Love Steals Us From Loneliness by National Theatre Wales

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National Theatre Wales is set to create bold, invigorating theatre in the English language, in amazing places and unique spaces across Wales. Without a theatre building, we aim to be innovative, engaged and international. Theatr iaith Saesneg o safon, a’i gwreiddiau yng Nghymru, wedi’i gwneud i bawb. nationaltheatrewales.org Sherman Cymru aims to make and present great theatre that is ambitious, inventive and memorable for its audiences, and to create strong, responsive and enriching relationships with its communities. Sherman Cymru produces work in both English and Welsh, and tours widely within Wales and the UK. Ein nod yw cynhyrchu a chyflwyno theatr uchelgeisiol, dyfeisgar a chofiadwy ar gyfer ein cynulleidfaoedd, ac i greu cysylltiadau cryf, ymatebol a chyfoethog gyda’n cymunedau.

Cast Becky Remy Beasley Catrin KATIE Elin-Salt Mags Nia Roberts Scott Mark Sumner Mikey Matthew Trevannion Creative Team Writer Gary Owen Director John E McGrath Co-designer Neil Davies Co-designer Anna-Marie Hainsworth Lighting Designer Nigel Edwards Sound Designer Mike Beer Emerging Director Elise Davison Casting Director Sam Jones C.D.G Production Manager Nick Allsop Deputy Production Manager Gareth Gordon Musical Director Dan Lawrence Vocal coach Patricia Logue

Rydym ni’n cynhyrchu gwaith Saesneg a Chymraeg ac yn teithio’n helaeth o amgylch Cymru a’r DU.

Stage Manager Brenda Knight

shermancymru.co.uk

Assistant Stage Manager Charlotte Neville

Deputy Stage Manager Sarah Thomas

Assistant Producer Hannah Bevan Set construction Gareth Gordon Mathew Thomas Scenic artists Cordi Ashwell Kelly Bannister Marc Farron Stephen Nasrat Ruth Stringer Laura Tweed Stevie Williams

NATIONAL THEATRE WALES STAFF TEAM

SHERMAN CYMRU STAFF TEAM

Producer Lucy Davies

Director Chris Ricketts

Finance Manager Rhiannon Davis

General Manager Margaret Jones

Team Co-ordinator Devinda De Silva

Associate Directors Arwel Gruffydd Amy Hodge

Finance Assistant Donna Jones Administrator Rhian Jones Communications Director Matthew Lawton Creative Associate Mathilde Lopez Artistic Director John McGrath Creative Associate Catherine Paskell Media Officer Catrin Rogers Company Assistant Michael Salmon Associate Producer Carys Shannon Casting Sam Jones C.D.G UK & International PR The Corner Shop Board of Trustees Steve Blandford Phil George (Chair) Jon Gower Richard Hogger Deborah Martell Powell Gemma McAvoy Judi Richards Chris Ryde (Vice Chair) Peter Stead

Artistic Associate Elen Bowman Artistic Co-ordinator Kate Perridge Literary Manager Siân Summers Move Champion & Facilities Manager Marina Newth

Thank You We would like to thank the following individuals and organisations for their support during the creation of Love Steals Us From Loneliness. Bridgend County Council/Chorus Actors/paul Lewis/Nadine Griffiths/Emma-Jane Milton and Zac/Emma Knight/Guy O’Donnell/ Carmen Medway-Stephens/ Sarah Bawler and the students at the Bridgend Further Education College/Denise Bevan and the pupils of Bryntirion Comprehensive School. CORE FUNDERS

Administrator Elin Partridge Acting Head of Creative Learning Phillip Mackenzie Creative Learning Associates Jason Camilleri Llinos Mai Creative Learning & Administration Assistant Heather Jones

National Theatre Wales first year sponsors

Sherman Cymru also receives funding from

Head of Development Emma Goad Appeals Manager Suzanne Carter Head of Finance Philippa McGrath

National Theatre Wales Registered company no. 6693227 Charity registration no. 1127952

Finance Assistant Marion Price

Sherman Cymru Registered company no. 06002090 Charity registration no. 1118364

Head of Marketing & Customer Relations (on maternity leave) Haleh Tozer

Newspaper Design elfen.co.uk cover photography Gareth Phillips Rehearsal photography Tom Beardshaw Print newspaperclub.co.uk

Acting Head of Marketing & Customer Relations Alice Baynham Marketing Officer Bethan Way Web & Marketing Officer Kenon Man Head of Production & Operations Nick Allsop Chief Electrician Rachel Mortimer Deputy Chief Electrician Katy Stephenson Production Electrician Gareth Evans Technical Stage Manager Gareth Gordon Wardrobe Manager Deryn Tudor BOARD OF TRUSTEES Emyr Jenkins (Chair) David Seligman OBE (Vice Chair) Gbubemi Amas Amanoritsewor Paul Clements Lisabeth Miles Keith Morgan Rosamund Shelley David Stacey Elwyn Tudno Jones OBE Elinor Williams

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Q&A with the director John E McGrath

Q&A with the Writer GAry OWEN

Why choose Bridgend as a location? We are doing a year of shows in twelve different places across Wales – all kinds of different locations from the beach in Prestatyn to the army range in Brecon to an old library in Swansea. There were a few big reasons for working in Bridgend. One was that we really wanted to work with Gary Owen as a writer, and he’s from Bridgend. Another was that the news and media in recent years had drawn a picture of Bridgend, but it wasn’t an accurate picture, so if felt like theatre could look at things in a different way. We also wanted to do a play that focussed on young people’s lives, and there was a lot of interest in doing that in Bridgend.

Why Halloween? Two things initially suggested using Halloween – first, I knew the play would be on in October 2010, so Halloween would be on the horizon in the real world during the production. Then second, late last year I stumbled across a track by Jeffrey Lewis called ‘Back When I Was 4’ which seemed to express a lot of the things I wanted to express in this play, which I knew I wanted to use in the play, and that song had the refrain ‘Every Halloween they hung a million rubber skeletons’. Jeffrey’s song started me thinking – this was a play about characters who are haunted, in a world where ghosts don’t exist, apart from the ones we create for ourselves. At this point, Halloween became irresistible. I could start the play with the characters at age 17 in Halloween costumes, and bring in all this gothic, deathly Halloween imagery, which to the characters would all be just messing around, not something to be taken seriously – in the same way that it’s hard to take the idea of death seriously when you’re very young (unless, of course, you have actually lost someone close to you).

Why Hobos as a venue? Well, there’s a practical reason in that there isn’t a theatre in Bridgend town centre, and we really wanted to do the show in the centre, as that’s where the play is set. Another reason was that the play starts with a night out in Bridgend, so we thought it would be great to start the audience in a venue where you might go for a night out. Also, Paul who runs Hobos is the most helpful and supportive guy in the world, so as soon as we talked to him, it all seemed to feel possible to do the show here. And I hope people who don’t usually come to theatre might come by mistake because it’s in a music venue!! John E McGrath / Gary OWEN Photography by Jorge Lizalde

WERE THERE ANY IDEAS THAT YOU COULD NOT ACHIEVE DUE TO TIME, LOCATION AND MONEY AND HOW DID YOU OVERCOME THESE? One of the great things about working in unusual locations – like a rock club – is that you learn about how to do the show from the place that you’re in, if that makes sense. It stops being about limitations, it all becomes about new possibilities. I really don’t feel we’ve been limited in any way with this show. Though like every director, I’d always like an extra week of rehearsals! What was the experience of casting this show like for you? Casting is great but also a bit upsetting, particularly working for National Theatre Wales, because there are so many really good actors who want to be in the shows. So it’s great because there are lots of great people to choose from, but upsetting because you have to say no to some of them. I think we made the right decisions though!

Questions asked by students at Bridgend Further Education College

If you had to choose a karaoke song to represent you, what would it be? That’s a good question – in the auditions we made all the actors do a karaoke song! And we’ve done lots of workshops with young people as part of this show as well, and I usually ask everyone in the workshop to choose a karaoke song too, but I’ve been keeping mine secret! I love the New Order song that’s in the play – ‘Regret’. But I’ve a nasty feeling that if I was a bit drunk I might end up singing ‘Hey Jude’!

If you had to choose a karaoke song to represent you, what would it be? This is the hardest question anyone has ever asked me. I’m much too shy to actually sing at karaoke, but if I could, I’d sing ‘Mack the Knife’ or ‘Wichita Lineman’, which is probably my favourite song ever. But what you’ve asked is, what song might represent me. Bloody hell. Can one song sum up a whole person? – Aren’t we lots of different things all at the same time? Who knows. Let’s say – twenty years ago, it would have been ‘How Soon Is Now?’ by the Smiths. Fifteen years ago it would have been ‘Beginnings’ by Chicago Transit Authority (though those are both crap songs to sing at karaoke). Ten years ago I would have wished it was ‘Under My Thumb’ by the Rolling Stones, but it was probably ‘Old Red Eyes Is Back’ by the Beautiful South. Five years ago it would have been ‘Losing My Edge’ by LCD Soundsystem (another useless karaoke number). Two years ago it would have been ‘Nothing Really Matters’ by Madonna. A year ago it would have been ‘One Day Like This’ by Elbow. Today it’s ‘Save Your Kisses For Me’ by Brotherhood of Man.

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remy beasley becky

Nia roberts MaGs

mark sumNer scott

WheN Was the first time you fell iN love? watching ‘saved By the Bell’... zack morris, enough said.

tell us about a time WheN you felt loNely or aloNe? we all feel lonely at times don’t we? even in a room full of people.

do you believe iN love at first sight? not really, i believe love grows out of friendship.

do you believe iN love at first sight? i don’t think i do, but i’d like someone to change my opinion on this as i’d like it if it were true.

What made you go iNto actiNg? i played tiny tim in ‘a christmas carol’ when i was 7 and i think i already knew by then that’s what i wanted to do.

do you have a special memory of bridgeNd? i used to skateboard in the Rec car park during the winters and going to gigs in Jaggers. also buying snappers from the old joke shop in nolton arcade.

hoW similar to your character are you? well, i guess Becky and i are both quite outspoken, we tend to open our mouths before thinking a bit too often. we both enjoy a night out and a couple of drinks, although i’d like to think i keep it a bit more classy than Becky, but i’m sure friends would like to disagree.

tell us about the tasks you had to complete oN your first trip to bridgeNd. while reheasing in Bridgend we had to enter a place we had never been into before. i went into a bookies to place a bet on a greyhound. we also had to follow people on the street who we thought were similar to our characters. this often meant we eventually introduced ourselves to them to get a clearer sense of who they are. we were also sent out on shopping trips to buy presents for other characters in the play and for our own character. many of these items you can now see on the set.

What made you go iNto actiNg? a love of showing off probably, that’s what my family would say anyway. tell us about the tasks you had to complete oN your first trip to bridgeNd. we’ve had to sing in public, make friends with somebody in the street, wash something, go into a place we’ve never been in before – lots of weird and random stuff. i ended up in a music shop, pretending to buy a guitar and then i sat at the back of the shop by myself singing some tunes for all to hear… embarrassing!!! if you had to choose a karaoke soNg to represeNt you, What Would it be? mutya Buena – ‘Real girl’. hoW do you feel about siNgiNg iN public? well my mum owns a pub, so i’m used to doing a lot of karaoke on a friday night. more singing in public, the better!! BiogRaphy Remy tRained at the Royal welsh college of music and dRama, gRaduating in 2010. theatRe cRedits include it’s aBout time (naBokov). whilst tRaining: spRing awakening, haRvest, Realism, gReat eXpectations, august: osage county (Rwcmd).

hoW do you feel about siNgiNg iN public? i try not to inﬂict my singing on the public too often. i have trained myself not to grab the mic after a few drinks. BiogRaphy theatRe cRedits include estheR (theatR genedlaethol cymRu); lovely evening (the young vic); stone city Blue (clwyd theatR cymRu); cymBeline (ludlow shakespeaRe festival); undeR milk wood, cideR with Rosie (swansea gRand theatRe); past away (sgRipt cymRu), the new menoza (BiRmingham Rep). television cRedits include doctoR who, holBy city, cRash, hotel BaBylon, outside the Rules, doctoR teRRiBle’s house of hoRRiBle, scoRe, BoRdeR cafÉ, casualty, the wedding paRty, diRty woRk, sunBuRn (BBc); pen talaR, y pRis, calon gaeth, fondue, Rhyw a deinasoRs, dal yma nawR, sion a sian, lois – (Best actRess Bafta cymRu) (s4c); collision (itv); midsomeR muRdeRs, the Bill (itv). film cRedits include hunky doRy, patagonia, thiRd staR, snow cake, daddy’s giRl, the inveRse canon, solomon and gaenoR.

What made you go iNto actiNg? i fell into acting after watching some friends in a production of my fair lady in pencoed comprehensive school. it looked like fun so i got involved and then decided to pursue it further by joining Byt and then going on to Rwcmd in cardiff. has WorkiNg oN this play chaNged your outlook or perceptioNs of love, loss, aNd/or loNeliNess iN aNy Way? it has changed my outlook on love considerably, love is such a confusing thing, “how do you know when you’re in love”. the talk of love within the play made me realise that there are other people out there that feel the same way about love that i do and subsequently helped me to embrace love. if you had to choose a karaoke soNg to represeNt you, What Would it be? i think the song my character sings in the play is almost a perfect choice for me; ‘please don’t let me Be misunderstood’ by the animals. do you recogNise aNy of the characters iN the play? i recognise mikey, the kind of brash, loud “townie” type that used to strut through town like he was god’s gift. and also mags, i really sympathise with mags and think what nia does in the play is stunning. BiogRaphy maRk tRained at the Royal welsh college of music and dRama, gRaduating in 2010. theatRe cRedits whilst tRaining include haRvest, the changeling, an aBsolute tuRkey, august: osage county, gReat eXpectations (Rwcmd)

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Katie Elin-Salt CATRIN How similar to your character are you? I think I can relate a lot to Catrin in many ways. Being from Bridgend I can relate a lot to her feelings of confusion, worries about the future and worries about having to queue to get into The Roof! However I think Catrin is a lot braver and funnier than I could ever hope to be. Maybe I do sometimes think the same things as Catrin on a night out but unlike her I would never have the guts to say them out loud!!! TELL US ABOUT A TIME WHEN YOU FELT LONELY OR ALONE? I think my first year of drama school was probably when I felt most alone. I’d only moved 30 minutes up the road from Bridgend to Cardiff but it felt like such a massive leap to be in the Capital when I was only 18, and I was surrounded by all these fabulous talented people who seemed to be a lot cooler and worldly-wise than me!! I kept wondering when somebody was going to figure out I did not belong there and send me home! I found my feet a lot more in my second and third years and had a fantastic time. I would love to go back now and tell myself that it all turned out okay in the end! Do you have a special memory of Bridgend? If I told you all my special memories of growing up in Bridgend I’d be writing a novel so I’ll tell you something that happened recently. We had to follow someone round Bridgend as part of an exercise John set us, so I was following an older man in a scruffy raincoat round Adare Street trying not to get myself arrested. I followed him all the way into Bridgend library where he took his scruffy raincoat off and revealed an immaculate suit. He then sat by a smartly dressed older woman who appeared to be his wife and they read the Guardian. You think you know your town and the people in it, and then something like that happens and you realise it still has the capacity to surprise you! What made you go into acting? Bridgend Youth Theatre. I turned up at Bridgend Recreation centre one Sunday as a terrified, freckled 8 year old, met the leader Roger Burnell and then after my first role as “Slapper

Matthew Trevannion MIKEY number 2” in an adaptation of Under Milk Wood I was hooked and nothing else I ever did was going to come close. I got very angry when the media portrayed Bridgend as a town with nothing for young people to do. If it hadn’t been for Bridgend Youth Theatre there would be absolutely no way I would even imagine that I could be doing this as a living. If you had to choose a karaoke song to represent you, what would it be? The song that I ALWAYS sing in karaoke is ‘Over the Rainbow’ by Eva Cassidy. It’s a bit slow really but I love it and get very cross if someone else gets it in before me! If I had to pick a song to represent me it might be the old karaoke classic ‘Don’t Stop Believing’ by Journey – as I am just a smalltown girl living in a lonely world after all!!! Do you recognise any of the characters in the play? I recoginse every single one of them and often have to remind myself that my fellow actors haven’t actually based their characters on various people I know! Catrin is the amalgamation of me, my friends, girls I knew from school and every terrifying girl I have ever seen in the loos on a Saturday night in Bridgend. Hopefully some of you will recognise some of the people I’m thinking of tonight!!!

Do you believe in love at first sight? You can fall for someone at first sight, to the point where anyone else would be a consolation. Love takes longer. Tell us about the tasks you had to complete on your first trip to Bridgend. We had to find three people that could conceivably represent our characters. I interviewed two builders in a Wetherspoons which was great fun. Another lad came back to the rehearsal room and let me interview him in front of the rest of the cast. We were given tasks that would force us to interact with people. I had my hair cut in Racoons Hair Design and the hairdresser gave me a great insight into life in Bridgend. Lovely man. If you had to choose a karaoke song to represent you, what would it be? ‘Hard to Handle’, by Otis Redding. Not that I’m trying to make a statement with the title of this song, I just can’t get enough of Mr Redding. HOW DO YOU FEEL ABOUT SINGING IN PUBLIC? It’s not something that I take to naturally, in fact it makes me sweat. And I come from a large family of karaoke addicts. BIOGRAPHY

BIOGRAPHY Katie is from Bridgend and attended Bridgend Youth Theatre before training at the Royal Welsh College of Music and Drama, Graduating in 2010.

Theatre credits include @Virtually_Real (Roundhouse Theatre); All in All (Rosencratz Theatre Amsterdam); Bright Unconquered Sons (Pleasance Theatre); Bent, Journey’s End (Broadway Theatre); Antigone, The American Clock (BAC).

Theatre Credits whilst training includE Playhouse Creatures, Top Girls, August: Osage County, The Miracle, Hello Again (RWCMD). Television Credits Include Perfect Summer (Fiction Factory); A Night On The Tiles (ITV Wales); What Goes On Tour (ITV Wales).

photography BY Jorge Lizalde Left to right KAITE ELIN-SALT, MATTHEW TREVANNION, NIA ROBERTS, REMY BEASLEY, MARK SUMNER

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if you’re from bridgeNd or have visited, Where are the places that are importaNt to you? visit ourbridgeNd.com to add your place of love, hate, light, dark, us or them. here is a selectioN of the tags so far. a place of dark by m

“the place Wher he lied to my face. it’s alWays the Water you thiNk is safe tha droWNs you.”

a place of love by marie “Where my mother aNd lifeloNg iNspiratioN Works”

a place by gare

“the old @sk sho i Worke

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a place of love by harri “JuNgle records used to be here – Was a fab record shop. i used to *really* faNcy lloyd Who Worked there. speNt all my spare cash oN cds WheN i Was 17 so i could see him!”

e of light eth

d Just op Where ed.”

a place of light by aNgharad “bridgeNd traiN statioN – this Was my gateWay to freedom WheN i Was 16!”

a place of hate by aNoN “speNt 16 hours iN a cell overNight for beiNg druNk aNd disorderly WheN i Was t-total aNd Just helpiNg out a druNk frieNd :(“

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05 01 Remy BeaslEy 02 Matthew Trevannion 03 Kool Beauty 04 Katie Elin-Salt & Matthew Trevannion 05 GAry Owen & John E McGrath 06 Robertâ&#x20AC;&#x2122;s 07 Nia Roberts, Katie Elin-Salt & Remy BeaslEy 08 Graffiti Wall 09 J ohn E McGrath & Mark Sumner 10 Stadium 11 Three Horseshoes 12 Mark Sumner & Katie Elin-Salt 13 Nia Roberts 14 Cast, John E McGrath, Gary Owen & Elise Davison Rehearsal photography by Tom Beardshaw Bridgend photography by Anthony Stokes

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Bridgend in picutres Photography BY Anthony Stokes September 2010

“My pictures are almost devoid of people, but I like to think they are about people. They look at places, incidents, moments in time. After all, their subjects are made by people and I hope they tell stories about us.”

Anthony is a photographer based in Ogmore Vale. Bridgend in pictures will take place across the borough of Bridgend commencing in early October. It is a venture in partnership with Bridgend Council, Arts Council of Wales, Seren and local photographers.

The project is grateful to the following organisations for their support: The Rhiw Indoor Market, Townsend Florist, Clive’s International, The Barber Shop, Bad Habits, Ty Coffi, Cup & Saucer, Bauhaus, Clippaz, Cutter & Co, Karma, Ginny’s Tea Room, Maxwells Butterfingers Boutique, Charleez Fancy Dress, Billy Jacks Arty Shop, Curiosity Tattoo , Interflora, Go Mobile, Sorayas, Bridgend Library, Peter Purcella Hairdressers, The Old Cottage Restaurant, Aroma Café, Mayhem, Roberts Hair Designer, Monique, Clothes House, Bridgend Reptiles, Celtic Camera Centre.

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Gary Owen Writer

Neil Davies Co-Designer

Nigel Edwards Lighting Designer

Elise Davison Emerging Director

Sarah Thomas Deputy Stage Manager

Gary’s plays include: Crazy Gary’s Mobile Disco, The Shadow of a Boy (winner of the George Devine and Meyer Whitworth Awards), The Drowned World (Pearson Best Play Award, Fringe First) and Ghost City. Most recently he’s written a new version of Dickens’ A Christmas Carol for Sherman Cymru, Mrs Reynolds and The Ruffian for Watford Palace Theatre, a contemporary adaptation of Spring Awakening for the Royal Welsh College of Music and Drama, and In the Pipeline, for Paines Plough and Oran Mor. Other new work this autumn includes Blackthorn, a new play for Clwyd Theatr Cymru, to be directed by Terry Hands.

Neil Davies was born in South Wales. The first 10 years of his career were based in London where he worked as a freelance hair and make-up artist. He returned to Wales in 1998 to study Fine Art and graduated from the University of Wales Institute Cardiff in 2003. Since then Neil has worked as a costume and set designer with various choreographers and companies including Marc Rees, Tanja Raman, Sean Tuan John, Deborah Light, Welsh Independent Dance, Tanzcompagnie Rubato and National Theatre Wales.

Theatre lighting designs include: The Oresteia (Royal National Theatre); four productions for the Royal Shakespeare Company; three new plays by Sarah Kane in London, Berlin, Spain and Dublin; two productions at the West Yorkshire Playhouse; five productions for Paines Plough, as well as designs for the Royal Court, the Almeida, Soho Theatre, Actors Touring Company, Lip Service and the National Theatre of Macedonia.

Elise is co-founder and coArtistic Director of Taking Flight. She is also the Education Officer for The Rude Mechanical Theatre Company.

Sarah trained at the Royal Welsh College of Music and Drama. Since then she has worked with a variety of companies across the UK from a Number 1 tour with The Vagina Monologues, to Twelfth Night staged in an amphitheatre. She has just spent her fourth summer working at the Edinburgh Fringe Festival.

With Helen Raynor, he has cowritten and created Baker Boys, an upcoming TV series for BBC Wales, starring Eve Myles. www.gary-owen.co.uk John E McGrath Director John E McGrath is Artistic Director of National Theatre Wales. As well as overseeing the launch year programme of 13 shows, this will be John’s second outing for National Theatre Wales as a director following the company’s sell-out inaugural show A Good Night Out in the Valleys back in March. Previously John was Artistic Director of Contact Theatre in 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.

Anna-Marie Hainsworth Co-Designer Anna-Marie is a set designer, scenic artist and costume designer. She recently completed the MA Theatre Design course with a distinction from the Royal Welsh College of Music and Drama along with a degree in Fine Art from Oxford University. Recent production credits include: Spring Awakening (RWCMD); Wozzeck, Britton’s Women (Welsh National Opera); as well as work for WNO Max, WildWorks, Cardiff Theatrical Services, New Street Theatre, Creative Partnerships Plymouth and Part Exchange co. She has also worked in arts management at the Barbican Theatre, Plymouth and the Flavel Arts Centre in Devon. This is the first time she has worked with National Theatre Wales and Sherman Cymru.

Recent designs include: The Postman Always Rings Twice, When Harry Met Sally and Sexual Perversity in Chicago (West End); The Alice Trilogy (Royal Court). Mike Beer Sound Designer Mike started his career at the Sherman Theatre in 1986. Since then, he 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, Clwyd Theatr Cymru, Act Productions, Theatr Gwynedd, Vodafone, Ford Motor Car Company and Motorola. Mike was also Sound Designer on National Theatre Wales’s first production A Good Night Out in the Valleys.

Her directing work includes: Romeo & Juliet, Gwion and the Witch, A Midsummer Night’s Dream (Taking Flight); Boat Memory, Starlight The Dream Catchers (SNAP Theatre); The Crucible, Once a Catholic (The Castle Theatre, Wellingborough); I’ve done Shakespeare you know!, Parting Invitation, The Pilgrimage (The Croydon Warehouse Theatre). Choreography: Cat on a Hot Tin Roof (Nottingham Playhouse); Ik’R’Us Inc (The Rude Mechanical Theatre Co). As an actor Elise has worked for Nottingham Playhouse, Coventry Belgrade, Edinburgh Lyceum, Oxford Playouse, The Castle Theatre Wellingborough. National tours for Snap Theatre, Tiebreak and The Rude Mechanical Theatre Company. For Taking Flight: A Midsummmer Night’s Dream and I Wish It Was Me. Brenda Knight Stage Manager Brenda trained at the Royal Welsh College of Music and Drama. She has worked, enjoyably, many times with Sherman Cymru and this will be her first time with National Theatre Wales. She is also founder member of Mappa Mundi theatre company which tours Wales and England every year.

This is Sarah’s second production with National Theatre Wales as Deputy Stage Manager, the first being the company’s inaugural show A Good Night Out in the Valleys. Charlotte Neville Assistant Stage Manager Charlotte’s theatre creadits include: As designer – Missing, Finding Leaves for Soup (Theatr Iolo); The Long Way Home, The Other Woman (Hijinx); A Real Princess (WNO Max). As Assistant Stage Manager: The Stories of Hans Christian Andersen (Sherman Theatre Company); The Snow Queen, A Christmas Carol (Sherman Cymru). Charlotte has worked with Sherman Cymru’s Acting Out Cardiff group over recent years, working with students to design and produce their own shows. She has also tutored in prop making and puppetry at the Royal Welsh College of Music and Drama.

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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)