Tag Archives: Owen Sheers

From Singapore to Swansea – this writing life

I’m back in the rather wild and windy west of Wales after a stupendously creative six weeks in Singapore, working on a production with Intercultural Theatre Institute, plus a lecture-performance and workshop with Access Path Productions  for Singapore Writers Festival.

I’ve been to the writer’s festival in the past, so it was gratifying to be involved as a writer/performer and moderator this year, with a focus on inclusivity and my work in Disability arts and culture. After spending several decades trying to get past gate-keepers and a crip’ foot in the door, it was a delight to be welcomed and listed as one of the highlights of this international gathering. I gave a few lectures and public talks, reiterating how important disabled-led work is and also reflecting on the power and responsibilities of language. The festival’s theme was ‘A language of our own’ and we discussed how language can heal and hurt – my particular focus was on recent practice amongst politicians and the media in the UK, where language has been used to dehumanise those with difference and normalise disability hate crimes. As I said in my lecture at the festival:

Our voices, our languages, our modes of communication, our perspectives, our experiences – our lives – are important. Being invited to present on prestigious platforms like this is essential and hugely appreciated – in our contemporary situation, in the UK and elsewhere we are witnessing the systematic dehumanisation of disabled people by the government and the state. Brutal benefit cuts under the auspices of austerity were described on 16 November 2017 by the British Medical Journal – not a publication known for its sensationalism – as “economic murder” – with a reported 120,000 deaths caused directly by the current British government’s austerity policies. The removal of services, access and support for the disabled and Deaf communities have been coupled with deeply negative and damaging media narratives which in turn create an atmosphere where abuse, prejudice and violence is further normalised. In the UK, disability hate crime is on the increase – on Weds 9th October 2019 The Independent newspaper reported how violent crime against disabled individuals in England and Wales had increased by 41%, and offences with online element, up by 71%. We need to keep challenging the negative propaganda, the lies, offering diverse perspectives, with alternative expressions of what it is to be human, celebrating all the possibilities of human variety.

I am hugely grateful to the festival’s director Pooja Nansi for her innovative and inclusive programming. Thank you, Pooja, for giving a platform for such important discussions to take place.

Now that I am back in Wales, further conversations about disability and difference will flourish in my collaboration with historian Prof. David Turner as one of the Creativity Fellows at Swansea University, initiated by writer and Professor in Creativity Owen Sheers. We launch this Friday, 15th November:

The Creativity Fellowships are an exciting new initiative that offers two professional artists the chance to engage with and explore cutting-edge academic research at Swansea University.
Owen Sheers said:

‘I’m so pleased to be getting these Fellowships off the ground with two such talented and exciting artists. I hope they and their academic partners will have a fascinating year of collaboration and exploration, which also promises to be a powerful engine for furthering a vibrant conversation between the sciences and the arts at the University and in the wider community.’

Professor David Turner commented:

‘I am thrilled at the prospect of working with Kaite O’Reilly to bring the histories of disabled people to life. Kaite’s commitment to empowering disabled people through the creative arts will provide new and exciting ways of connecting the struggles of disabled people in the past with the experiences of people today.’

The event this Friday is free, tickets available here.

Returning from a long trip always disorientates me – it feels within moments of landing that the previous weeks were a mirage. Certainly adjusting to the temperature change alone is quite challenging – it seems unbelievable as I swaddle myself in thermals that 36 hours ago I was writing at a desk with two fans on high speed directed into my face…

So although the future work beckons – Swansea University, and a ‘Welcoming all Writers’ workshop at Small World Theatre with Chris Kinsey on 23/11/19, details below and tickets here  – it is important to reflect on where we have just been.

Singapore seems very far indeed from Cardigan, or even Rowan Ridge. For the past six weeks I’ve been working with the brilliant Intercultural Theatre Institute (ITI), the graduating 2019 cohort and I worked to adapt my reimagining of Schnitzler’s La Ronde for a Singaporean context. Directed by Phillip Zarrilli, designed by Dorothy Png and production managed by Natalie Lim, Lie With Me opened at the impressive Esplanade Theatres on the Bay last week.

Lie With Me featured an international cast of theatre makers and performers who may well be the shaping force of performance in the future, going by ITI’s impressive alumni. A review of the production follows

Lie With Me – a powerful exploration of the longing for intimacy

Lie With Me, ITI

12 Nov 2019
Article by Yaiza Canopoli for Arts Republic Singapore

Written by Kaite O’Reilly and directed by Phillip Zarrilli, the Intercultural Theatre Institute presents the Asian premiere of Lie With Me – a play about human relationships, class struggles, and the quest for intimacy. Led by a cast both Singaporean and international, the play was adapted by producers and actors alike to reflect Singaporean youth, and how we form meaningful relationships with each other. This is achieved by following eight characters, presented in pairs; one character of each pair overlaps and slips into the following couple on stage, threading a cyclical narrative of interconnectedness. The fact that each pair of characters feels lonely and isolated despite the wider connection to the entire cast speaks for itself: the sadness that envelops each character in its own way seeps out from the stage and makes this play relatable and breathtaking.

Lie With Me, ITI. 2019. Ted Nudgent Fernandez Tac-An and Tysha Khan Photos by Bernie Ng

The writing tackles a variety of topics and issues: we encounter poor Singaporeans, immigrants looking for work, sisters battling grief, same-sex couples, women fighting mental health issues, people in toxic relationships, and much more that falls in between these lines. Many of the characters’ struggles begin to blend into each other to spell out a universally human longing for affection and love. As the fights that break out between couples, siblings, and strangers keep us on the edge of our seat, we are left with a deep sense of empathy for people whose actions are morally grey or straight-up terrible. A number of scenes end with characters who have lost their temper asking to be held, to be cared for – love and intimacy attempting to overcome anger and violence.

Lie With Me, ITI 2019. Photo Bernie Ng. Wendy Too and Theresa Wee-Yenko.

The diversity of these relationships is impressive. We even get to witness the delightfully surprising connection that springs up between a self-involved upper-class woman and the prostitute she hires. While the attempt to cover such a wide variety of relationships and issues could have easily diluted the intensity of each story, the genuine nature of the dialogue, the fantastic acting (with wonderfully accurate facial expressions and even walking styles), and the masterful production made for a play that feels real and relevant.

Lie With Me, ITI, Esplanade Theatres in the Bay, Singapore, 2019

Appropriately titled, Lie With Me invites the audience to feel and mourn with the characters as they hold on to the one thing they long for at the end of a terrible day: a moment of tenderness and unconditional human affection.

The cast were: Ted Nudgent Fernandez Tac-An, Tysha Khan, Wendy Toh, Nour El Houda Essafi, Regina Toon, Theresa Wee-Yenko, Jin Chen and Earnest Hope Tinambacan.  For the full review, click here

I feel so fortunate to have the opportunity to engage with such extraordinary people, and to collaborate with those from across the world. At the lecture/performance at the Singapore Writer’s Festival, my friend and long-term collaborator Grace Lee Khoo reflected on the difference between inclusive and participatory:

Inclusive means you’re invited to the party. Participatory means you get to dance.

Thank you to everyone these past weeks and looking forward to the future who has welcomed me, engaged with me, and enabled me to dance….

 

 

 

 

Creative Wales Awards 2017

I’m delighted to announce I am one of the artists from Wales fortunate to be granted a Creative Wales Award.

The awards, presented at an event held at Cardiff’s contemporary art gallery G39 on Thursday 12 January, “recognise the very best talent and potential of individual Welsh artists applying for this development opportunity.

The annual Creative Wales Awards offer up to £25,000 to enable artists to take time to experiment, innovate, and take forward their work. The aim is to develop excellence by offering a period of research and development to some of Wales’s most interesting artists.”
Phil George, Chair of the Arts Council of Wales said:

“The Creative Wales Awards is the Arts Council of Wales’s opportunity to recognise some our country’s remarkable talents. They are awarded to the artists at significant stages in their careers and as they take the brave decision to explore new ways of developing and making their art. We look forward to seeing how these awards will impact on their work and to how their creativity flourishes in the future.”

I am immensely excited about this award, but also phenomenally grateful to be living in a country which recognises life-long learning and development in an artist. For me, just writing the application for the award was stimulating and useful – it encouraged me to perceive where I ‘am’ in my career, and possible new ways forward.

My Creative Wales is based on my love of words and the incredible joy I experienced when writing my new version of Aeschylus’s ‘Persians’, directed by Mike Pearson site-specifically on MOD land for National Theatre Wales in 2010. You can see a promotional video of the project here.

Apart from starting a love affair with the remarkable poet-playwright-soldier Aeschylus, it introduced me to composer John Hardy, long-term collaborator of Pearson and the brilliant Brith Gof. I knew John’s work intimately, but hadn’t had the opportunity to work with him, before. At the read-through of the first draft, he said to me: “Do you write for opera?” and I answered in the negative. “Well, perhaps you should think about doing so,” he replied – words that remained scorched into my mind for six years – until I started thinking about a Creative Wales Award. I am happy to say John Hardy was immensely generous in our conversations about form and process, dialogue which helped me shape a programme of learning when drafting my application. He, alongside David Pountney of Welsh National Opera, and Michael McCarthy of Music Theatre Wales, were incredibly encouraging as I stumbled in my ignorance through possible approaches. I hope dearly to have the opportunity of observing process with WNO and MTW, and developing material alongside John Hardy during my experimentation.

But my award is not solely about writing libretti. It is about exploring the performative power of language with music. The gift of a Creative Wales Award is remarkable – it is not product-based, but about process, learning, experimentation, creative exploration. I will spend months exploring different form and approaches – from underscored performance poetry and verse drama through to exploring contemporary libretti.

Perhaps this exploration was inevitable. I won the Ted Hughes Award for New Works in Poetry for the text of ‘Persians’. This extraordinary honour both humbled and bewildered me (“but I’m a playwright, not a poet!!”) and started me off questioning what the relationship might be between the poetic and the dramatic. It is perhaps no accident that new friends and collaborators are themselves accomplished poets – Samantha Wynne Rhydderch, Gillian Clarke, Sophie McKeand and especially Chris Kinsey, who has consistently nurtured my interest in poetry, and encouraged my own practice through inviting me to read alongside her at public performances. I’m excited about where my journeying into the poetic may take me, and I’m thrilled that Owen Sheers and Gillian Clarke will give me some masterclasses in poetry and verse drama in the first stage of my Creative Wales.

All I need now is to get through the next four months before my exploration commences. I’m trying to curate an experience which will stretch and challenge me, forcing me to grow as an artist perhaps into unexpected places. I am so grateful to all who assisted me in the application, and those who wrote supportive letters. My greatest thanks, of course, goes to the officers of the Arts Council of Wales and that sterling institution which has such vision and understanding about how to grow mature artists within Wales. I know my colleagues outside Wales are envious we have such opportunity – and it is one we must cherish and jealously protect in uncertain times in the future.