Blackwood Miners’ Institute / 11 & 12 March Blaengarw Workmen’s Hall / 16 March Pontardawe Arts Centre / 18 & 19 March Bedwas Workman’s Hall / 23 March Coliseum Aberdare / 26 & 27 March
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/ 02
NATIONAL THEATRE WALES
Cast
Creative Team
Thank You
STAFF TEAM
Boyd Clack Prior/Con
Writer Alan Harris
Lucy Davies Producer
Sharon Morgan June/Alenka/Mable/The Meat Seller/Ruth Tandy from Tonypandy
Director John McGrath
National Theatre Wales would like to thank the following companies and individuals for their support during the creation of A Good Night Out in the Valleys Percussion House on Whitchurch Road, Cardiff, for the use of their electric drum kit / Venue staff at Blackwood Miners’ Institute. especially Sharon, Ceri, James & Robin / Denis & Bill at Bedwas Workmen’s Hall / Angie, Tracey, Al & Gareth at Pontardawe Arts Centre / David, Donald, Luke, Steve & all the volunteers at Blaengarw Workmen’s Hall / Geoff, Helen, Andrea, James & Paul at the Coliseum, Aberdare / Gareth Gordon & Sherman Cymru /RWCMD / Theatr Na n'Og /Phil & Gareth at SSS / Leejay, Nina, Simon & Ian at Cardiff Theatrical Services / J Pidgeon & Sons / Specsavers / Ken Creasey Ltd / James Gardiner / Rory Brophey / Sarah Osborne / Kelly Bannister/ Happy Embroidery / Gareth Gordon & team / all at the Newbridge Memo / James Gardiner for set maintenance / all our enthusiastic pre-show pall bearers / Paul Stevens at Country Kitchen Cafe.
Rhian Jones Administrator
Siwan Morris Dirty Karen/Eric/Sian Huw Rhys Stan shandy/Rich/Kyle Amy Starling Sue/Young Nurse/Tracy Oliver Wood Sue/Young Nurse/Tracey Oliver Wood Mal/Gary/Shwni Tom Cullen Cedar (Voice Over)
Designer Angela Davies Lighting Designer Ceri James Sound Designer Mike Beer AV Designer Simon Clode Emerging Director Ross Leadbeater Casting Director Sam Jones Fight Director Andrew Ashenden Musical Director Dan Lawrence Wardrobe Supervisor Allie Saunders Wardrobe Assistant Angharad Matthews Executive Producer Lucy Davies Associate Producer Carys Shannon Production Manager Ellie Carter Deputy Stage Manager Sarah Thomas
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Assistant Stage Manager/ Design Assistant Cordelia Ashwell
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Matthew Lawton Communications Director Mathilde Lopez Creative Associate John McGrath Artistic Director Catherine Paskell Creative Associate Catrin Rogers Media Officer Michael Salmon Company Assistant Carys Shannon Associate Producer
Production Lighting Technican Tom Reilly Head of Stage Dan McGavin
Funding / Sponsors
Technical Assistant Oliver Johnson Rehearsal ASM Sarah Morgan
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Production Volunteer Hannah Bevan Bands 4th Street Traffic Darkness Failing La Fiasco Helter Skelter The Stokers
Cover image: phil boorman
/ 03
A GOOD NIGHT OUT IN THE VALLEYS
Q&A
Alan Harris What’s your idea of a good night out in the valleys? A game of bingo, and early doors with friends. Then with the winnings I’d have a few pints in the pub (a normal pub – nothing that looks like the designers have gone mad in Ikea) and then tackle a curry (I’d look at the menu for a while and then order the same as I always order, a chicken jalfrezi). Then another drink in the pub while enjoying a bit of cabaret (ideally an eclectic mix of 70s disco, comedy and sincere ballads). Have you ever written a play in this way before? (A Good Night Out in the Valleys is based on real local stories) Not really – usually I come up with the ‘big idea’ for the play and fit everything else in around it. But because we had a wonderful research phase, including workshops with a range of groups throughout the valleys, I had a stack of stories and characters to work with. I then had to fit these elements into a ‘big idea’, so in many ways, the focus for this play is the opposite of how I would normally work. Were some of the stories submitted too raunchy to be included? Oh no, nothing was off limit! We did have lots of bonkers stories, but not too many of them were raunchy – more a case of pictures of good nights out that went wrong.
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The late 19th Century saw a huge population in formerly rural communities, and in many industrialised areas, workers clubbed together to build institutes. By 1910, most towns and villages in south Wales had their own miners’ institute – socialist and auto-didactic in spirit, usually including small libraries and reading rooms, whose books would lean towards history and politics. Aneurin Bevan attributed his intellectual training to the Tredegar Miners’ Library. The buildings were normally run by a committee chosen by the workers, and a nominal fee was required from members to pay for the running costs, though some philanthropic coalowners would financially support the local institute. Larger institutes often catered for the communities’ thirst for social activity by providing a billiards hall, a refreshment room, and a large hall which could be used for meetings or entertainment. The ‘Stute, as it was popularly known, soon became the heart of the community. The pit closures of the 1970s and 80s left many institutes without adequate funding and management, but most were saved in the 1990s and restored to their former glory. National Theatre Wales is grateful to all five institutes involved in A Good Night Out in the Valleys for their generous hospitality. You can read the history of two of them here.
Blackwood Miners' institute
“Today, the building is one of the Arts Council of Wales’ core regional performing arts venues, presenting over 40 (often sell-out) shows a season.” Blackwood Miners’ Institute
Blaengarw Workmen’s Hall
The final stones of this building were laid at the front on 4th December 1925. Originally a single-storey snooker hall, it was owned by the Coal Industry and the Social Welfare Organisation, and paid for out of the Oakdale Miners’ wages at 3d a week. In 1936, two further floors were added, including the stage, auditorium, dance floor, reading room, library, ladies’ room and rehearsal rooms for local societies. Events held included tea dances, reading groups and union meetings.
Ever since it was opened on 5th March 1894, Blaengarw Workmen’s Hall has been a monument to the resourcefulness of the miners who worked in the Blaengarw mines, all of whom contributed 2d per week from their wages towards the building’s upkeep. Built at a grand cost of £3,400, it held a well-stocked library and reading room, a cinema and theatre, and soon became the main focus for community activities, sporting events and meetings.
Perhaps inevitably, the building fell in to disrepair in the 1970s/1980s, and in 1989 the trustees sold it to Islwyn Borough Council, who promised to make it available for community use. They kept their promise, and in February 1992 the building reopened as a community arts and entertainment venue. The opening series of concerts saw local school children perform on the same stage as Ken Dodd, Jasper Carrott and the Welsh National Opera. Today, the building is one of the Arts Council of Wales’ core regional performing arts venues, presenting over 40 (often sell-out) shows a season. The annual pantomime alone attracts a total audience of over 11,000 people.
A near disaster in the mid-70s lead to the closing of the hall, after a heating pipe ruptured, spewing carbon monoxide fumes through the cinema. More than 50 children and teenagers and two adults were detained at Bridgend General Hospital, after dozens passed out during a screening of Peter Pan. Thankfully, there were no fatalities. After its rescue from dereliction by Valley and Vale Community Arts and the local community, Blaengarw Workmen’s Hall was officially reopened in 1992. Management organisation Creation was formed in 2000, and took over the running of the premises on behalf of the local authority, returning it to its position as the cultural heart of the community.
Blackwood Minors Institute: Gareth Phillips/Guardian News & Media Ltd 2010
NATIONAL THEATRE WALES
/ 04
Left to right: Sharon Morgan / Siwan Morris / Oliver Wood / Boyd Clack / Amy Starling / Huw Rhys
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Cafe Image: Jon Poutney
/ 05
A GOOD NIGHT OUT IN THE VALLEYS
Boyd Clack
Sharon Morgan
Siwan Morris
Oliver Wood
June/Alenka/ Mable /The Meat Seller/ Ruth Tandy from Tonypandy
Dirty Karen/Eric/Sian
Mal /Gary/Shwni
Siwan was born in Glynneath and studied at Manchester Metropolitan University.
Oliver comes from Brynmawr, and trained at the Royal Welsh College of Music & Drama.
Sharon was awarded the BAFTA CYMRU Best Actress Award in 1998 for playing Mary in Tair Chwaer, and again in 2009 for playing Martha in Martha, Jac a Sianco. Her family are originally from Cwmaman.
What’s your idea of a good night out in the valleys? Being with old friends, laughing, making fun of each other, and alcohol is always involved! Maybe a few games of pool. I always feel like I’ve had a bit of a holiday when I return home. The people of the valleys are naturally funny, which is the best tonic and very grounded too, which makes you realise what’s really important.
What is your idea of a good night out in the valleys? Getting drunk in great company, and not remembering what happened the next day. Having more money coming home than when I went out, and throwing up.
How is this show different from others that you’ve done? I have taken part in shows similar in direction, concept and form. This is different as it’s taken the principle of community theatre, and placed it under the well-funded, very high profile banner of National Theatre Wales, which is rather wonderful. Sharon Morgan
Boyd Clack Prior/Con Boyd was born in Canada to welsh parents, but was brought up in Tonyrefail and trained at the Royal Welsh College of Music & Drama. What’s your idea of a good night out in the valleys? I don’t drink, smoke or chase other women. My good night out would be getting home in one piece. Describe your experience of the residency days. Knackering. I feel like I’m in a dream. What did you think when you first read the script? I’ve got such a lot of dialogue! The play is very physical – how important is keeping fit for a show like this? VITAL. I go for a six-mile run every morning, and to the gym in the evening. Theatre credits include Coriolanus (West Yorkshire Playhouse), Hamlet (Young Vic), Buchanan and No Further Cause For Concern (Traverse), Macbeth (Leicester Haymarket), East From The Gantry (Y Cwmni), Seven Doors (The Gate), Fallen Angel (The Bush), Tectonic Plates (National Theatre), A Midsummer Night’s Dream (Moving Being), Othello (Wales Actors’ Company), Savages, The Scam (Made In Wales). Television credits include High Hopes (series writer, creator and actor), Satellite City (series writer and actor), The Celluloid World Of Dezmond Rezeillo (series writer and actor), Dez Rez (series writer and actor), Whistling Boy and Intelligence Limited (BBC Wales), A Small Summer Party (BBC), Pris Y Farchnad (S4C), The Final Cut (BBC), Dirty Work (BBC) and The Angry Earth (Channel 4). Film credits include Masterpiece, Flick, The Testimony Of Taliesin Jones, The Nine Lives Of Thomas Katz, Twin Town and Tectonic Plates. Presenting credits include Week In Week Out, The Slate and Clack’s Comedy Collections (BBC Wales). Music Album Welsh Bitter.
Describe your experience of the residency days. Great. Pretty essential to spend time there before the shows, meeting as many people as possible, and familiarising ourselves with the buildings, as they are, each of them, a character in the play. And having open rehearsals has been good practice for involving the audience with the show. Is the fight training fun? Hitting Boyd with a handbag is not easy, and so I needed all of Andy's [the fight director] help so I could gear up myself up to the necessary point of aggression. What’s it like playing more than one character in the play? I’ve just finished playing six characters in A Christmas Carol at the Sherman, so I’m well-practiced at the moment. Theatre credits include A Christmas Carol and The Silver Sword (Sherman Cymru), Tyˆ Bernarda Alba (Theatr Genedlaethol Cymru), Trafaelu Ar Y Trên Glas, Ede Hud a Holl Liwie'r Enfys (Rhosys Cochion), Lingua (Chapter), Flowers From Tunisia and Gobeithion Gorffwyll (Theatr Y Byd), Angels Don’t Need Wings (Hijinx), Waiting At The Water’s Edge, My Piece Of Happiness, The Poor Girl, and Wanting (Made In Wales), House Of America (Y Cwmni), No End Of Blame (Moving Being). Television credits include After You’ve Gone, Torchwood, Doctors, Down To Earth, A Light In The Valley, Casualty, The Magnificent Evans, That Uncertain Feeling, No Place Like Home, The Citadel, Nye, Lloyd George, Verse, Worse & Baby Grand, and Henry IV (BBC), Midsomer Murders, Coronation Street, The Gentle Touch and Mine All Mine (ITV), A Mind To Kill (Five), Belonging, High Hopes, Grand Slam and Pobol Y Cwm (BBC Wales), Martha, Jac A Sianco and Darn O Dir (Apollo), Calon Gaeth (Green Bay), Caerdydd (Fiction Factory), Talcen Caled (Nant), Meicroscop Hud (Elidir), Llafur Cariad (Teliesyn), Tair Chwaer (Gaucho), Pris Y Farchnad (Penadur) and Sylvia Pankhurst (Channel 4). Film credits include Summertime, Abraham’s Point, Owain Glyndw ˆ r, Giro City, Newid Gêr, Angry Earth, Gadael Lenin and Cymer Dy Siar and Child Of Love. Radio credits include Writing The Century, Horizontal View, Aberystwyth Mon Amour, Operation Charlie, How I Live Now (BBC Radio 4), Rhydeglwys (BBC Radio Cymru) and Station Road (BBC Radio Wales).
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How is this show different from others that you’ve done? I get to keep my clothes on for at least the first half of the play, which is always a bonus. How would you characterise the writing? Sloppy – Alan can’t spell! But his depiction of a valleys community in a miners’ institute is spot on. It’s very natural and funny. Did you recognise the characters/situations/humour? Totally! I know all these characters – they are all very identifiable to me, as is the humour. The play is very physical – how important is keeping fit for a show like this? Well, for the characters I play, very important. I thought I was fit before starting this job, now I realise that was a figment of my imagination. Our fight coordinator, Andy, has certainly put me through my paces – I have genuinely felt sick after some sessions with him. But on the plus side, my fitness has increased. I feel like I could take on Rocky and win – and my boyfriend is pleased with the physical results. Theatre credits include A Midsummer Night's Dream, Suddenly Last Summer, The Rabbit, King Lear, Flora’s War, Host of Rebecca, Rape of the Far Country, The Journey of Mary Kelly, Christmas Carol and Equus (Clwyd Theatre Cymru), The Cloak Room (Sherman Theatre Cymru), Knives in Hens (Bath Theatre Royal), The Seagull (Bristol Old Vic), Twelfth Night and Much Ado About Nothing (National Open Air Tour), The Winter’s Tale and Merchant of Venice (Ludlow Festival), Feast of Snails (The Lyric Theatre) and Gas Station Angel (Royal Court Theatre). Television credits include Doctors, Casualty and The Bench (BBC), Torchwood, Belonging and Celebdag (BBC Wales), Miss Marple and The Bill (ITV), Con Passionate and Caerdydd (S4C), Skins (Channel 4), A Mind to Kill (Five), Iechyd Da (Bracan), 20 Things To Do Before You’re 30 (Tiger Aspect), Mine All Mine (Granada), The Scariest Place on Earth (Fox TV), Tales From Pleasure Beach (Blast Films) and Paved With Gold (Opus Films). Film credits include The Marvellous Handshake, Sister Lulu, Y Bys Priodasol, Antigone, Social Action and Suckerfish. Radio credits include Dover And The Unkindest Cut Of All (BBC Radio 4), Station Road (BBC Radio Wales), The Memoirs of Harriet Wilson and Same As It Ever Was (BBC Radio Wales), On Top of The World (Radio 4), Station Road (BBC Radio Wales) and Last Tango in Aberystwyth (BBC Radio Wales).
Siwan Morris
Huw Rhys
Huw Rhys
Amy Starling
Stan Shandy/Rich/Kyle
Sue/Young Nurse/Tracy
Huw was born and bred in Tylorstown in the Rhondda Valley, and trained at the Royal Welsh College of Music & Drama.
Amy comes from Aberdare and trained at the Royal Welsh College of Music & Drama.
What’s your idea of a good night out in the valleys? Let me tell you what a good night in the Rhondda is like. Firstly, it’s the New Pub for the first four beers and a game of pool. Then up to the Archer for another six, and maybe a fight. Moving swiftly on, up the rugby club to see all the boys, tell them about the fight, and then pull some unlucky girl, and…that’s the way I roll. Describe your experience of the residency days. It’s been a great experience. Being in different areas of the valleys for five weeks, I’ve become an expert on the local cafés and their fine full breakfasts. Did you recognise the valleys as portrayed in the script? Of course! I’m from the Rhondda!!! Everything in this play is a reflection of what a good night out in the valleys is like. Is the fight training fun? Well, to some you can’t teach this stuff. It’s in our blood. But yes, I enjoyed the whole experience. Just hope it goes well on the night and the show doesn’t turn into A Good Night Out in A&E. What’s next for you when this is done? Well, Steven Spielberg and I are currently talking about me starring in E.T. 2: Back to Earth With a Bang! I’ve also been booked again as the body double for Daniel Craig in the up-and-coming Bond movie. Also, Calvin Klein want me back as a model. Theatre credits include The Ballard of Megan Morgan (Theatr Clwyd), Assassins and Twelfth Night (Welsh College Of Music & Drama) Television credits include Shameless (Channel 4), Dr Who, Spooks, Crash, Casualty and Mayo (BBC), Con Passionate (Apollo), Belonging (BBC Wales), The Palace (ITV), Princes Trust and Caerdydd (Fiction Factory), Life Begins (Granada), Bronnau (Opus) Diwrnod Hollol Mindblowing and Pam Fi Duw? (HTV). Film credits include Summertime and Gari Tryfan: Drych I’r Gorffennol.
What’s your idea of a good night out in the valleys? I have had many, many good nights out in the valleys. Usually they involve copious amounts of alcohol, good music to dance to and great friends to have a laugh with. Now I just need someone to invent stiletto heels that I can wear all night without suffering from blisters the next day! How is this show different from others that you’ve done? The fact that the show was created using stories and characters from the communities we’re performing in makes it a very different experience. There is a great pressure on us to not create caricatures of valleys people. I think we are fortunate that the cast are all from the valleys, so we are sensitive to the way we should represent valleys life.
How is this show different others that you’ve done? The play is massive! It is a theatrical spectacular as much as a play. Did you recognise the characters/situations/humour? It’s all very familiar – valleys life in a nutshell. Is the fight training fun? Yes, I like fighting on stage! It’s good to get a sweat on, and work off my excess aggression! What’s next for you when this is done? Unemployment, watching TV, a sex change operation or maybe I’ll just mow the lawn. Theatre credits include Shadow Of A Boy and Waves In The Chatroom (Sherman Cymru), Cinderella (Torch Theatre), Fiddler On The Roof (Aberystwyth Arts Centre), Sleeping Beauty (New Wolsey Theatre), Electricity (West Yorkshire Playhouse), Merchant Of Venice, Twelfth Night and Cymbeline (New Theatre), The Owl Service (Theatre Royal, Plymouth) and Romeo And Juliet (English Touring Theatre). Television credits include Crash, Belonging and High Hopes (BBC Wales) and Green Green Grass (BBC). Film credits include London Boulevard. Radio credits include Pavement Stars, Truth Or Dare, Running Away With The Hairdresser and Steel Stitches (BBC Radio 4).
What did you think when you first read the script? The first time I saw the script was at the first read-through, so it was quite hard to take anything in. But I was really surprised at how well the dialogue flowed. There were about 40 people in the room, and they all seemed to stay with the story right through to the end, which speaks volumes about the script and storylines. Is the fight training fun? I was surprised when my aggressive side came out – I didn’t realise how much I enjoyed getting involved in a good oldfashioned ruck!
Amy Starling
Theatre credits include The Snow Queen (Sherman Cymru), Abigail’s Party (London Classic Theatre) and The Most Excellent And Lamentable Tragedy (Of Romeo & Juliet) (Volcano). Television credits include Torchwood, Belonging, Tracey Beaker, Nuts And Bolts and Eros Unleashed. Film credits include Caught In The Act.
Oliver Wood
Cast Portraits: Gareth Phillips/Guardian News & Media Ltd 2010
/ 06
NATIONAL THEATRE WALES
“The people of the valleys are naturally funny, which is the best tonic and very grounded too, which makes you realise what’s really important.” Siwan Morris
Pontardawe Arts Centre
Ross Thomas Leadbetter (Emerging Director) / John McGrath (Artistic Director)
Oliver Wood
Oliver Wood / Amy Starling
Bingo
Siwan Morris
“Being in different areas of the valleys for five weeks, I’ve become an expert on the local cafés and their fine full breakfasts.” HUW RHYS
Huw Rhys / Oliver Wood
Pontardawe Arts Centre
“Hitting Boyd with a handbag is not easy, and so I needed all of Andy’s help...” Sharon Morgan
Sharon Morgan
nationaltheatrewales.org
Boyd Clack / Huw Rhys
/ 07
A GOOD NIGHT OUT IN THE VALLEYS
“Having more money coming home than when I went out, and throwing up.” OLIVER WOOD
Reflections
Huw Rhys / Oliver Wood
Sharon Morgan
Siwan Morris
“There is a great pressure on us to not create caricatures of valleys people.” AMY STARLING
Amy Starling / Huw Rhys
Huw Rhys / Siwan Morris
Boyd Clack
Sarah Thomas (DSM) / John McGrath / Ross Thomas Leadbetter (Emerging Director)
“I don’t drink, smoke or chase other women. My good night out would be getting home in one piece.” BOYD CLACK
Pontardawe
nationaltheatrewales.org
Amy Starling / Boyd Clack
Rehearsal Images: Jon Poutney
/ 08
NATIONAL THEATRE WALES
Angela Davies Set and Costume Designer Angela has worked extensively in theatre since living in the Rhondda valley. She trained at Cardiff College of Art and Nottingham Polytechnic. Her first design was for Frank Vickery, while her other work in Wales includes designs for Diversions Dance Company and the film Simon Magus. She has been asked to work with NTW again in the autumn, again as a Designer.
Alan Harris
Alan Harris
Writer Alan is currently working on a commission for the WNO’s MAX department (The Journey), and BBC Radio 3 recently broadcast his play The Gold Farmer as part of The Wire season. His first play (Orange, performed at the Chapter Arts Centre, Cardiff) was staged by Sgript Cymru. He has worked extensively with companies including Hijinx Theatre (Miss Brown To You, tour of Wales and England), Sherman Cymru (Cardboard Dad, Burberry), Paines Plough (The Loneliness of the Long Distance Bus Driver performed at Later, Trafalgar Studios, London), The Operating Theatre Company (Brute at the Tristan Bates Theatre, London) and Pentabus. He has also worked with the National Youth Theatre of Great Britain as a writing workshop leader and WNO MAX on various projects, including Songlines, Song Bus and Surf Tailz – an exploration of the connections between opera and sport that culminated in a surf DVD and prisoners at HMP Cardiff on a new play for Academi.
John McGrath
nationaltheatrewales.org
Theatre credits include Life As A Dream (Donmar Warehouse), The Father (Chichester), Mahabharata (Sadler’s Wells), The Odyssey, Twelfth Night, and A Midsummer Night’s Dream (Bristol Old Vic), Brontë, After Mrs Rochester, The Clearing, A Doll’s House, Mother Courage And The House Of Bernarda Alba (Shared Experience), Hamlet, Rosencrantz and Guildenstern Are Dead, Don Juan, and The Hypochondriac (West Yorkshire Playhouse), Night Of The Soul, Victoria, and Shadows (RSC), The Maid’s Tragedy (Globe), and As You Like It (Washington Shakespeare Theatre). Opera credits include Rigoletto and Falstaff (Grange Park Opera), La Cenerentola and La Gazza Ladra (Garsington Opera), and The Magic Flute (Opera House, Graz). Current projects include Henry VIII (Globe Theatre) and The Prince Of Homberg (Donmar).
John McGrath Director John McGrath is Artistic Director of National Theatre Wales. For the company’s launch year, he will be directing two plays – A Good Night Out in the Valleys by Alan Harris, and Love Steals Us From Loneliness by Gary Owen – as well as overseeing a launch programme of 13 shows, the Theatre Map of Wales. Previously, John was Artistic Director of Contact, Manchester, where among other productions, he directed Storm and Something Dark by Lemn Sissay, Perfect by Kaite O’Reilly and Paul Clay, and Somewhere the Shadow by Jeff Noon. John trained in New York, where he was also Associate Director of Mabou Mines. In 2005, he was awarded the NESTA Cultural Leadership Award.
Ceri James
Mike Beer
Lighting Designer
Sound Designer
Born in Newbridge, south Wales, Ceri trained at the Royal Welsh College of Music and Drama.
Mike Beer started his career at the Sherman Theatre in 1986. Since then, Mike has toured theatre and corporate events worldwide with companies including, DV8 Physical Theatre, Theatre Royal Bath, Q Theatrical Productions, West Yorkshire Playhouse, Birmingham Stage, Imagination, Orbital, Theatre Clwyd, Act Productions, Theatre Gwynedd, Vodafone, Ford Motor Car Company and Motorola.
theatre lighting credits include Croesi’r Rubicon (Theatr Bara Caws), Cinderella (The Mercury Theatre Colchester), The BFG (Fiery Angel/ Theatre Royal Northampton), The Bankrupt Bride (Theatr Na N’og), She Stoops To Conquer (Mappa Mundi Theatre), Siwan (Theatr Genedlaethol Cymru), Goon Bandage (Taliesin Arts Centre), Danny Champion Of The World (Birmingham Stage Company), The Stories Of Hans Christian Anderson (The Sherman Theatre), God’s A DJ (Theatre Centre, London), An Informer’s Duty (National Youth Theatre Of Wales), Journey to the River Sea (The Unicorn Theatre), Martha and the Chinese Elvis (Salisbury Playhouse), Beautiful Thing (Leicester Haymarket Theatre), The Bat (New Theatre Stoke On Trent), and Noah (Oxfordshire Touring Theatre Company).
Mike’s designs include BFG (Fiery Angel), Great Expectations (Aberystwyth Arts Centre), The Borrowers and Merlin (Sherman), Danny The Champion Of The World (Birmingham Stage Company), Single Spies and Legal Fictions (Theatre Royal, Bath), Don Quixote (West Yorkshire Playhouse), Chase the Glowing Hours With Flying Feet (Diversions Dance). Mike Beer now works closely with Stage Sound Services, working as Sound Designer and Production Consultant.
Simon Clode Visual Artist/Film Maker
Angela Davies
After a 10 year career at sea Simon decided to study Visual Performance at Dartington College of Arts. On graduating he moved to Cardiff and began working with video and live projection. Over the years his focus has centered on creating photographic and cinematic footage for film or live performance. Credits include – Sustainable Wales Documentary 2009, National Theatre Wales launch films,trailers and documentary, visuals for Reading and Leeds festivals, Greenman, Mobb Deep, Juliet lewis and the licks, Sepultura, Coolhouse, MN2S, Miss Dynamite, Paul Van Dyk and London Elektricity to name just a few. Simon’s credits include A Sustainable Wales documentary, NTW launch films, trailers and a documentary, visuals for the Reading and Leeds Festivals, The Green Man festival, Mobb Deep, Juliette Lewis and the Licks, Sepultura, Coolhouse and MN2S.
/ 09
A GOOD NIGHT OUT IN THE VALLEYS
Ross Thomas Leadbeater Emerging Director
Ross Thomas Leadbeater
Ross is a pianist, singer, spoken word artist and music director from Abertillery. He read English Literature at the University of Warwick and at the University of Wales Swansea, where he gained a Distinction in his Masters degree, specialising in Welsh Writing in English. Since graduating, Ross is enjoying a varied career as a performer, singing animateur and freelance teacher of piano, music theory and performing arts. In August 2007, Ross landed the lead role of Richard Lewis in the world premiere production of My Land’s Shore, directed by Craig Revel Horwood. He is an avid member of Only Men Aloud, who won BBC1’s Last Choir Standing.
Sam Jones C.D.G
Dan Lawrence
Casting Director
Music Director
Sam is casting the opening year of National Theatre Wales. She was until recently Head of Casting for the RSC.
Dan Lawrence grew up in Aberystwyth and then went to Manchester to study Pop Music and Recording. Dan stayed there for ten years working in bands (mostly jazz and folk music) and as a session musician. Dan has lived in Cardiff for the past 10 years. As well as composing music and sound design for theatres and Theatre in Education Dan continues to play regularly with three bands: Sibrydion, Os Sambistas and Olion Byw. Dan has worked with many of the Welsh theatre companies in his career to date and has enjoyed working with the five house bands involved in this fantastic show.
Theatre credits include Work for Kneehigh, Shared Experience, Told By An Idiot, Stephen Berkoff, Peter Hall, The Young Vic, Hampstead Theatre, The Almeida and the Royal Court, as well as the first two seasons for Terry Hands at Theatr Clwyd. Her West End work includes Journey’s End, Dinner, A Day In The Death Of Joe Egg, and Madonna in Up For Grabs! Television credits include Various series for Lynda la Plante, Occupation (BBC1), and the forthcoming Lennon Naked for BBCFour. She is currently casting the film of Owen Sheers’ Resistance.
Ellie Carter Production Manager Ellie began in theatre by producing student theatre at the University of Sheffield, where she also produced devised theatre with practitioners such as Broken Tempo, Slung Low and Forced Entertainment’s Terry O’Connor. After gaining work experience at the Crucible in Sheffield, she became a Deputy Stage Manager in the creative development department and now works as a freelance Production Manager based in Wales. She has also worked for companies including Sherman Cymru, Tabula Rasa Theatre, Theatre in The Mill, Sheffield Theatres, Peter Brook Productions, Unlimited Theatre, National Theatre Studio, Volcano Theatre, Oxford School of Drama. In 2008, Ellie became Associate Producer for Scary Little Girls Productions. She is also a Co-Producer of new writing company Dirty Protest, based in Cardiff, which specialises in putting new and established writers’ new work in front of lively audiences.
Q&A Angela Davies
John McGrath
What factors do you have to consider when designing a set for a play like this? The heart of the story is the building itself, the Miners’ Institute. In the design, we acknowledge the building (in our story it is in a precarious state); referring to the history of the building and the crumbling walls and architecture. We have chosen to bring the audience into the play by setting them on stage and on tables around the venues.
The play jumps from comedy to tragedy in the blink of an eye. Is that difficult to direct? I actually really like having both aspects to play with in the same show. A lot of directing is about finding the right rhythms for a play, particularly in the latter weeks of rehearsal, when you’re moving your focus from all of the details to the overall balance and shape of the show. It's great to know that there are some comic highpoints – they can really help you structure the evening.
What inspired you this time? Having grown up in the Valleys, the surrounding landscape has always been an inspiration, but in this play it felt integral. I have always loved the way the houses criss-cross and slide down the hillsides, and I responded to this by the shape of the platforms that are piled upon each other. Also on our textured back wall there is an outline of the horizon line of the surrounding mountains. Are the materials relevant to the play? A core idea in the play is that the building is the man and also represents the living breathing community in which it stands. We have suggested this in the design by representing the living nature of the building in the materials, and also by using projection of textures (taken from some of the buildings themselves).
The Cynon (Left) and Rhondda (Above) Valleys, which inspired Angela’s set designs)
nationaltheatrewales.org
What reactions have you had to your various residency days? Any surprises? The residency days have been a great initiative. We've had a range of people visiting, from the 'knitting nanas' who kept on knitting all the way through rehearsal, to members of the bands. It was great to get feedback from people who've been involved in the show from the very first workshops. We performed a scene for Caerphilly Youth Theatre that came out of an improvisation they'd done for us. They were surprised to see it in the show! The atmosphere in the auditorium is more like a variety show than stiff, formal theatre. Is that deliberate? One of the things we asked a lot of the people we met in the valleys was what makes a good night out for them. The word ‘variety’ came up a lot – from the old variety shows to more contemporary things like talent shows. People said they liked seeing lots of different stories, and they didn't like to be ignored as an audience. I think we've really embraced that in the show.
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NATIONAL THEATRE WALES
Help shape the future of National Theatre Wales
We are looking for 20 TEAM Members for each show, to help run events, share their ideas and spread the word. In exchange we offer you the chance to get behind the curtain, take part in building the shows from start to finish and we’ll even throw in a ticket.
Sherral Morris
Baz Jones
TEAM Member
TEAM Member
“For the last six years, I’ve been a volunteer with the Caerphilly Arts Development team and other arts related organisations. I’ve helped to run drama sessions, creative writing workshops and digital storytelling courses.
“When I heard about NTW, I wanted to support its work. It is a fabulous creation and an opportunity to bring theatre closer to local communities. Getting involved was much easier than I thought; chatting to co-workers and others in the building; leaving flyers at the café of a neighbouring block; and of course, encouraging friends and family to spread the word.”
“I believe everyone’s got a story to tell, and they should have their voices heard. So taking part in the A Good Night Out In The Valleys workshop and being asked to become a TEAM member with National Theatre Wales means I can spread the word, and ensure that stories from the valleys are shared with as many people as possible.”
We are looking for Team Members in all areas of Wales but especially at our 2010/2011 show locations: South Wales Valleys, Swansea, Cardiff, Barmouth, North Wales, Brecon Beacons, Bridgend, Newport, Snowdonia, Aberystwyth, Milford Haven, Port Talbot ... and beyond.
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For more information contact the Team Coordinator: Devinda De Silva / 029 2035 3070 / 07540 687021 / team@nationalthetarewales.org
nationaltheatrewales.org
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A GOOD NIGHT OUT IN THE VALLEYS
National Theatre Wales is proud to introduce five bands local to the show’s five venues, and who know all too well what makes A Good Night Out in the Valleys. For more information on any of the bands, please contact National Theatre Wales or the relevant venue directly.
4TH STREET TRAFFIC
DARKNESS FAILING
LA FIASCO
HELTER SKELTER
THE STOKERS
Blackwood Miners’ Institute 11 & 12 March
Blaengarw Workmen’s Hall 16 March
Pontardawe Arts Centre 18 & 19 March
Bedwas Workman’s Hall Tue 23 March
Coliseum, Aberdare 26 & 27 March
Already described as “the new Stereophonics”, 4th Street Traffic are seasoned giggers from Bargoed and Gelligaer. They played an incredible set at last year’s Green Man Festival, wowing the crowd with their mix of classic rock and piercing suitar solos. More info at myspace.com/4thstreettraffic
Recently reformed with two new members Darkness Failing hail from the Graw Valley and are all set to tear the roof off Blaengarw Workmen's Hall.
Swansea-based La Fiasco have been going since 2006, playing alternative rock with an oldfashioned twist, while constantly updating their playlist. More info at myspace.com/lafiasco
Helter Skelter are a 4-piece covers band from South Wales. Although only playing with the current lineup for a year, the members have spent much of the last 15 years in various bands together. Playing songs from the 60’s through to the current day at weddings, pubs and clubs, Helter Skelter are known not only for their technical ability, but also their occasional eclectic song choices, priding themselves on playing songs that you may not see other bands perform. More info at www.helterskelterband.com
Initially the band were called "The Dodgy Jammers" but this didn't lend itself too good to the band getting regular work. Six years on and The Stokers play uptempo blues in venues across the Valleys. More info at myspace.com/thestokersband
Jason Shannon Guitar & Vocals
Paul Williams Drums
Alastair Britton Lead Vocals & Guitar Darryl ‘Ryl’ Robertson Lead Guitar Andrew Eddy Bass & Vocals Garry Dauncey Drums
Christian Jones Guitar & Vocals Gareth Williams Guitar Jonathan Wood Guitar Richard Scrowther Bass Owen Paul Drums
David Thomas Lead Vocals & Guitar Aaron Salter Guitar & Vocals Ken tudor Bass Ryan Lever Keyboards & Vocals Scott Lever Drums
Richard Jones Rhythm Guitar Jim Leaves Bass Matthew Taylor Drums
nationaltheatrewales.org
Allan Jones Guitar Andy Thomas Bass Gavin James Keyboards
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Come with us on a theatrical adventure across Wales. We challenge you to come to all of our productions and reward we will refund the total cost of your tickets.
All you need to do is collect a stamp from every National Theatre Wales show until the passport is complete. Pick up your passport at the Box Office.
A Good Night out in the valleys
Shelf Life
The devil inside him
For Mountain, sand & sea
The Beach
The Persians
Love Steals Us From Loneliness
The Dark Philosophers
The Weather Factory
The Soul Exchange
OutDoors
Mundo Paralelo
(Working Title)