Vic), A Provincial Life, The Passion, Stuart (National Theatre of Scotland), Love Steals Us From Loneliness and Statement of Regret (National Theatre), The Persians (National Theatre Wales), Sunday in the Park With George Deffro’r Gwanwyn (Theatr Genedlaethol (Wyndhams Theatre), The Wolves Cymru), BFG (Fiery Angel), Great in the Walls (NTS/Improbable), That Expectations (Aberystwyth Art Centre), Face (Royal Court Theatre/West End), Desire Lines, The Borrowers and Merlin Playhouse Creatures and Jerusalem (The Sherman Theatre Company), The (West Yorkshire Playhouse), Othello, Firework Maker’s Daughter and Danny Dirty Wonderland, Pool (No Water), the Champion of the World (Birmingham Peepshow, Hymns and Sell-Out Stage Company), Single Spies, Legal (Frantic Assembly). Fictions and The Importance of Being Earnest (The Theatre Royal Bath), Don Dance credits include: Quixote (West Yorkshire Playhouse). Electric Hotel (Sadlers Wells/Fuel), Much of Mike’s work for the last 5 God’s Garden (Arthur Pita/Open years has been with Stage Sound Heart/Linbury), Electric Counterpoint Services, working as Sound designer (Royal Opera House) and Scattered and production consultant on Theatre (Motionhouse-Tour/QEH). and Corporate events. Natasha won a Theatre Award UK in 2011 for Happy Days (Best Design) and an Olivier Award in 2007 for Sunday in The Park With George (Best Lighting Design).

NATIONAL THEATRE WALES

WHAT WOULD MAKE YOU PROTEST?

THE RADICALISATION OF BRADLEY MANNING

MARK HAYWARD

ALRICH WILSON

CAROLE BLADE

LYNETTE FORD

DAN KING

Photographs: Dan Green / National Theatre Wales

STEVEN GRESTY

SEDEEK AMEER TOM BEARDSHAW

#NTW18 @ntwtweets

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ROXY MILEON

ALI AL-SUDANI

JOHN E MCGRATH

LOUIS LUK

LIA MOUTSELOU

BEN ALLEN

SABRINA DEARBORA

MUSTAFA AMEER

MALCOLM MCROBBIE

JAMES DOYLE-ROBERTS

DANIEL DIGE OVEL

SANDRA HUGHES

010

– 3 rd year of High School (SATS exams) – GCSE Subjects Selection

– I nternational Criminal Court is established – The Euro currency is adopted – Saddam Hussein’s statue is toppled – Hargreaves report is commissioned to review Copyright laws

– Linkedin.com is formed

–C reated Angeldyne social network for Pembrokeshire – GCSE exam year

– F acebook and Flickr launched

– I raq Invasion by USA and UK

– i Tunes and Skype are launched – TOR, an internet anonymity tool, is launched

Share your views and join the conversation about the show on Twitter

– Lives in a truck

–H argreaves report is published – Saddam Hussein is Hanged

– Wikileaks formed – Twitter launched

–B radley is in London at time of the 7/7 bombings trying to fly to America

– 7/7 bombings in London

– Y ouTube, Google Earth launched

-M eets Tyler, starts relationship

– T he global recession begins

–D ropbox and Spotify launch

– October: Enrolls with US Military, starts basic training

– ‘ Collateral Murder’ video is made

– F acebook becomes big in the UK –G oogle Streetview, Kindle and Tumblr launch

– Bradley

– Global

– Internet

KEY

– J uly: Begins maximum custody detention in Marine Corps Brig, Quantico, Virginia

– 2 6th May: Arrested on suspicion of passing restricted materials

– 2 0th May: Date of chat log released by hacker Adrian Lamo, suspected to be contact with Bradley Manning

– J une: Bradley Manning Support Group formed

– October: Sent to Iraq –N ovember: First contact with Wikileaks

–O bama becomes US President – I ranians protest over flawed presidential elections

– Google Docs launches –W eb 2.0 Suicide Machine launched to help users remove their content from social networks

– 3 rd February: Ordered to stand trial

– 1 6th December: Article 32 Hearing begins

–A pril: Transferred to mediumsecurity military prison in Fort Leavenworth, Kansas

– April: Found fit to face Court Martial

– March: A letter from Manning is released to the press (http://bit.ly/gdnbradletter)

– 1 st March: Charged on 22 accounts (including aiding the enemy - a capital offence)

http://en.wikipedia.org/wiki/International_Criminal_Court http://www.torproject.org/ http://collateralmurder.com/ http://en.wikipedia.org/wiki/Bradley_Manning http://en.wikipedia.org/wiki/Adrian_Lamo

SOURCES NATIONAL THEATRE WALES

– 2nd Year of High School – 1st Year at Tasker Milward VC School

– 9/11 Attacks – George W Bush is US President – Tony Blair is UK Prime Minister –O ctober: Invasion of Afghanistan

– Wikipedia is Created

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BRADLEY MANNING TIMELINE

011 THE RADICALISATION OF BRADLEY MANNING

View our Year 2 video.

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BRENT MORGAN Scratch That Itch

CREATIVE PROFILE

Describe Brent Morgan in three words.. Impulsive, honest, real. What gets you up in the morning? My alarm clock. What has been the most amazing piece of theatre you have ever seen ? Most amazing is a hard one but most influential would be ‘In your rooms/ Uprising’ by Hofesh Shechter. It really captured my imagination and had a lasting effect on the kind of work that I wanted to make. How did you start getting involved with the NTW TEAM project? I first got involved with TEAM after being involved with Swansea Assembly. I had been wanting to set up a scratch theatre night for a while, and had started a group on the online community to gauge interest. I was approached by NTW who said that TEAM would like to support the events which was really helpful as people started paying more attention to the events, as they had NTW backing. Since being part of TEAM, I have had loads of opportunity to do things I just wouldn’t got to have otherwise. A particular high point of this was going up to the Edinburgh Fringe Festival last summer. I got to see some amazing shows and meet some really cool and interesting people. I would recommend TEAM to anyone who wants to be involved in the theatre scene here in Wales. You would be joining a group of very friendly, very giving people.

What is the Swansea arts scene like at the moment? What should we be checking out and where should we be going? The Swansea arts scene is a bit all over, it is there but you do have to look closely and hard to see everything that is going on. We have a lot of new arts spaces popping up at the moment, as well as seeing more companies emerging and creating work. It’s an exciting time to be in Swansea. I would say to keep your eyes peeled on Swansea High Street, as it now has the Evening Post Theatre and Volcano’s 229 space. The regeneration of Swansea High Street also shows promise of more exciting things opening up soon.

Tell us about what we can expect from a Scratch That Itch night. Scratch That Itch night offers you a look at original pieces that people are developing at the moment. The nights are relaxed with an open door policy, so if something is not to your taste, you can pop to the bar and grab a drink before coming back to see the next performer. It is a great way to meet other people in the theatre scene in Wales and finding out what everyone is getting up. It is a very friendly, forgiving environment of people who are there to support each other and help things develop. Overall, it is just a good night out with friends that gives you an opportunity to see some brand new theatre. I hope to see you at the next one.

You run an event called Scratch That Itch. Tell us about how that started, your aspirations for Get in Touch – Brent Morgan the future and where we can catch the next @dextartuk performances. join me at nationaltheatrewales.org/community Scratch That Itch started out as a group on the NTW community as I was trying to see if there was interest in having a scratch night in south Wales. The inspiration to hold the nights came after seeing a Dirty Protest event. After getting backing from NTW TEAM, we started putting on events offering people an opportunity to show ideas in the early stages of development. The night gives performers the opportunity to receive feedback from the audience that can help you develop the piece in the future. We have held events in Swansea, Cardiff and at Watusi NTW TEAM members are at the centre of everything Festival. Hopefully in the future we will be able we do. It’s for anyone who is interested in being part of NTW, getting involved in theatre, or meeting to hold events all over Wales, creating a safe new people. place for the community to come together and support each other and find out what everyone Everywhere we go, we recruit and work alongside is getting up to. At the moment, Scratch That a team of local ambassadors. These are the people at the heart of our shows, who let their Itch events are held every other month, but if communities know about our productions, who visit you want an event held in your city or you just rehearsals to give feedback and who help us plan want to hurry the next one along, please email for the future. letmescratchthatitch@gmail.com

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nationaltheatrewales.org

2012

Scratch That Itch Monkey Bar, Swansea Photograph: Jorge Lizalde

Scratch That Itch Brent Morgan Photograph: Jorge Lizalde

Scratch That Itch Natalie Paisey Photograph: Jorge Lizalde

Scratch That Itch Kelly Jones Photograph: Jorge Lizalde

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DE GABAY In development

Photographs: Gareth

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2012

De Gabay Poet Ahmed Ibrahim Photograph: Gareth Phillips

De Gabay Poets Daud Farah, Ali Goolyad Bashir Deria, Ahmed Ibrahim, Mahamood Farah Photograph: Gareth Phillips

De Gabay Poets Bashir Deria, Daud Farah Photograph: Gareth Phillips

De Gabay Poet Daud Farah Photograph: Gareth Phillips

De Gabay Poets Ahmed Ibrahim, Ali Goolyad Photograph: Gareth Phillips

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WHAT IS DE GABAY?

De Gabay will feature a site-specific exploration of the Butetown/Cardiff Bay area, with a focus on the young lives and dreams that flow through it. Music and poetry will be central to the performance. Audiences will encounter intimate moments of performance and spectacular larger-scale events as the streets are brought to life by the kinds of young men that many people try to avoid. For example, a moment where each audience member is exploring the contents of a thousand ‘messages in bottles’ that seem to have washed up on the Cardiff Bay shore, might give way to another moment where hundreds of people burst into the same song on dozens of street corners, as a huge image of the sea is projected onto Butetown’s largest tower block. Overall, the piece will be a poetic re-creation of a much misunderstood urban area, and an insight into the hidden lives, hopes and fears of young Somali men.

nationaltheatrewales.org

POEM HASSAN PANERO

Usually, I’m left pushed towards the darkest dustier part of the house, amongst forgotten cloths and unattended boxes. Fully packed with a history of adventures intact, zipped up with an elastic armband ‘Please Contact’ Equipped with wheels to roll loyalty to my family, similar to the shoes and the owner, precise size, Their congealer whilst they travel through the long windy nights, Departed long before jet engines started, travelled in-between camels, stars and traffic lights, Red sand to waves of colourful oceans into concrete confusing, brown to blue eyes studied my internal. Razor sharp fingers continue to tickle me, centuries later the laughter still appear, Thought it was a welcome gesture at the time. Illiterate experts as life taught my owner body language and hard work ethics, First handle witness to the many encounters the Seaman’s faced, religion buried deep within their roots Sandals to boots, ultimate sacrifice for their family, Heroes from both World Wars disguised in HIS-STORY paralyzed, Proud to experience their offspring graduate to achieve, reinvented generation ready to teach, Allergic to dust, I’m still in use, insecure as if I was out of fashion rolling through the terminal. My owner kneeled down and said we going home, that’s when we got highlighted, when a man pointed a finger towards us yelling out Terrorist.

NATIONAL THEATRE WALES

020

“ the piece will be a poetic re-creation of a much misunderstood urban area, and an insight into the hidden lives, hopes and fears of young Somali men. ”

De Gabay Poet Bashir Deria Photograph: Gareth Phillips

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GAVIN PORTER De Gabay

CREATIVE PROFILE

021

nationaltheatrewales.org

Describe Gavin Porter in three words. ...I am me What gets you up in the morning? A love for life, a love for my family. What’s your creative background? I studied Film and Television at International Film School Wales. I was lucky enough to pay for my way through university by applying for small grants to deliver Participatory Arts projects to young people. After graduating I attempted to enter the television industry, but became despondent and decided that I would go back to university. I then studied Design for Interactive Media at UWIC. After graduating for the second time, three others and I set up a Social Enterprise called Community Helps Itself which was and Arts and Media based organisation which delivered Participatory Arts projects.

You are working as Creative Associate on De Gabay. Tell us a little about what that has involved so far. I have been very fortunate to be employed as Creative Associate on a project that I would have volunteered to work on - De Gabay. My role has been to help develop the skills of the five poets who are at the core of the project, both as writers and performers. We have also been thinking about what careers the the poets would like to develop as a result of being involved in De Gabay.

You also run an event called IdeasExchange. Tell us about how that started, your aspirations for the future and where we can catch the next performance. IdeasExchange came when Keith Murrell and I were involved in The Soul Exchange and attending the NTW Assembly event that coincided with it. We were impressed with the format and what was achieved on the night. So we decided to approach NTW and see if they would How did you start getting involved with the NTW support us in developing a series of AssemblyTEAM project? And what would you say to others style events. IdeasExchange offers the creative who may be thinking of getting involved? community of Butetown and surrounding areas I heard that NTW were holding some introductory the opportunity to be involved in a professional workshops in Butetown and although, at the event, developing skills in performance, writing, time, I had no real interest in Theatre, I decided production and event management as well as that I’d go along to see what was happening. I exploring relevant community issues. had a good feeling about the project that was @ideas_exchange happening, NTW10 – The Soul Exchange, and I was lucky enough to get involved. NTW talk about developing a legacy with Butetown and the creative community so myself and Keith Murrell approached NTW with an idea that we wanted to develop, based on the Assembly format developed by NTW. I would urge anyone who has Get in Touch – Gavin Porter an interest, not only in theatre, but any form of @gavinp0rter creativity to get involved in TEAM as the join me at nationaltheatrewales.org/community opportunities are endless.

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ON SALE NOW

COMING THIS SUMMER

NTW19

NTW20

NTW21

NTW22

LITTLE DOGS

IN WATER I’M WEIGHTLESS

CORIOLAN/US:

BRANCHES

A co-production for the World Shakespeare Festival, which is produced by the Royal Shakespeare Company for the London 2012 Festival

In Partnership with the London 2012 Festival, the finale of the Cultural Olympiad

In partnership with Frantic Assembly. Inspired by Dylan Thomas Across the city, hearts are beating and the mating ritual has begun. In the nightclubs, the bus shelters, the back streets and the sand dunes, daring girls and reckless boys engage in a desperate dance while the less fortunate observe and pretend it doesn’t hurt. Created by Frantic Assembly, and staged in Swansea’s richly atmospheric Patti Pavilion, this production is inspired by the Dylan Thomas story ‘Just Like Little Dogs’ and the furtive hours so many of us have spent searching for kindness and warmth in the shadows of the city. 10th–18th May 2012, preview 9th May, 8pm The Patti Pavilion, Swansea Box Office: Taliesin Arts Centre 01792 60 20 60 Tickets: £15 (£10/£5 conc) Age guidance: 15+ Contains sexual content and strong language

An Unlimited commission for the London 2012 Cultural Olympiad By Kaite O’Reilly Directed by John E McGrath IN WATER I’M WEIGHTLESS takes a provocative look at the human body, performed by a cast of six leading deaf and disabled performers. In a dynamic staging combining movement and live projections, Kaite O’Reilly’s poetic, poignant and at times explosively funny texts are inspired by the imagination, experiences and attitudes of disabled people across the UK. With movement direction by Nigel Charnock, this groundbreaking production from NTW celebrates the athleticism, diversity and skill of the company, whilst exploring the endless possibilities of human difference. 26th July–4th August 2012, preview 9th May, 8pm Weston Studio, Wales Millennium Centre, Bute Place, CF10 5AL Box Office: 029 2063 6464 wmc.org.uk/stiwdioweston Tickets: £8-£12 31st August, 6.30pm 1st September, 1pm and 8pm The Purcell Room, Southbank Centre, London southbankcentre.co.uk

Directed by Mike Pearson and Mike Brookes

A new commission from Constanza Macras/DorkyPark Argentinean Constanza Macras has been setting the world of dance theatre alight with her violent, witty, sensual work. From Johannesburg to Berlin, crowds have flocked to see her latest creations. In a special commission for National Theatre Wales and the 2012 Cultural Olympiad, Constanza will create a new site-specific show in the forests of North Wales – drawing inspiration from the ancient stories of the Mabinogion, and our daily dreams and fears.

The story of Caius Martius, Coriolan/ us, is re-imagined in an era of 24-hour news, celebrity culture and a new global polity. A sitespecific work staged in a secret location in south Wales, with outside broadcasts from the battlefield, popular grievances delivered straight to camera and audience participants as the body politic, this production is a mash-up of previous attempts to get to grips with a contrary and perplexing figure. Wepre Park, Connah’s Quay, Flintshire 5th - 15th 9th - 18th August September 2012 Secret location in south Wales

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JOIN US FOR THE WORLD’S FIRST HYPER-CONNECTED THEATRE EXPERIENCE. IN ADDITION TO THE LIVE SHOWS, THERE WILL BE AN ONLINE GLOBAL LIVE-CAST ALONGSIDE LIVE-CHAT AND LINKS TO MORE INFORMATION, SOURCE MATERIAL AND OTHER CONTENT.

TO JOIN THE ONLINE EXPERIENCE, VISIT: NATIONALTHEATREWALES.ORG/BRADLEYMANNING

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JOIN US #NTW19

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Tickets / Tocynnau: £15 / £10 / £5 01792 60 20 60

The Patti Pavilion, Swansea Pafiliwn Patti, Abertawe

May / Mai 9–18, 8pm

Inspired by / Wedi’i ysbrydoli gan Dylan Thomas