For Mountain, Sand & Sea by National Theatre Wales

=0C8>=0; C7 =0C8>=0; C740CA4 F0 =0C8>=0; C740CA4 F0;4B

=0; C740CA4 F0;4B CA4 F0;4B

/ 02

NATIONAL THEATRE WALES

Creative Team TÎM CREADIGOL National Theatre Wales is the new English language theatre company producing world class work across Wales. This production is 04 of the launch year programme – 12 shows over 12 months, one a month, plus one spectacular finale – in amazing places and unique spaces across Wales. SEFYDLWYD NATIONAL THEATRE WALES I GREU THEATR BYWIOG O SAFON YN SAESNEG, A’I GWREIDDIAU YNG NGHYMRU, WED’I GWNEUD I BAWB. DYMA GYNHYRCHIAD 04 O RAGLEN Y FLWYDDYN AGORIADOL – 12 SIOE DROS 12 MIS, UN Y MIS, YN CYNNWYS SIOE YCHWANEGOL ARBENNIG I GLOI – AR DRAWS CYMRU MEWN LLEOLIADAU UNIGRYW A DI-RI. CORE FUNDERS NODDWYR CRAIDD

CONCEPT/CURATOR/ ARTISTIC DIRECTOR CYSYNIAD/CURADUR/ CYFARWYDDWR ARTISTIG MARC REES CREATIVE COLLABORATOR/ DRAMATURG/DESIGNER CYDWEITHREDWR CREADIGOL/ DRAMODYDD/DYNLUNYDD BENEDICT ANDERSON CREATIVE PRODUCER/ PRODUCTION MANAGER CYNHYRCHYDD CREADIGOL/ RHEOLWR CYNHYRCHIAD SIÂN THOMAS COLLABORATING ARTISTS ARTISTIAID CYDWEITHREDOL GARETH CLARK HOLLY DAVEY MAREGA PALSER CAI TOMOS GUILLERMO WEICKERT COSTUME DESIGN DYLUNYDD GWISGOEDD NEIL DAVIES TECHNICAL MANAGER RHEOLWR TECHNEGOL GERALD TYLER POSTCARDS FROM BARMOUTH CERDYN POST O’R BERMO JOHN SAM JONES

YEAR ONE SPONSORS NODDWYR Y FLWYDDYN AGORIADOL

PHOTOGRAPHIC ARCHIVIST ARCHIFYDD FFOTOGRAFFIG HUGH G. ROBERTS

SUPPORTING CAST Cast Cynorthwyol JACK RENDELL ELIS MATTHEWSON SCOTT WILLIAMS LAURA THOMAS MICHEL BENSON DAVE BERRILL GWYNFOR OWEN HAT MAKER GWNEUTHURWR HET TOM HIGHES FILM CAST CAST FFILM ESME GRIFFIN NORMA STOCKFORD ALLISON WILLIAMS ANN WILLIAMS MEMBERS OF/AELODAU o BATALA BERMO ELEPHANT MAKERS GWNEuTHyRWYR YR ELIFFANT YEAR 5/BLWYDDYN 5 YSGOL Y TRAETH FLAG MAKERS GWNEuTHyRWYR BANERI MAGGIE POWELL ANGIE JONES BERYL HADLAND LEE MART PRODUCTION SUPPORT CYNORTHWYWYR CYNHYRCHIAD cassy driver JANE LLOYD FRANCIS JUPP KORSTEN MATTHEW DAVIES

Thank You DIOLCHIADAU

STAFF TEAM TÎM CRAIDD

NATIONAL THEATRE WALES WOULD LIKE TO THANK THE FOLLOWING ORGANISATIONS FOR THEIR SUPPORT DURING THE CREATIN OF AND PRESENTATION OF “FOR MOUNTAIN, SAND & SEA” ALONG WITH ALL THE VOLUNTEERS SUPPORTING THE PERFORMANCES

Lucy Davies Producer CYNHYRCHYDD

HOFFai NATIONAL THEATRE WALES DDIOLCH I’R CWMNÏAU AC UNIGOLION ISOD AM EU CEFNOGAETH WRTH GREU “FOR MOUNTAIN, SAND & SEA” YN OGYSTAL Â’R HOLL WIRFYDDOLWYR COMMUNITIES FIRST THE DRAGON THEATRE BERMO ARTS WOMEN’S INSTITUTE MERCHED Y WAWR Sailors’ institute SASSIE REES CHRIS KNOWLES SANDANCER SAILORS INSTITUTE GLYN JONES TONY PAIGE BERYL FINCH KIN CARTILAGE COUNTRY CHOICE SASSIE REES CHRIS KNOWLES MAIR JONES CHRIST CHURCH EIRA GOODCHILD TEAM MEMBERS ASSEMBLY EVENT PARTICIPANTS

ARCHIVE ANIMATOR BYWDDARLUNYDD ARCHIF SIMON CLODE

DOCUMENTARY/DOGFEN PETE TELFER

Registered Company No. 6693227 Charity Registration No. 1127952 Newspaper Design — elfen.co.uk Printed at newspaperclub.co.uk PHOTOGRAPHY BY WARREN ORCHARD

CARPENTER/Saer PETER FURNESS

Devinda De Silva TEAM CO-ORDINATOR CYDLYNYDD TEAM Rhian Jones Administrator GWEINYDDYDD Matthew Lawton Communications Director CYFARWYDDWR CYFATHREBU Mathilde López Creative Associate CYDYMAITH CREADIGOL John McGrath Artistic Director CYFARWYDDWR ARTISTIG Catherine Paskell Creative Associate CYDYMAITH CREADIGOL Catrin Rogers MEDIA OFFICER SWYDDOG WASG Michael Salmon Company Assistant CYNORTHWYDD Y CWMNI Carys Shannon ASSOCIATE PRODUCER CYNHYRCHYDD CYDYMAITH

THE CORNER SHOP PR/CYSYLLTIADAU CYHOEDDUS

PAINTER/PAENTIWR BERNARD ELLIS

National Theatre Wales 30 Castle Arcade Cardiff CF10 1BW Phone +44 (0)29 2035 3070 admin@nationaltheatrewales.org

Rhiannon Davis Finance Manager RHEOLWR CYLLID

INSTALLATION TECHNICIAN TECHNEGYDD GOsodiad RICHARD ROBINSON

FILM TECHNICAL ASSISTANT CYNORTHWYDD TECHNEGOL FFILM ANTHONY SHAPLAND TRANSLATOR/CYFIEITHYDD OWEN MARTELL PHOTOGRAPHER/FFOTOGRAFFYDD WARREN ORCHARD

YOU CAN REACH US ANYTIME AT / GALLWCH DDOD O HYD I NI UNRHYWBRYD YN

nationaltheatrewales.org/community

Facebook / Twitter / Flickr / YouTube

nationaltheatrewales.org

TAG ALL YOUR PHOTOS, VIDEOS AND TWEETS WITH / TAGIWCH EICH LLUNIAU FIDEOS A NEGESEUON #NTW04

/ 03

FOR MOUNTAIN, SAND & SEA

(PROVERB)

A year and a half ago, I had never heard of Barmouth let alone been there, but now visiting feels like coming home. Its abundant sand has poured into my veins and firmly rooted me on the banks of the river Mawddach. Its coconut-scented gorse, heavy with golden blossom, has perfumed my very core. William Wordsworth was spot on when he wrote:

Flwyddyn a hanner yn ôl, doeddwn i heb glywed am Y Bermo, heb sôn am fod yno; erbyn hyn, mae ymweld â’r lle’n teimlo fel petawn i’n dod adre. Llifodd ei dywod mewn i ngwythiennau fel petawn i wedi ngwreiddio ar lannau afon Mawddach. Mae’r eithin, yn drymlwythog gan flodau euraidd a’i arogl o gnau coco, fel petai wedi persawru fy nghraidd. Roedd William Wordsworth yn llygad ei le pan ysgrifennodd:

“With a fine sea view in front, the mountains behind, the glorious estuary running eight miles inland, and Cadair Idris within compass of a day’s walk, Barmouth can always hold its own against any rival.” I feel like an honorary ‘plentyn bach y tywod’ (‘child of the sand’, the affectionate name given to residents who grew up near the beach). It was a member of that clan – local writer John Sam Jones – who ignited and enflamed my imagination; him and the overwhelming lure of the sealed doors of The Cambrian Establishment – a grand, former Victorian draper’s on the high street (sadly closed to us too). Meeting John, with his extraordinary 300-year-old lineage, his wordsmith’s repartee, his witticisms and illuminating insight into the town’s past and present was the turning point in my search for a location, and the town materialised as the perfect place for a site-specific event. Barmouth, the ‘Queen of the Cambrian coast’ as the vintage railway posters used to call it, had bewitched me. ‘For Mountain, Sand & Sea’ echoes my previous project, ‘En Residencia’, where I invited a group of artists to respond to the archive, artefacts and architecture of a particular site in northern Spain. However, this time the intervention inhabits a whole town, not just one primary location, and uses the vivid historical pictorial archive that has been collated by the community as its main stimulus. My role is similar to that of an archaeologist, exhuming the history of Barmouth, sifting through layers of sand to discover, identify and analyse fossils of fact or fiction which I then pass on to the artists to deduce, re-animate and preserve through performance.

nationaltheatrewales.org

A critical part of the research and development process was the opening of a temporary ‘Story Shop’ to gather an oral history, where people could relay anecdotes and recollections triggered by a wall of archival photographs. These memories, images and moments were then sampled, stored and moulded to form the bedrock of ‘For Mountain, Sand & Sea’. Through this sharing process, the community awoke to its theatrical potential, and therefore in many ways the ‘Story Shop’ has defined the project. This work is not a re-enactment of historical events, but a distilled experience, viewed from my perspective as a contemporary artist and creative interpreter. ‘For Mountain, Sand & Sea’ is a multi-sensory excursion that collapses time, re-imagines spaces and creates vignettes that aim to resonate visually, physically and poetically with the town’s history; it is an event that will hopefully galvanise the community into celebrating the town’s true shining attribute – its uniqueness. Barmouth, its people, its past and its present (beyond the garish plastic ‘contemporary’ artefacts packed onto the shelves of the former chapels) is a place like no other, and I hope that ‘For Mountain, Sand & Sea’ captures and cements its distinctive spirit for posterity.

Dw i’n teimlo fel ‘plentyn bach y tywod’ (yr enw a roddir i drigolion a dreuliodd eu plentyndod ger y traeth) er anrhydedd. Aelod o’r clan hwnnw, yr awdur lleol John Sam Jones, daniodd fy nychymyg; John ac atyniad goresgynnol drysau caeëdig y Cambrian Establishment – dilledydd crand o Oes Victoria ar y stryd fawr (sydd wedi cau erbyn hyn, gwaetha’r modd). Cyfarfod â John, ei linach teuluol yn estyn yn ôl dros dri chanrif, a’i ddawn eiriol, ei ffraethineb a’i sylwadau treiddgar ar bresennol a gorffennol y dref, oedd y ffactor pennaf wrth i mi ystyried lleoliadau posib; o dipyn i beth, daeth yn amlwg bod Y Bermo’n lle perffaith ar gyfer gosodiad safle-benodol. Roedd Y Bermo, ‘Brenhines arfordir Cambria’ yn ôl yr hen bosteri rheilffordd, wedi fy swyno. Mae ‘For Mountain, Sand & Sea’ yn adleisio fy mhrosiect blaenorol, ‘En Residencia’, lle gwahoddais grw ˆp o artistiaid i ymateb yn greadigol i archifau, arteffactau a phensaernïaeth safle penodol yng ngogledd Sbaen. Y tro hwn, fodd bynnag, mae’r gosodiad yn meddiannu tref gyfan yn hytrach nag un lleoliad penodol; yr archif gweledol hanesyddol a byw a gasglwyd gan y gymuned yw prif ysgogiad y gwaith. Mae fy rôl i’n debyg i rôl archeolegydd, yn datguddio hanes Y Bermo, yn twrio trwy’r haenau tywodlyd i ddarganfod, adnabod a dadansoddi ffosiliau – o ffaith a ffuglen. Dw i’n rhoi’r ffosiliau hyn wedyn yn nwylo’r artistiaid ac yn eu gwahodd i’w dehongli nhw, eu hadfywiocáu ac i sicrhau eu cynhaliaeth trwy gyfrwng perfformiad.

Rhan greiddiol o’r broses ymchwil a datblygu oedd agor ‘Siop Straeon’ dros dro er mwyn casglu hanesion llafar, lle gallai pobl ddod i adrodd straeon a rhannu atgofion, wedi’u hysgogi gan wal yn llawn ffotograffau archif. Cafodd yr atgofion, y delweddau a’r eiliadau hyn eu samplo, eu storio a’u ffurfio i greu sail ar gyfer ‘For Mountain, Sand & Sea’. Trwy gyfrwng y broses hon o rannu, deffrowyd syniad o botensial theatrig yn y gymuned ac, yn hynny o beth, mae’r ‘Siop Straeon’ wedi dod i ddiffinio’r prosiect. Nid ceisio ail-greu digwyddiadau hanesyddol ydw i ond ceisio cyflwyno profiad distyll, profiad sy’n deillio o fy mhersbectif i fel artist cyfoes a dehonglydd creadigol. Mae ‘For Mountain, Sand & Sea’ yn daith amlsynhwyraidd sy’n chwalu amser ac yn creu ‘vignettes’ sy’n ymwneud yn weledol, yn gorfforol ac yn farddonol â hanes y dref; mae’n ddigwyddiad a fydd, gobeithio, yn annog y gymuned i ddathlu nodwedd amlycaf y dref – ei hunigrywiaeth. Mae’r Bermo, ei phobl, ei gorffennol a’i phresennol (y tu hwnt i’r arteffactau ‘cyfoes’ o blastig rhad sydd wedi’u pentyrru ar silffoedd y cyn-gapeli) yn lle digymar, a dw i’n gobeithio bod ‘For Mountain, Sand & Sea’ yn llwyddo i ddal peth o’r ysbryd unigryw hwnnw – a’i ddiogelu ar gyfer y dyfodol.

Marc Rees

|?0= >{= 8 CD0 ?D< <;FH33 >43 <8 >{= 8{= 0A54A 20A8> BCยน; 5027 305H33 A>14ACB H C4;H=FA 30;; 8 ;0FA =>AC7 0E4=D4 0 3A>B H ?A>< 8 ;;4 >433 >{= 27F0A0 1>1 3H33 0 3H=0 ;;4 5D>33 > F43H= H= 27F0A0 74= 0;0F>= CA033>3803>; 8 1>1; >433 H= ?0B8> 02 8{A 6FH;0=>3 } 4;8I014C7 ?>AC4A 34=C0; A424?C8>=8BC (%#

|F4 703 => 60A34= B> F4 7D=6 >DA F0B78=6 >= ;8=4B >= C74 14027 F4 >5C4= 5>A6>C 01>DC 8C 0=3 8C 6>C 0=>C74A B>0:8=6 F74= C74 C834 20<4 8= D=;4BB F4 2>D;3 1>AA>F 0 1>0C C> A4CA84E4 8C }

|2>58> BH<H3 0 BH<H3 <4F= 55>A33 1H6HC78>; 38 338F433 >433 39 A0CCH H= 27F0A04 70??H 70A32>A4 0A 140CB ?4A <8=DC4 H= BF=8> 54; <0278=4 6D= H= 7HCA027 =0 <8FB82 >433 ?0F1 H= 4D 30F=B 4D 7D= H= D=86 u = 0{A <F6 H=670=>; H BF >433 =0 55>A33 > 330F=B8> >433 H= ;;0F= 3HA=0D }

=>A<0 BC>2:5>A3 20A=8E0; @D44= ($(

|8C F0B 3DA8=6 F0A F40?>=B F44:* C74 ?A><4=034 F0B ?02:43 F8C7 4=C7A0;;43 B?42C0C>AB F0C278=6 0= 04A>10C82 38B?;0H >=4 >5 C74 ?;0=4B 0 <8;4B <0BC4A CF> B40C4A CA08=4A BC0;;43 0=3 2A0B743 14CF44= C74 ?A>< 0=3 C74 A08;F0H :8;;8=6 1>C7 ?8;>C 0=3 0BB8BC0=C C74 FA42:064 F0B 2;40A43 C74 5>;;>F8=6 30H 1DC 341A8B B20CC4A43 C74 0A40 0=3 0B 0= 8=@D8B8C8E4 1>H 8 6>C 7>;3 >5 0 F8A4 0=3 ?D;;43 0C C74 4=3 8 5>D=3 C74 B78=H z3{ A8=6 A4;40B4 70=3;4 >5 C74 ?0A027DC4r 8= 502C 8 BC8;; 70E4 8C }

208 C><>B 42BC0C82 30=24A (($

?4C4A 2A01CA44 B27>>;1>H (#

|427> 14027 F0B C74 B>=6 >5 C74 z;0B E460B{ 0<DB4<4=C 0A2034 9D:41>G 0=3 ?0AC >5 C74 B>D=3CA02: >5 10A<>DC7 0B 50A 0B 8{< 2>=24A=43 8C 0;B> 70B >=4 >5 C74 14BC 8=CA>B >5 0;; C8<4 } 0;;8B>= F8;;80<B 112 A038> 022834=C0; B01>C4DA (&!

/ 05

FOR MOUNTAIN, SAND & SEA

Barmouth Excursion “On Saturday last, from 900 to 1000 excursionists were brought here from Manchester, per the Great Western Railway. The day proving fine, all had an opportunity of making the best of time allowed them. Most of the excursionists chose to ramble up the mountains, and enjoyed themselves by gathering some of our beautiful wild mountain flowers; the ladies decorated their bonnets with them, and the gentlemen their hats, which had a very pretty effect, and at a distance might have been taken for a lot of moving flower pots...These excursionists were very orderly and well-behaved” (Carmarthenshire & Denbighshire Herald, June 1, 1872)

Mawddach Monster Stills from Barmouth Carnival, 1975. Filmed on super 8 by Bryan Jones. Monster costume by Tom Hughes.

ON MARCH 2ND IN 1975, SIX SCHOOLGIRLS DESCRIBED A CREATURE THEY SAW IN BROAD DAYLIGHT. “It had a long neck and a square face and a long tail with a flipper at the back and its skin was black and patchy.’”

nationaltheatrewales.org

/ 06

NATIONAL THEATRE WALES

12 17

23 08 13

09 24

05 15 20

nationaltheatrewales.org

/ 07

FOR MOUNTAIN, SAND & SEA

By John Sam Jones

For 300 years, my family have lived on the Mawddach. The woollen industry, shipbuilding and maritime trade offered opportunities to eke out a living through the 18th and 19th Centuries.

Ers 300 mlynedd, bu fy nheulu’n byw ar lannau afon Mawddach. Roedd y diwydiannau gwlân, adeiladu llongau a masnach forwrol yn fodd o grafu byw gydol y 18fed a’r 19eg Ganrif.

Between 1750 and 1865, some 318 ships were built on the river; sloops, brigs, snows, barques, brigantines, schooners. Standing today on the railway bridge across the estuary, looking upstream, it’s hard to imagine bustling shipyards along the riverbanks. Most of these vessels were coastal traders, but some of the larger brigs crossed the ocean carrying slate and locally woven webs of wool – bolts of cloth some 96 yards long and 27 inches wide – used to clothe slaves in the Carolinas. My forefathers were carpenters and blacksmiths, weavers and rope-makers – until Porthmadog took over as the main port in northern Cardigan Bay. But then, in 1867, the railway came to town and a building programme began that was to transform the small community of cottages that clung to the rock into a Victorian holiday resort of noble, though some might say monstrous and graceless, blocks of granite. The women in the family became maids in guesthouses and shop assistants, women-of-ill-repute and chapped-fingered laundresses who draped the tourists’ cotton sheets over the gorse bushes to dry. Today’s fragranced fabric softeners can’t evoke the clean freshness of the gorse blossom’s heady coconut scent.

Rhwng 1750 a 1865, adeiladwyd rhyw 318 o longau ar yr afon; slw ˆpiau, brigiau, cychod tair hwyl, barques, brigantinau, sgwneri. Wrth sefyll heddiw ar bont y rheilffordd dros y foryd, ac edrych i fyny’r afon, mae hi’n anodd dychmygu iardiau llongau prysur ar hyd y glannau. Roedd y rhan fwyaf o’r llongau hyn yn rhan o’r fasnach arfordirol, ond roedd rhai o’r brigs mwy yn croesi’r cefnfor, i gario llechi a gwlân hefyd, wedi’u wau’n lleol ac a ddefnyddid wedyn i ddilladu caethweision yn y Carolinas – bolltau o ddefnydd rhyw 96 llathen o hyd a 27 modfedd o led. Roedd fy nghyndeidiau’n seiri coed a gweithwyr metel, yn wehyddion a rhaff-wneuthurwyr – tan i Borthmadog ddod yn brif borthladd gogledd Bae Ceredigion. Ond yna, yn 1867, cyrhaeddodd y rheilffordd y dref ac fe gychwynnodd rhaglen o adeiladu a fyddai’n trawsnewid cymuned fechan o fythynnod ar graig yn gyrchfan gwyliau Fictoraidd yn llawn o adeiladau ithfaen y byddai rhai’n dweud eu bod yn nobl ac eraill yn mynnu eu bod yn hyll a di-lun. Aeth gwragedd y teulu i weithio fel morwynion mewn gwestai ac fel cynorthwywyr siop, merched amwys eu moesau a glanhawragedd a chroen eu bysedd wedi sychu’n grimp. Fe daflent gynfasau cotwm y twristiaid dros y perthi eithin i sychu. Nid yw’n cynhyrchion cemegol ni heddiw’n cyfleu rithyn o ffresni glân blodau’r eithin a’u harogl o gnau coco.

nationaltheatrewales.org

/ 08

NATIONAL THEATRE WALES

Dad coughs his smoker’s cough in the bathroom; Mam, turned to the wall, struggles with the clasp on her bra. I lie in the warmth of their bed – a shamed three-year-old, having wet my mattress during the night. The click and clack of the girls’ stilettos on the pavements of the new council estate get louder, competing with the seagulls and Dad’s coughing. Sometimes the point of a metal heel scrapes on a concrete paving slab – clickclack-click-clack-click-rasp. In the factory, they’ll put on more sensible shoes, and the Elephant Chemical Company’s cheap scent will souse them. You can smell the factory girls coming before you can hear their stilettos clack if the breeze is in the right direction. Mam tells the story so often, now she’s demented, that I almost believe it’s my memory… being cradled by a 91-year-old in a mangy fur coat. Stand on the harbour with your back to the river’s wide mouth and the Davy Jones’ Locker spills its bustle onto the wide pavement. It’s been a café for as long as I can remember and since the 1980s, the upstairs museum displays artefacts from the wreck of the Bronze Bell. In 1565, when Elizabeth I instituted a survey of the havens and creeks of Wales in an effort to suppress piracy, this building, Tyˆ Gwyn, was one of only four buildings in Abermowe. Architecturally, it’s a ‘first floor hall house’, built by Gruffudd Fechan of Cors y Gedol Hall, Dyffryn, in 1460. In Victorian times, it was converted to a multiple-occupation dwelling. Imagine, if you can, a small window in the gable – that small triangle of wall between the edges of the sloping roof. Behind that window, in a Dickensian hovel within the roof space, my grandfather, with his mother and his half brothers and sisters, his aunt and her three children – nine people in all – lived in some squalor. Until

nationaltheatrewales.org

1976, my great auntie Ann and great uncle Will lived in that roof space. As a boy, I did their errands (which always included fetching the tobacco for Ann’s clay pipe) and took them cakes and tarts made by my grandmother – their sister-inlaw. As a seven-week-old baby, in the early summer of 1956, I was carried into that roof space for Hen Nain to see me; she was my grandfather’s aunt, but everyone in the family called her ‘great gran’. After the death of her once-wealthy-but-muchdiminished-by-circumstances daughter Gwen, Hen Nain sat all day in one of Gwen’s fur coats, bought from the classiest Birmingham furrier during the 1920s by her rich son-in-law for his new bride. Because of its dramatic location, Barmouth has drawn ‘visitors’ for many generations, some of whom decide to stay. In the early 1860s, the wealthy Talbot family settled in Tyˆ’n y Ffynnon, the very large house (rebuilt in the 1970s) at the top of the old town. Once widowed, Fanny Talbot dedicated much of her considerable wealth to philanthropy. In 1895, she donated the ‘Fortress of Light’, the hillside above her home, known locally as Dinas Oleu, to the National Trust – its first property! “I have long wanted to secure for the public for ever the enjoyment of Dinas Oleu, but wish to put it to the custody of some society that will never vulgarise it… and it appears to me that your association has been born in the nick of time…” she said in granting the gift. Some 20 years earlier, she gifted to John Ruskin’s Guild of St George an acre of rocky ground together with some cottages. Ruskin conceived the Guild as a means of transforming a declining Britain into a utopian fantasy – a world where art and life were to merge as one. Money itself would be an object of beauty. Each trade and profession was to have its own distinctive costume. Work would be carried out by

Mae Dad a’i beswch smygu yn yr ystafell ymolchi; Mam, yn wynebu’r wal, yn ymaflyd â chaead ei bronglwm. Dw i’n gorwedd yng ngwres eu gwely – mewn cywilydd teirblwydd oed, wedi gwlychu’r gwely ganol nos. Mae clic clac sodlau uchel y merched ar balmentydd y stad cyngor newydd yn cynyddu ac yn cystadlu â’r gwylanod a sw ˆn peswch Dad. Weithiau mae metel un o’r sodlau’n crafu ar y concrit – clic-clac-clic-clacclic-crch. Yn y ffatri, maen nhw’n gwisgo esgidiau mwy synhwyrol ac wedi’u boddi yn sent rhad yr Elephant Chemical Company. Weithiau, os yw’r gwynt yn chwythu o’r cyfeiriad iawn, r’ych chi’n gallu arogleuo merched y ffatri hyd yn cyn i chi glywed clac eu stiletos. Mae Mam yn adrodd y stori mor aml, a hithau’n colli arni, fel y gallwn dyngu mai un o f’atgofion i ydyw… cael fy nghrudo gan hen wraig 91 oed mewn hen got ffwr glafrllyd. Sefwch ar yr harbwr, â’ch cefn at aber eang yr afon ac mae holl fwrlwm Davy Jones’ Locker yn gorlifo dros y pafin llydan. Bu’r lle’n gaffi ers cyn co’ ac, ers yr 1980au, mae’r gofod i fyny’r grisiau’n arddangos arteffactau o longddrylliad y Bronze Bell. Ym 1565, pan sefydlodd Elizabeth I archwiliad o borthladdoedd a chilfachau arfordirol yng Nghymru, er mwyn ceisio diddymu môr-ladrata, roedd yr adeilad hwn, Tyˆ Gwyn, yn un o ddim ond pedwar adeilad yn Abermowe. O safbwynt pensaernïol, ‘first floor hall house’ ydyw, a adeiladwyd gan Gruffudd Fechan o Neuadd Cors y Gedol, Dyffryn, ym 1460. Yn Oes Victoria, cafodd ei drawsnewid yn dyˆ amlbreswyliaeth. Dychmygwch, os gallwch chi, ffenest fechan yn nhalcen y tyˆ – y triongl bach o fur rhwng ymylon y to. Y tu ôl i’r ffenest honno, mewn ystafell dlawd Ddickensaidd, roedd fy nhaid yn byw, gyda’i fam, ei hannerbrodyr a chwiorydd, ei fodryb a’i thri o blant hi – naw ohonyn nhw i gyd – mewn tlodi difrifol.

Tan 1976, roedd fy hen fodryb Ann a fy hen ewythr Will yn dal i fyw yna, yn y to. Yn fachgen, awn i nôl neges iddyn nhw (a fyddai’n cynnwys bob amser dybaco ar gyfer cetyn clai Ann) a mynd â chacenni a thartiau iddynt gan fy nain – eu chwaeryng-nghyfraith. Yn fabi saith wythnos yn haf 1956, cariwyd fi i’r ystafell honno yn y to i Hen Nain gael fy ngweld; roedd hi’n fodryb i fy nhaid ond Hen Nain oedd hi i bawb yn y teulu. Wedi marwolaeth ei merch, Gwen, fu’n gyfoethog ar un adeg ond a gollodd dipyn go lew o’i ffortiwn, eisteddodd Hen Nain trwy’r dydd yn gwisgo un o gotiau ffwr Gwen. Fe’i prynwyd gan ei mab-yngnghyfraith, i’w wraig newydd, yn siop ffyriwr drutaf Birmingham yn ugeiniau’r 20fed ganrif. Oherwydd ei leoliad dramatig, mae’r Bermo wedi denu ‘ymwelwyr’ ers cenedlaethau lawer – a rhai ohonyn nhw’n penderfynu aros. Yn yr 1860au, setlodd teulu cyfoethog y Talbots yn Nhyˆ’n y Ffynnon, y plasty enwog (a ailadeiladwyd yn yr 1970au) ar dop yr hen dref. Yn wraig weddw, cyfrannodd Fanny Talbot lawer o’i harian at weithgarwch dyngarol. Ym 1895 rhoddodd y ‘Fortress of Light’, y bryncyn uwchben ei chartref (‘Dinas Oleu’ i’r trigolion lleol), i’r Ymddiriedolaeth Genedlaethol – ei eiddo cyntaf! “I have long wanted to secure for the public for ever the enjoyment of Dinas Oleu, but wish to put it to the custody of some society that will never vulgarise it… and it appears to me that your association has been born in the nick of time…” meddai wrth gyhoeddi’r rhodd. Rhyw 20 mlynedd cyn hynny, rhoddodd i Urdd San Siôr John Ruskin erw o dir creigiog ynghyd ag ambell i fwthyn. Roedd Ruskin wedi sefydlu’r Urdd fel modd o drawsnewid Prydain oedd yn mynd â’i phen iddi yn ffantasi iwtopaidd – byd lle byddai celfyddyd a bywyd yn un. Byddai arian ei hun yn wrthrych hardd. Byddai i bob crefft a phroffesiwn ei wisg unigryw ei hun. Cwblheid gwaith â llaw,

/ 09

FOR MOUNTAIN, SAND & SEA

hand, without machines and their accompanying pollution. The mainly agricultural work would be interspersed with folk festivals. “We will try to take some small piece of English ground, beautiful, peaceful and fruitful. We will have no steam-engines upon it, and no railroads; we will have no untended or unthought-of creatures on it; none wretched, but the sick; none idle, but the dead.” An exiled French social reformer, Auguste Guyard, one of the residents of the Guild in Barmouth, cultivated rare herbs and trees on the hostile soil, and went some way towards achieving Ruskin’s vision of land restoration. He’s reputed to have taught many local peasant women how to make soup using foraged herbs, mushrooms and shellfish – but the chippies and the fast food kiosks leave today’s foodies wondering what happened to this French culinary heritage. The Frenchman’s Grave is high up on the ‘Fortress of Light’, above the old town. Today the ‘visitors’ come for the beach and the motorbike rally, the three-peaks yacht race and the fish and chips, the fine hiking in the Rhinogs and to cycle the Mawddach Trail, the pound-shops in converted chapels and even an ‘all-over’ tan on the nudist beach a few miles to the north. In the 1950s, the Daily Mirror sent regular coach-loads of curvaceous red-heads to parade along the promenade in bathing suits (and persuade calamine-lotioned, handkerchief-headed lechers to buy the rag); the Ginger Snaps were a welcome splash of glamour in those post-war days. The Shelleys, Percy and Mary, came to town in 1812, and were apparently ‘taken with it’. William Wordsworth was more effusive; he took a boat one day in 1824, rowed up the estuary and gushed with poetic enthusiasm. Charles Darwin visited more than once – and even collected beetles here. The Illingworths came too – the famous cricketer’s mum and dad… they stayed in my mam and dad’s B&B in 1965!

nationaltheatrewales.org

Basil Fawlty mentioned the war despite himself, and that 1975 episode of Fawlty Towers remains for me one of the funniest. I’ve lived with a German for almost 25 years and I remember, in the early days of our romance, trying to explain the significance of ‘Don’t mention the war’… but sick British humour just didn’t seem funny. Many who lived out the days of the Second World War in Barmouth talk about the town having had a ‘good’ war. With all the military training camps in the vicinity, many local businesses thrived, and of course, the cinemas and dance halls flourished; with young men from across the empire billeted locally, and French sailors stranded after the fall of France, the town was a cosmopolitan hive of activity, doubtless spiced with a good dash of testosterone-fuelled bawdiness. But Barmouth has its own episode that’s best not mentioned – at least not for as long as some of the protagonists are still alive. So don’t mention the ‘Battle of Barmouth’! Don’t call to mind the local youths who stole guns and live ammunition from the armoury and went up into the hills behind the town to shoot rabbits! Don’t evoke the memory of the blind panic that spread through the town like a rash as fears of an enemy attack were realized… just don’t mention it! Drunks on the streets at night aren’t just a supposed symptom of Mr Cameron’s ‘broken Britain’. There was great concern about public drunkenness in Barmouth in the 1830s and in 1834 Tyˆ Crwn or the Round House was built as a lock-up – two cells, one for men and one for women. You’ll find Tyˆ Crwn just up the hill to the left of Davy Jones’ Locker. Today, the area surrounding the old lock-up has been landscaped, but when I was a kid there were dunes and rocky outcrops – and it’s where a gang of us played ‘best for dying’. There’s an art to dying – or so the films we

heb beiriannau a’u llygredd. Byddai’r gwaith amaethyddol yn cael ei gwblhau am yn ail â gwyliau gwerin. “We will try to take some small piece of English ground, beautiful, peaceful and fruitful. We will have no steam-engines upon it, and no railroads; we will have no untended or unthought-of creatures on it; none wretched, but the sick; none idle, but the dead.” Aeth diwygiwr cymdeithasol Ffrengig o’r enw Auguste Guyard, oedd yn un o breswylwyr yr Urdd yn y Bermo, ati i geisio tyfu perlysiau a choed prin yn y tir diffrwyth ac fe lwyddodd, i raddau, i wireddu delfryd Ruskin o adfer y tir. Dywedir iddo ddysgu nifer o’r gwragedd lleol sut i wneud cawl â physgod cragen ac â pherlysiau a madarch y caent hyd iddyn nhw yn y caeau. Erbyn hyn, fodd bynnag, mae bwyd-garwyr yr ardal yn gorfod gwneud y tro â’r siopau tsips a’r kiosks bwyd a ddaeth yn ddigon buan i ddisodli’r cuisine Ffrengig. Mae Bedd y Ffrancwr ar dir uchel Dinas Oleu, uwchben yr hen dref. Y dyddiau hyn daw ‘ymwelwyr’ i weld y traeth, rali beiciau modur a ras y cychod hwylio, i flasu’r pysgod a’r sglodion, i gerdded bryniau’r Rhinog ac i seiclo ar hyd afon Mawddach, i chwilota yn y siopau punt sydd wedi agor yn yr hen gapeli, hyd yn oed i gael lliw haul dros eu cyrff cyfan ar y traeth i noethlymunwyr rai milltiroedd i’r gogledd. Yn ystod y 1950au, danfonodd y Daily Mirror lond sawl coets o genod pengoch mewn siwtiau nofio i gerdded hyd a lled y prom (ac i annog dynion â hancesi poced ar eu pennau a calamine lotion ar eu breichiau i brynu’r rhacsyn); roedd y ‘Ginger Snaps’ yn fflach o liw yn nyddiau llwm y cyfnod wedi’r rhyfel. Daeth y Shelleys, Percy a Mary, i’r dref yn 1812 a chymryd at y lle, mae’n debyg. Roedd William Wordsworth hyd yn oed yn fwy canmoliaethus; un diwrnod ym 1824 aeth ar gwch rhwyfo i fyny’r foryd – nes gorlifo gan frwdfrydedd barddonol. Ymwelodd Charles

Darwin â’r lle ar fwy nag un achlysur – a chasglu chwilod yma hyd yn oed. Daeth yr Illingworths hefyd – rhieni’r cricedwr enwog… fe arhoson nhw yn B&B Mam a Dad ym 1965! Doedd Basil Fawlty ddim yn gallu peidio sôn am y rhyfel, er siarsio pawb arall i beidio â gwneud, ac mae’r bennod honno o Fawlty Towers gyda’r doniolaf i mi o hyd. Dw i wedi byw gydag Almaenwr ers bron i 25 mlynedd a dw i’n cofio, yn nyddiau cynnar ein carwriaeth, ceisio esbonio arwyddocâd ‘Don’t mention the war’… ond doedd hiwmor tywyll Prydeinig ddim fel petai’n rhyw ddoniol iawn. Mae nifer o’r rheiny oedd yn byw yn y Bermo adeg yr Ail Ryfel Byd yn dweud ei bod hi’n ‘rhyfel dda’ i’r dref. Gyda’r holl wersylloedd milwrol yn yr ardal, roedd hi’n gyfnod llewyrchus i nifer o fusnesau lleol ac, wrth gwrs, roedd y sinemâu a’r neuaddau dawns yn aml yn llawn; rhwng y milwyr ifainc a ddaethai i’r fan o bedwar ban yr ymerodraeth a llongwyr o Ffrainc oedd yn sownd yng Nghymru wedi cwymp eu gwlad eu hun, roedd y dref yn fwrlwm o weithgarwch cosmopolitan. Roedd yr holl destosteron oedd o gwmpas y lle yn joch o rialtwch anniwair hefyd... Ond mae yna un bennod yn hanes Y Bermo y mae’n well peidio â sôn amdani – ddim tra bydd rhai o’r rheiny a chwaraeodd brif rannau ynddi’n dal yn fyw, beth bynnag. Peidiwch â sôn, felly, am Frwydr Y Bermo! Peidiwch â dwyn i gof y llanciau lleol a ddygodd ddrylliau a bwledi o’r storfa arfau ac a aeth i fyny i’r bryniau i saethu cwningod! Peidiwch â sôn am y panig gwyllt a ledodd trwy’r boblogaeth leol wrth i’r holl bryderon am ymosodiad gan y gelyn gael eu gwireddu… jyst peidiwch â sôn! Nid yn ‘broken Britain’ honedig Mr Cameron yn unig y mae meddwon ar y stryd gyda’r nos yn broblem. Roedd yna gryn bryder ynglyˆn â meddwdod cyhoeddus yn y Bermo yn yr 1830au ac yn

/ 10

NATIONAL THEATRE WALES

watched in the Pavilion Cinema would suggest – electrocution like Oddjob in Goldfinger or multiple stabbing like poor Marion Crane in Psycho, a Zulu spear through the heart, an Apache arrow piercing the brain through an eye socket, Japanese water torture… they all offered possibilities for dramatic falls from a rock and a tumble down a sand dune. Don’t be surprised if, walking through town on a Saturday night after the pubs have shut, you stumble across kids, prostrate in drink, still playing best for dying. Not much chance of these drunks being dumped in the lock-up for the night though – Tyˆ Crwn closed its doors as a gaol in 1861. Wales has its share of mythical monsters. The Afanc, perhaps the most well known, is a lake dweller, and lives in different lakes, depending on where you live. But perhaps the Mawddach has its own monster! In 1937, a local man claimed that he saw a ‘crocodile-like’ creature from the riverbank and in 1975 six schoolgirls saw a ‘monster’ that they described as having ‘a long neck and a square face and a long tail with a flipper at the back and its skin was black and patchy’. Were these sightings of Leatherback turtles perhaps? The Leatherback is the largest of the marine turtles and gets its name from the black (sometimes blotchy), leathery skin that covers its back – the only sea turtle species not to have a hard shell. They are unique amongst reptiles in that they have some internal control over their own body temperature and can forage in temperatures lower than 5ºC, diving to depths of over 1km… so they are frequent visitors to Cardigan Bay feeding on the abundant jellyfish. Their heads have a deeply notched upper jaw with two cusps, and can look very scary. The largest sea turtle ever recorded was a male Leatherback, found dead on the beach at Harlech, just north of Barmouth, in 1988. Almost three meters long and weighing 916kg, it was a bit of a monster! What would Mr Darwin have made

nationaltheatrewales.org

of it – at almost three times the weight of even the largest giant tortoises he found on the Galapagos? You can see it for yourself at the National Museum in Cardiff. Every town has its characters. If you’d walked along the promenade on a sunny day during any of the summers of the early 20th Century, there’s every chance you’d have heard Dafydd Roberts singing to the harp; many knew him as Telynor Mawddwy – but most referred to him as the ‘blind harpist’. Throughout the 1930s, Finnegan the Fruiterer could have sold you some apples from his barrow and during the middle of the century you may have come across Glyn Y Glo, the coal dust disguising his good looks, Griff Y Bara, the flour from the bakery in his hair, and Robin the Milk. And then there was Mary-MonteCarlo – did she win or lose at the casino tables? I never really knew her story. As children, we all knew the simple mealtime grace written by the headmaster of the primary school; W D Williams was no amateur poet – he won the chair at the Newtown National Eisteddfod in 1965. Even today, children in schools across Wales still recite Mr Williams’ englyn – O Dad yn deulu dedwydd – before their school dinner.

1834 adeiladwyd y Tyˆ Crwn i garcharu meddwon afreolus – roedd yna ddwy gell, un i ddynion ac un i ferched. Mae’r Tyˆ Crwn i fyny’r bryn o Davy Jones’ Locker ac erbyn heddiw mae’r ardal gerllaw’r hen garchardy yn wair i gyd. Ond pan oeddwn i’n blentyn roedd yno dwyni tywod a chreigiau – a dyna lle y byddai grw ˆp ohonom ni’n ceisio perffeithio’r ‘grefft o farw’. Efelychu’r ffilmiau a welem yn Sinema’r Pavilion yr oeddem – Oddjob yn Goldfinger yn cael ei drydanu, neu Marion Crane druan yn cael ei thrywanu dan y gawod yn Psycho, gwaywffon Zulu trwy’r galon, saeth Apache yn rhwyllo’r ymennydd, artaith ddw ˆ r Japaneaidd… roedd pob un yn gyfle heb ei ail i gwympo’n ddramatig oddi ar graig a rholio i lawr y twyni tywod. Peidiwch â synnu os gwelwch chi, wrth gerdded trwy’r dre’ ar nos Sadwrn ar ôl i’r tafarnau gau, bobl ifainc, yn eu diod, yn ceisio perffeithio o hyd y grefft o farw. Ond mae hi’n annhebygol y caiff y meddwon hyn eu rhoi i dreulio’r nos yn y Tyˆ Crwn – fe beidiodd hwnnw â bod yn garchar ym 1861. Mae gan Gymru ei siâr o angenfilod mytholegol. Mae’r Afanc, y mwyaf adnabyddus efallai, yn byw mewn llynnoedd – rhai gwahanol, yn dibynnu ar lle r’ych chi’n byw. Ond mae gan afon Mawddach ei hanghenfil ei hun, o bosib! Ym 1937 honnodd dyn lleol iddo weld ‘creadur fel crocodeil’ o’r lan ac ym 1975 dywedodd chwe merch ysgol iddyn nhw weld ‘anghenfil’ ag iddo ‘wddf hir, wyneb sgwâr, cynffon hir â flipper a chroen du, clytiog’. Ai môr-grwbanod lledraidd oedd y rhain o bosib? Y môr-grwban lledraidd yw’r mwyaf o’r crwbanod morol ac mae ei enw’n deillio o’r croen du, lledraidd (clytiog weithiau hefyd) sy’n cuddio’i gefn – ef yw’r unig fôr-grwban nad oes ganddo gragen galed. Fel ymlusgiaid maen nhw’n unigryw – nhw yw’r unig rai sy’n gallu rheoli i raddau dymheredd mewnol eu cyrff. Maen nhw’n gallu chwilio am fwyd mewn

tymereddau o 5ºC neu lai a deifio i ddyfnderoedd o fwy nag 1km… maen nhw’n ymwelwyr cyson â Bae Ceredigion ac yn gwledda ar y sglefrod môr niferus. Mae rhan uchaf eu gên yn rhiciau i gyd ac mae ganddynt ddau gorn hefyd – fe allan nhw edrych yn ddigon brawychus, mae’n wir. Crwban lledraidd oedd y môr-grwban mwyaf a welwyd erioed – cafwyd hyd iddo’n farw ar draeth Harlech, ychydig i’r gogledd o’r Bermo, ym 1988. Bron i dri metr o hyd ac yn pwyso 916kg – roedd yn dipyn o anghenfil! Beth fyddai barn Mr Darwin arno tybed – bron i deirgwaith yn drymach na hyd yn oed y mwyaf o’r crwbanod a welodd ar Ynysoedd Galapagos? Fe allwch chi weld yr anghenfil drosoch eich hun erbyn hyn, yn yr Amgueddfa Genedlaethol yng Nghaerdydd. Mae gan bob tref ei chymeriadau. Pe tasech chi wedi cerdded ar hyd y prom ar ddiwrnod braf yn ystod unrhyw un o hafau cyfnod cynnar yr 20fed ganrif, fe fyddech chi wedi clywed Dafydd Roberts yn canu i gyfeiliant ei delyn ei hun, mwya’ tebyg; i rai, ef oedd Telynor Mawddwy ond, i’r rhan fwyaf, y ‘telynor dall’ ydoedd. Gydol yr 1930au, fe allai Finnegan Ffrwyth fod wedi gwerthu afalau i chi o’i ferfa ac, yn ystod blynyddoedd canol y ganrif, mae’n debyg y byddech chi wedi dod ar draws Glyn Y Glo, y llwch du’n cuddio’i wyneb golygus, Griff Y Bara, â blawd y popty yn ei wallt, a Robin Llaeth. A Mary Monte Carlo wedyn – ai ennill neu golli wnaeth hi wrth fyrddau’r casino? Doeddwn i byth yn siw ˆr iawn o’i hanes hi. Yn blant, roeddem yn gyfarwydd bob un â’r pennill gras a gyfansoddwyd gan ein prifathro i’w gyd-adrodd cyn cinio; ond nid bardd amatur mo W D Williams – enillodd Gadair Eisteddfod Genedlaethol y Drenewydd ym 1965. Ac hyd y dydd heddiw mae plant mewn ysgolion ledled Cymru yn cyd-adrodd englyn Mr Williams – O Dad yn deulu dedwydd – cyn eu ciniawau ysgol.

/ 11

FOR MOUNTAIN, SAND & SEA

42 27 32

47 37 33

43 48 38

44 39

nationaltheatrewales.org

/ 12

NATIONAL THEATRE WALES

Index of Archive images PAGE 06

PAGE 11

01 Dolphin rescue 1965

26 Local mariners 1885

02 R.N.L.B. ‘Chieftan’ naming ceremony 1949

27 Miss Publicity, Carnival 1964

03 Carnival 1960 04 Dancing class 1952 05 Fishing trip with Robert Henry Williams 1920 06 Sangers Circus 1980 07 Aberamffra circa 1880 08 Carnival 1969

How do you design for a series of performances that are spread throughout a town and encompass church halls, hillsides, huts, beaches, benches, bridges, streets, shop fronts, amusement arcades, discos, an enigmatic past and a dead elephant? Drawing these together is to first know what these places, topographies and histories signify to Marc and me, and what they mean to the people of Barmouth. ‘For Mountain, Sand and Sea’ charts the conveyance of these interpretations to an audience who experience a journey of encounters and interventions throughout the town. The breadth of this undertaking has led to a creative and ongoing engagement in understanding this very unique seaside settlement and possible suitable design approaches. Equally important are the dramaturgical challenges of the performances, their interconnectivity and their relationship to specific sites within and around the town. Fittingly, the design of ‘For Mountain, Sand and Sea’ is eclectic in its formulisation, where the ideas created range from a table to seat 50 people, a cinema-size projection screen of archival images, an ‘arena’ made from multi-coloured windbreakers, numerous objects bought for a pound and a life-size wooden boat kit. Barmouth is one of those rare coastal towns where the mountains and sea have shaped its history, carved its dwellings from stone, and set the vessels it has built out to sail. Boat construction has long been part of Barmouth’s rich maritime history, and as such is perhaps the most resonant image guiding our design intent. Not unlike the plastic model kits of fighter jets, PT boats, Panzer tanks and jeeps from such famous brands as Revell or Airfix, our boat kit is an unassembled wooden variation. Cut from sheets of ply, the design uses both the positive forms of boat parts (ribbing, decking, cabin, sails) and the negative leftovers to create 2D installations. The positive boat sections create a type of frieze in the old church hall that serves as the hub or embarkation point for the main event. The negative sections are installed on an outdoor concrete plateau that invites the audience to move through and re-construct views of the town and surrounding environment of mountains, sand and sea, offering an alternative perspective.

09 Hugh Roberts beach patrol 1968

28 Old Barmouth 29 W.D. Richards & E.D. Jones circa 1960 30 The harbour circa 1869 31 Marianne Farningham with companion circa 1900 32 Mothers’ Union 33 Norma Griffith Carnival Queen 1959 34 The Works steam engine 1930

10 John Richards, ‘Gorllwyn’ 1942

35 Elephant Chemical Company Employee

11 ‘Sabu’ the Elephant boy 1938

36 Marguerite Jones, Summer 1948

12 Cambrian Establishment 1913

37 Military boxing 1941

13 Carnival Queen Norah Hamer 1932

38 Powell & Son shop, Beach Road 1922

14 Egg & spoon race, 1952

39 The ‘Hen Blas’ Inn, The Rock

15 Joanie & Lemuel Williams with Paul & Lisa 1963

40 W.V.S Demonstration 1953

16 ‘The Blind Harpist’ Dafydd Roberts 1949 17 Captain Williams Davies, ‘Caprera’ 1824-1890

41 Tommy Griffith & Will Lewis 1928 42 Mary Williams, Hotel Maid 1922 43 Sassie Rees

18 Early carnival

44 Promenade 1967

19 Cedric Griffith 1959

45 Women’s Institute 1933

20 William D.Griffith and the ‘Enterprise’ 1950

46 Nan Mari & Richard Williams, Carnival 1953

21 1889 Barmouth football team

47 Mary Anthony ‘Malan’ Jones 1935

22 Harbormaster, Captain John Lewis

48 W.R.E.N.S. Beryl Morris, 1943

23 Chari Roberts, butcher 1950

49 Thomas Peter Evans & dog Luger 1974

24 Ellis Ivor Evans 1950

50 Williams Shop, High Street 1928

25 Lifeboat crew 1921

Benedict Anderson

nationaltheatrewales.org

PHOTOGRAPHIC ARCHIVIST HUGH G. ROBERTS

|A>4330= =8 54276H= ?D<? >7>=>= =8 H= 0A50A 2D338> H= H 3D=4B A{D= 0<B4A 1>1 3H33 8 FH;8>{A zB?8C58A4B{ <0{= 74350= 3A>B H 3A4 >433 =8 F438 <01FHB803D D= 0FHA4= HA D= 54; ?4C08 A785 I?& >433 5{D= 8 0{A C48<;03 6>A0D H= H 1H3 >433 8 F4;3 3H 0FHA4= 38 0A H 1;04= 3F8{= 2>58> u = HA 8=90= H= 1>338 BF u = BF =8{= B6A42780= FAC7 8{A 0FHA4=0D 74350= 3A>B u A } H 3F C>< 7D674B @D44= 2>;>DA B@D03A>= ($"

|C74H B0H 0= 4;4?70=C =4E4A 5>A64CB F4;; 8 24AC08=;H 20={C 5>A64C C74 C8<4 F74= 0= 4;4?70=C 20<4 C> C>F= 8 F0B >=;H 0 C>33;4A 1DC C74 B867C >5 B01D 8= 5D;; 2>BCD<4 >= 78B <06=85824=C 4;4?70=C ?0A038=6 3>F= C74 7867 BCA44C F0B 9DBC <06820; } 9>0=84 F8;;80<B ?0E8;;8>= 28=4<0 DB74A4CC4 (#%

|A>433 H 33H=4B >433 H= 27F0A04{A ?80=> H= H F78C4 28=4<0 H= B0; A7HF3A> 0 1D A7083 8 <8 6H<AH3 48 ;;4 78 z<>=3 ( >433F= 8 02 H= >5=DB 3A>B 14= >=3 <8 4B 8 6H30 ;;>=3 ;;0F > <0=DB2A8?CB H= 10A>3 8 5HF8>68{A 558;<B 3D 0 6FH= <0 =4B 8 5FH=70D ?>1 <D=D3 A7083 8 <8 6H50330 } B0BB84 A44B 5>;: B8=64A 0=3 =DAB4AH A7H<4 05828>=03> ("!

|8 A420;; <H ;0C4 50C74A C4;;8=6 <4 >5 F70C 74 0=3 78B 50C74A ?DC 8= C74 zC74 10A<>DC7 03E4AC8B4A{ 8= C74 (" {B =>C78=6 >5 =>C4 F0B 70??4=8=6 8= C74 C>F= B> C74H 3428343 C> <0=D502CDA4 0 ?4AB>=0; 03 l(&/5-&."/ 0' .&"/4 8*4)&4 50 .&&5 " :06/( #"3.065) 80."/ 50 :&"34 0' "(& 8*5) " 7*&8 50 ."53*.0/: * 8*-- #& 45"/%*/( 0654*%& 5)& 1"7*-*0/ $*/&." "5 1. 0/ '3*%": /*()5 8&"3*/( " 8)*5& $"3/"5*0/ */ .: -&'5 #6550/)0-& m 8C C>>: C74 F7>;4 C>F= 1H BDA?A8B4 >= C74 =867C C74A4 F0B => 64=C;4<0= >5 2>DAB4 1DC C74 A4B834=CB CDA=43 >DC 4= <0BB4 C> B44 F7> B7>F43 D? =D<4A>DB ?>C4=C80; BD8C>AB 0??40A43 <D27 C> C74 4=C4AC08=<4=C >5 C74 2A>F3 } 7D67 z5>>C?0C7{ A>14ACB 14027 ?0CA>;;4A (%(

NATIONAL THEATRE WALES

nationaltheatrewales.org

/ 14

/ 15

FOR MOUNTAIN, SAND & SEA

Artist Index

nationaltheatrewales.org

Cai Tomos caitomos.com

Marc Rees r-i-p-e.co.uk

Guillermo Weickert guillermoweickert.com

Marega Palser mrandmrsclark.co.uk

Gareth Clark mrandmrsclark.co.uk

Holly Davey hollydavey.com

BENEDICT ANDERSON thinkbuild.com

nationaltheatrewales.org/community

Our theatrical adventure across Wales continues. Remember to collect your stamp form the box office, and if you see all 12 shows we will refund you the total cost of your tickets.

Share your journey with us online, any time at nationaltheatrewales.org/community For full terms and conditions please visit nationaltheatrewales.org/passport

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)