Tag Archives: Lloyd George

2017 residential masterclass with Kaite O’Reilly 19-23 June 2017

Ty Newydd

Ty Newydd

I know I’m biased, but nothing beats the wild Welsh landscape on a mellow Summer’s day…. The view from the library at Ty Newydd is spectacular – over the fields and down to the coast: a view always tempered for me by the knowledge this was once Lloyd George’s bedroom and this was the view he looked at during his last days…

It’s been my great pleasure and privilege to lead an annual residential course at Ty Newydd for more years than I care to admit to. Each year I create new content and writing exercises, as I find the process symbiotic. I relish trying out new approaches and stimuli as I engage with the participants in particularly beautiful surroundings…… not that participants get to see much of them, as I’m notorious for working everyone very hard (but we have also been known to dance on the lawn under the full moon after midnight – but I’m telling tales, now….).

tynewydd_back

So it is with the greatest of pleasure I announce the course for next year… I’ve been fortunate in being able to negotiate what I feel are the ideal conditions for an intensive retreat – a hand-picked group of only eight writers will join me for five days in June. Please read below for details, or check here and contact Ty Newydd to reserve a place.

What follows is from the Ty Newydd website:

PLAYWRITING AND PERFORMANCE MAKING

Mon 19 Jun – Fri 23 Jun 2017
Tutor / Kaite O’Reilly
Course Fee / From £395 – £495 per person
Genres / Drama Performance Scripting
Language / English
This course is a creative exploration of the mechanics of writing for performance. This enjoyable, packed week will challenge and stretch your creative muscles with specially formulated exercises to work both your imagination and understanding of craft. Expect workshops on dramatic structure, effective dialogue, character, and creating the world of the play or text. One-to-one tutorials will give you the opportunity to address your concerns or further develop your work in progress. This course’s group size will be smaller than usual to create an intimate, supportive community of playwrights, poets, and performance-writers working intensely but effectively to bring participants to the next level.

Tutor

Kaite O’Reilly

Kaite O’Reilly works internationally as a playwright, dramaturg and tutor. She won The Ted Hughes Award for New Works in Poetry for her dramatic retelling of ‘Persians’, produced by National Theatre Wales in their inaugural year. Other prizes include The Peggy Ramsay Award, M.E.N. best play and she was a finalist in the international Susan Smith Blackburn Prize for women playwrights and James Tait Black Award for Drama. Her work has been produced in eleven countries worldwide, most recently her play The 9 Fridas was performed in Taipei and Hong Kong. Her work is published by Faber, and her critically acclaimed selected plays, Atypical Plays for Atypical Actors, was published by Oberon in 2016.

http://www.kaiteoreilly.com

Inspiration exists, but it has to find you working (2): Ty Newydd

I’m reading a collection of short one act plays by a group of writers I’m mentoring as part of an initiative for Ty Newydd, the Writers’ Centre for Wales. The house, dating from the sixteenth century, is near the Snowdonia National park, set between the hills of Eifionydd and the sea, on a green baise lawn with what estate agents call commanding views over Cardigan Bay. It is astonishing and lovely, a perfect place for inspiration, the last home of Lloyd George.

The former prime minister and one of the architects of the Welfare State died in what is now the centre’s upstairs library. It is easy to imagine him perched high in a bed, bolstered by pillows, looking out onto the devastating view.

I’ve been teaching residential courses at Ty Newydd for around fifteen years and the Centre’s director, Sally Baker, is both resilient and visionary, eager to create new experiences for writers. She has indulged my experiments – playwrights working with visiting directors (Jenny Sealey, John McGrath, Phillip Zarrilli, Mike Pearson) – site-specific work, with a dozen writers taking over the house and grounds, making performances in every unlikely location, and the likely ones, too. She has even indulged our late night carousing and my ghost stories, particularly my insistence that Lloyd George’s spirit can be sensed in the upstairs bathroom, what had been his personal privvy. I mean no disrespect, I’m merely repeating what I’ve been told,  with a few tiny embellishments, which is to be expected at Ty Newydd, where stories take flight.

The great man is not buried in the Llanystumdwy churchyard, but down the lane from the house in the wooded valley of the Afon Dwyfor, under a huge stone. It feels Celtic and pagan and immensely appropriate. There is a hush around his memorial, as though the birds themselves have taken a moment to reflect. Whenever I walk down, there is always a writer, pen poised, breathing in the dappled air.

The mentoring course is taking place over a six month period with developmental workshops either end, March and September. The writers then develop and revise their plays between these two points of contact, with dramaturgical feedback from me on their drafts.
When we first met in March, the weekend coincided with Theatre Uncut, an initiative set up by Reclaim Productions, with theatres and groups across the UK responding to the coalition government’s spending cuts through a series of play readings, ‘bringing protest to the stage’. One of the writers on the mentoring course, Sandra Bendelow, brought our attention to the event and shared with us the seven short scripts by Lucy Kirkwood, Dennis Kelly, Laura Lomas, Anders Lustgarten, Mark Ravenhill, Jack Thorne and Clara Brennan. ‘Why don’t some of us participate in the weekend, and do a reading?’ Sandra suggested. She chose Mark Ravenhill’s script, which explored the dreams of a past generation through the 2010 student protests. Marge and Fred, figures from the past, celebrate the birth of the Welfare State whilst a contemporary character observes the plans for its dismantling.
And so we found ourselves standing around Lloyd George’s grave at dusk, reading him Ravenhill, telling him what was happening to his extraordinary achievement, the audacious dream which had been the envy of the world for so long.

Afterwards, we trailed back in the gloaming, reflective and silent.