Tag Archives: Sara Beer

Singapore rehearsal diary for New Welsh Review….’And Suddenly I Disappear….’

What follows in an excerpt from my rehearsal diary, commissioned by New Welsh Review, documenting part of my process working in Singapore this Autumn on ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, my international r&d commission from Unlimited. I am immensely grateful to New Welsh Review for providing this feature free – see more on the journal at https://www.newwelshreview.com and here

Stephanie Fam performing in Kaite O’Reilly’s international r&d Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues’ before a still image of Sophie Stone using visual language, Photograph: Kaite O’Reilly

 

 

18/9/17:

We arrive into Singapore at the end of the Month of the Hungry Ghosts. Flaming braziers sit on street corners and outside temples. Paper money from the Bank of Hell and small cardboard models of cars, smartphones, booze, cigarettes and all the trappings of the good life are set alight in the braziers as offerings to the dead ancestors. Zhong Yuan Jie is the period in the seventh month of the lunar calendar when the gates of the underworld are opened to allow the souls of the dead to roam the earth. Relatives burn offerings to appease their deceased family members, ensuring they don’t become ‘hungry ghosts’ up to mischief, jealous of the living and what they have.

Even in its Taoist and Buddhist rituals, Singapore is commercial, taking care of material needs into the afterlife.

We – performer Sara Beer, director Phillip Zarrilli and I – are here for the r&d of  my collaboration between Wales and Singapore, ‘And Suddenly I Disappear… The Singapore ‘d’ Monologues’, an Unlimited International Commission and dialogue about disability, diversity and difference from opposite sides of the world.

Singapore is a young nation, a high-functioning capitalist culture valuing commerce and uniformity, where, my producer Grace Khoo tells me, she was raised ‘not to ask questions, to keep my chin down and not to stand out.’ It is recently embracing notions of diversity and inclusion, but its awareness of disability issues and culture are very much in its infancy. How challenging atypical embodiment, disability politics, the aesthetics of access and what I call ‘alternative dramaturges nformed by a d/Deaf and disability perspective’ may be here, I’m about to find out.

The UK has a long and proud history of disabled peoples’ activism, something Sara Beer and I have been engaged with for decades. Our background is punkish, proud and irreverent – ‘nothing about us without us’ is one of the Disabled Peoples Movement’s slogans – ‘Piss on Pity’ another, a badge I still wear. How this will fit with the ultra-conservative Singaporeans and a system that would not have tolerated our direct action of the 90s remains to be seen. A fascinating conversation is in the process of happening.

20/9/17:
We rehearse at Centre 42, a heritage house in downtown Singapore, greeted by my main collaborator, Peter Sau, and herbal teas from the local Chinese medical hall to help counter the excessive humidity. Peter is an award-winning actor and theatre maker, and a friend since my first visit to Singapore in 2004. He and producer Grace came to the UK in 2016 in order to explore disability arts and culture, with the aim to professionalise it in Singapore .

Some of the ‘And Suddenly I Disappear…’ team, including Sara Beer and Ramesh Meyyappan, Lee Lee Lim, Danial Bawthan and Shai outside Centre 42, Singapore.

Together we made an application to Unlimited, building on the model I developed from my 2008/09 Creative Wales award. Then, advised by Eve Ensler and Ping Chong, I explored the form of the monologue, interviewing d/Deaf and disabled people across the UK, using their perspectives, experiences, and opinions as inspiration to write fictional monologues. These were later produced as ‘In Water I’m Weightless’, the National Theatre Wales/Unlimited production, part of the 2012 Cultural Olympiad. It’s important that I write the texts rather than ‘steal’ from the source material, for what are we but our stories? I prefer to invent. This also ensures that the material cannot be individualised, reduced down to one person’s unfortunate experience rather than a synthesis of the collective experience of prejudice we are all complicit in.

In Singapore, Peter and his dedicated team of researchers, transcribers, and translators are partway through intensive interviews with disabled and d/Deaf Singaporeans. These are stories that have gone unremarked and unreported. Despite the new focus on inclusivity and diversity, ingrained beliefs linger, and in many ways difference and disability is shameful in Singapore, so several of our interviewees, although eager to contribute, request anonymity.

The recordings and transcripts of the interviews are remarkable, Peter and his colleagues have eked out conversations of candour and passion. As I write the drafts I’m reminded of my own ‘coming out’ as a disabled person and personal revolution after meeting the social model of disability, which turned everything I previously knew upside down. I’d been reared on the Medical Model, where the body is at fault, requiring medicalisation and normalisation. The social model sees disability, like gender, as a social construct, and it is society and its physical and attitudinal barriers which are disabling, not the body itself. Value is given where previously there was none.

It is no surprise then that many of the conversations ongoing in Singapore prompt tears and extraordinary openness from people so often denied respect. How daunting and exhilarating then is my task – to write fictional work responding to this stimulus, and begin work on embodying these voices.

22/9/17:

Ideas from the interviews are reversed or reinvented, Peter, Grace and Lee Lee Lim advise me on the use of Mandarin, Hokkien and Singlish vocabulary, which help make the rhythms and cadences of the dialogue more Singaporean. The collaboration is shaping into a dialogue, resulting in a series of vibrant, multimedia monologues inspired by lived experience, layering theatrical languages and utilising captioning, integrated audio description and visual language in the aesthetics of access, a first for Singapore. We realise there are seven spoken and signed languages in use in the rehearsal room, reflecting the multicultural diversity and linguistic complexity of Singapore. I feel we’re exploring how stories change in different cultures, languages and contexts…. How do we ‘speak’ to each other?

25/9/17:

I write a choral monologue to be explored in spoken, projected and visual language.

Be like water. Be like a river. You dip a bowl into the river and the river fills it and becomes the bowl. Pour into a pot, it becomes the pot. Treat with fire and it becomes steam…. This is how you will be. Unstoppable. Fluid. Powerful.
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The day I need to submit this diary, just one week after meeting and four days before our in progress sharing, the inclusive company has come together with a startling cohesion. Peter’s team is filled with committed individuals keen to bring about change. Monologues that seemed too edgy and politically challenging on first reading now rise off the page, owned. The sense of pride and celebration is tangible. Sara asks Danial Bawthan, one of our emerging disabled performers, how he is finding the process. ‘Priceless,’ he says. ‘I want to be that water, the water that goes into that bowl.’

Singapore ‘d’ monologue rehearsal photos 1

A week into rehearsals for And Suddenly I Disappear…. the Singapore ‘d’ monologues… Sara Beer, Phillip Zarrilli and I arrive to work at Centre 42 in downtown Singapore, the air heavy with tropical storms.

Grace Khoo and Ramesh Meyyappan – in rehearsals for And Suddenly I Disappear,,, The Singapore ‘d’ Monologues

 

 

 

 

 

 

 

 

We are working flat-out in preparation for three work in progress sharings at the end of the month – only  ten days of rehearsals for this new inclusive company of UK and Singapore Deaf and disabled artists, working on an International R&d commission from Unlimited.

Rapper Danial Bawthan in rehearsals

 

 

 

 

 

 

 

Text is delivered in multiple languages, reflecting the cultural diversity of Singapore. I’m also working in visual language with Ramesh Meyyappan and find myself writing a rap for emerging Singaporean artist Danial Bawthan.

Teaching Lee Lee Lim the sign for ‘disappear’

 

 

 

 

 

 

 

Time is short, with twelve hour rehearsals leading to the first sharing later this week, but I will try to blog when possible. Meanwhile, here’s an article from Huffington Post this morning

 

And Suddenly I Disappear… cycles of inspiration

 

This is a story of collaboration and inspiration…. of how a project inspired a poem and the poem inspired a design and the design became a poster and therefore the image for the project…

There is a poetic symmetry to this cycle of inspiration which I find hugely satisfying.

I am in the midst of an international collaboration – And Suddenly I Disappear: the Singapore ‘d’ Monologues. commissioned by Unlimited, which you can read about here, here, and here. My collaborator in Singapore, Peter Sau, had recently embarked on a massive research exercise, gathering the stories from d/Deaf and disabled Singaporeans to inspire The ‘d’ monologues I would write. One of Peter’s research volunteers, Shai (Nur Shafiza Shafie) became fascinated with the title…. what might the ‘d’ stand for? That tantalising enigmatic letter became a thought, became a response to the project and our ambitions – and became a poem:.

Invitation to D
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Dearest,
Disadvantaged, disempowered
Despised, deprived, downtrod
Deviant, daring and disturbed
Devoutly disillusioned with God
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Destroyed, damaged and dirty
Dishevelled and disheartened
Dismayed, depressed and dreary
Demonised yet defiant
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Determined, deserving, delicate
Different, distinct and diverse
Disabled, deaf and deliberate
Definers of your own dark universe.
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Do it. Defy the disbelievers.
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Disarm them. Deflect them.
Dance around their dreadful hum.
Devour them. Diminish them.
Drown their egos with your drum.
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Decry them. Deplore them.
Dilapidate your despair.
Disturb them. Distress them.
Devastate them if you dare.
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Debate them. Debunk them.
Dig down deeply for the fight.
‎Destroy them. Defeat them.
Drag them kicking to the light.
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(C) Copyright Shai (Nur Shafiza Shafie) 2017
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The project’s UK producer, Grace Khoo, shared Shai’s words with me and I was delighted that our project was inspiring such a creative response from our generous volunteer.
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Then Shai’s poem was seen by our publicity and marketing designer Ho Su Yuen, who swiftly responded with a striking block letter design, using the words from the poem. I, meanwhile, was developing the title of the project. A common theme seemed to be emerging from the video footage and transcripts from the interviews – that of d/Deaf and disabled people being made invisible. This sentiment offered the full title to me: And Suddenly I Disappear…. The Singapore ‘d’ Monologues. The new title was passed on to Ho Su Yuen, who immediately responded with a new offering. 
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Various conversations followed and the design went back and forth as it evolved, Grace and Sara Beer (collaborator on the project and development officer for Disability Arts Cymru) advising on making the logo more accessible.
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And suddenly – there it was…. The beautiful bold image, above… the logo for our project, the poster image created from defiant poetry written in direct response to the interviewees who are inspiring the fictional monologues. This is such a wonderful example of how generosity feeds inspiration and creativity generates more creativity…
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With great thanks to Shai (Nur Shafiza Shafie) and Ho Su Yuen for your beautiful contributions.
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Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Arts Council of Wales and British Council.

Five languages, spoken and signed: at work on ‘The Singapore ‘d’ Monologues’

Ramesh Meyyappan and Sophie Stone ‘The Singapore ‘d’ Monologues’ by Kaite O’Reilly, an Unlimited International Commission

I have known performer/visual director Ramesh Meyyappan since 2004, when I saw his non-verbal physical theatre adaptation of Edgar Allen Poe’s The Tell Tale Heart at The SubStation in Singapore. Since then our paths have continually crossed – at DaDaFest in Liverpool in 2005 shortly after he relocated to the UK, at the Vienna Deaf Theatre Festival around 2006, where I was presenting a paper on my work and was able to participate in his performance workshop. Over the years we have continued to meet, building a friendship and an appreciation of each others’ work. I’ve longed to work with Ramesh since I first saw him on the stage thirteen years ago…. and finally it is happening, in a project which unites the place where we first met with the place we now live.

Ramesh is a performer and visual theatre director for my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues

I am immensely excited about his involvement in this ambitious project, an international dialogue about disability, Deaf experience, diversity, and difference, from opposite sides of the world. I will be writing future blogs reflecting on our process – it is complex, a multi-layered project involving grassroots engagement and research. My collaborators Peter Sau and Lee Lee Lim, plus other members of the Singapore team are amassing material from interviews  which are inspiring the fictional monologues I am writing. Time is short… We will soon be combining the UK and Singapore teams, collaborating in September to present r&d sharings at Centre 42 in Singapore.

Ramesh Meyyappan and Sophie Stone in T’y-n-y-Parc Studio. The Singapore ‘d’ Monologues

This project has allowed me to indulge in playing ‘fantasy cast’…. Once I knew Ramesh was on-board, I knew I had to bring him together with Sophie Stone, a long-term collaborator who I have written parts for in my Unlimited Commission/National Theatre Wales 2012 production In Water I’m Weightless and Kirstie Davis’s production for Forest Forge Woman of Flowers (2014). I also suspected that these two innovative artists wanted to work together – so to be able to bring them together at our initial exploratory workshop at The Llanarth Group’s T’y’n-y-Parc Studio in beautiful west Wales was a dream.

Unfortunately owing to other work commitments, Sophie is not able to travel to Singapore with us in mid September, so we were sure to capture her presence through the project’s filmmaker, Paul Whittaker. The project will combine live camera, pre-recorded material with live action, so it was excellent to film Sophie so she can join us in the r&d as a mediatised presence.

Sophie Stone

This initial weekend of exploration in early August 2017 enabled me to try out emerging material and experiment with multiple languages. Completing the company was director Phillip Zarrilli and performers Grace Khoo, and Sara Beer.

I had given text to the company to translate or reinvent in different languages in advance of our workshop: Sara into Welsh, Grace into Mandarin, and Sophie BSL and visual language, Together  with Ramesh using Singapore Sign Language, we layered five spoken and visual languages together, resting on the baseline of English.

One of the monologues – ‘What Not To Say To A Person Who Is Depressed’ – was explored as an ensemble, simultaneously cutting between BSL, Welsh, English, Mandarin, and ‘Singlish’ – a variety of English spoken in Singapore incorporating Chinese and Malay. I began to appreciate the possibilities of humour as well as poignancy in this multilingual experimentation.

Grace Khoo, Sara Beer, Sophie Stone in rehearsal. The Singapore ‘d’ Monologues by Kaite O’Reilly

It was a phenomenally creative weekend, experimenting with multiple languages and form. Ramesh started creating a physical ensemble piece, responding to texts I had sent him and some extracts from some of our research interviews, and we had a chance to discover collaborative modes.

Sophie will of course be hugely missed when we gather in Singapore in a month’s time – but at least we will have her digitally….. and I can’t wait to get the full company together to start this creative and cultural dialogue.

For more information on Unlimited, go here.

Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Arts Council of Wales and British Council.

The Singapore ‘d’ Monologues

 

Ramesh Meyyappan from his website http://www.rameshmeyyappan.com

As announced at the No Boundaries Conference yesterday by Jo Verrent and Tony Heaton, I have been fortunate to be selected as one of the artists for the Unlimited International Commissions for 2017/18. Full details of all of the commissions can be read here.

It feels even more of a privilege than usual to be supported by funders – and not only that, but to make an international collaboration. The award of this commission is bitter-sweet, especially on this day, Wednesday 29th March 2017, when Teresa May triggers Article 50 and turns her back on European unity. If ever there was a time for coming together and connecting across distance and perceived difference, it is now – and I am grateful to Unlimited and all the funders, allies, and supporters for recognising the value of collaboration and international dialogue, and enabling such things to happen.

The blurb:

KAITE O’REILLY – THE SINGAPORE ‘D’ MONOLOGUES

Lead artist / Playwright: Kaite O’Reilly

Director: Phillip Zarrilli

Associate Director, Researcher and Performer: Peter Sau

Producer and Researcher: Grace Khoo

Visual Director and Performer: Ramesh Meyyappan

Disability Advisor and Performer: Sarah Beer

Researcher and Performer: Lim Lee Lee

The Singapore ‘d’ Monologues is an international theatrical dialogue of difference, disability, and what it is to be human, from opposite sides of the world. Inspired by previously unrecorded disabled experience, fictionalised monologues will be precedented across multiple languages (spoken/projected/visual), incorporating aesthetics of access. This performance will set an important precedent: the first multilingual, intercultural, disability-led theatre project created between the UK and Singapore.

Award-winning playwright Kaite O’Reilly, and internationally respected director/actor-trainer Phillip Zarrilli will lead the team, joined by veteran disability arts practitioner Sara Beer and Deaf UK-based Singapore-born Ramesh Meyyappan with his innovative visual performance skills. Together with Singaporeans Lee-Lee Lim, Grace Khoo and principle collaborator, Peter Sau, the performance will open up a much-needed discourse of disability in quality, accessible disability-led work, never experienced before in a home-grown Singaporean project.
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The background:
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I first met Ramesh Meyyappan and Peter Sau in Singapore in the same year, 2004, but in different productions. Peter was performing in a production directed by Phillip Zarrilli at The Esplanade, the graduating production for ITI (Intercultural Theatre Institute, formerly TTRP). There, Peter had the extraordinary privilege to be tutored by T. Sasitharan and the father of Singapore theatre, the visionary Kuo Pao Kun.
Ramesh was presenting his visual theatre adaptation of Edgar Allen Poe’s ‘The Tell Tale Heart.’  Contact was firmly established with both independent artists, based on my conviction I would collaborate with them at some time in the future.
Following Ramesh’s work and occasionally participating in his workshops became easy when he relocated to Scotland, where he has been a leading light in physical/visual theatre.  Teaching Dramaturgy at the Intercultural Theatre Institute in Singapore has enabled me to keep in touch with Peter over the years, and he came to train with Phillip Zarrilli and I at the 2015 Summer Intensive in Wales, where the seed which became The Singapore ‘d’ Monologues was planted.
Peter is passionate about ‘theatre with a conscience’ and with his collaborators producer Grace Khoo, and mentee/performer Lee Lee Lim, they are determined to professionalise disability arts in Singapore and open up a much-needed discourse on diversity, disability and difference.
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The ‘d’ monologues:

My notion of a portable, flexible, diverse body of work informed by a Deaf and disability perspective and the Social model was initiated in 2008, when Arts Council Wales granted me a Creative Wales to explore the form of the monologue. I am not a fan of verbatim, so had many conversations with disabled and Deaf individuals all over the UK to try and get a sense of lived experience in a disabling world, the political and the personal, spiced by what I call crip’ humour. These encounters inspired a series of monologues I wrote in a variety of styles. These solo texts became the basis of an Unlimited commission, culminating in the 2012 Cultural Olympiad ‘In Water I’m Weightless’ with National Theatre Wales, Wales Millennium Centre and the Southbank Centre.

Cast of ‘In Water I’m Weightless’ by O’Reilly, National Theatre Wales/Southbank Centre 2012, part of the Cultural Olympiad. Cover image of ‘Atypical Plays for Atypical Actors’. Photo: Farrows/Creative

The creative process, directed by John E McGrath with assistant director Sara Beer, choreographed by the late great Nigel Charnock, designed by Paul Clay and featuring six of the leading Deaf and disabled performers in the UK, is fully documented elsewhere on this blog (search In Water I’m Weightless, 2012). The montaged texts from this collaboration are published in my collected ‘Atypical Plays for Atypical Actors’, published by Oberon last year.

This model seemed perfect for a collaboration with Peter and colleagues in Singapore. He, Grace, and Lee Lee would initiate a series of interviews with disabled Singaporeans – lived experience never before documented or shared – and these would create the inspiration for fictional monologues I would write, and the basis of an oral archive. Peter would begin a series of skills-based workshops in Singapore with emerging Deaf and disabled performers, and Ramesh would develop visual theatre sequences.  Phillip Zarrilli would direct emerging work, joined by performer Sara Beer from the UK, with Lee Lee, Peter and Ramesh also performing. It is this r&d stage Unlimited have funded, with the ambition of a full production in Singapore and the UK in 2018.

Style and content of the Singapore ‘d’ Monologues:

We don’t yet know what form and shape this project will take – what tone, what content, what aesthetic – this will all be determined by the next six months and our collaborators. What we do know is the aesthetics of access will be a consideration throughout – and we will have a challenge with translation and captioning in quad-lingual Singapore. We hope our interviewees will have a sense of ownership, and the work will inspire and confound expectation, and the process will be one of symbiosis. I know there will be so much to learn from our Singapore collaborators, and a wealth of riches to be celebrated in this multicultural, intercultural theatre project of communication and dialogue.

UK Collaborators:

Director Phillip Zarrilli and performer Sara Beer are both long-term collaborators. I first worked with Sara with Graeae Theatre in 1987, when, as graduates, we both got our first jobs with this inspiring company. We have worked together consistently ever since, often with Disability Arts Cymru, a great organisation I am proud to be patron of.

Phillip and I have worked internationally as co-creators and collaborators for fifteen years, and has directed many of my plays, recently another Unlimited Commission, ‘Cosy’, which opened at Wales Millennium Centre in March 2016, and featured Sara as the enigmatic Maureen.

Sara Beer as Maureen in ‘Cosy’. Photo: Farrows Creative

What has come clear to me in the writing of this extended blog is the importance of Unlimited in supporting, nurturing and promoting work – in enabling creativity to flourish and artistic careers to thrive. It is such a remarkable hydra organisation with many heads and needs to be congratulated, I feel, for its ground-breaking work and determination to bring about change, its considered efforts for a more equal, and culturally diverse society.

Unlimited is an arts commissioning programme that aims to embed work by disabled artists within the UK and international cultural sectors, reach new audiences and shift perceptions of disabled people. Unlimited has been delivered by the disability-led arts organisation Shape Arts and arts-producing organisation Artsadmin since 2013, and is funded from 2016-20 by Arts Council England, Arts Council of Wales, British Council and Spirit of 2012.

Unlimited and all the funders: thank you.

#UnlimitedCommissions

http://petersau.com

http://www.rameshmeyyappan.com

http://weareunlimited.org.uk/about-unlimited/

Cosying up to the critics….

And so I find myself in Berlin, continuing my fellowship at the remarkable International Research Centre ‘Interweaving Performance Cultures’, Freie Universitat, and preparing to set off to the German language premiere of one of my plays at Mainfranken Theater Wurzburg. I will write about my research work in a future blog, along with the German language premiere of The Almond and the Seahorse – translated by Frank Heibert as Mandel und Seepferdchen. Before I move on to this German adventure, I feel I have to complete the circle with my previous production, Cosy, The Llanarth Group in association with the Wales Millennium Centre, supported by Unlimited.

It is one month since that play premiered, and I have only really absorbed the astonishing critical response to the production, directed by Phillip Zarrilli, with a wealth of Welsh women performers: Sara Beer, Llinos Daniel, Bethan Rose Young, Ri Richards, Sharon Morgan and Ruth Lloyd.

Sara Beer as Maureen in 'Cosy'. Photo: Farrows Creative

Sara Beer as Maureen in ‘Cosy’. Photo: Farrows Creative

I have been collecting the reviews and responses, and excerpts follow, with links to the full reviews:

Brief extracts from reviews of COSY by Kaite O’Reilly  

8-12 March, 2016 Wales Millennium Centre

‘COSY: It will make your heart pump and your belly shake.’  

         Denis Lennon Art Scene in Wales (March 11, 2016) http://www.asiw.co.uk/reviews/cosy-wales-millennium-centre

‘When the lights go up at the end of Kaite O Reilly’s Cosy in the WMC’s Weston Studio, you might find that you have to pick yourself up off the floor and put an ice pack on your face for the clobber it gives you. This play fights you and your natural urge to ignore the inevitable; it provokes and can reduce you to tears like any great fighter. And it does so, as O’Reilly does so well, through language…This production stirs and questions our ideals of life and death in a beautiful and sensitive manner. It will make your heart pump and your belly shake. A thought-provoking night that is not to be missed.’

 

New Welsh Review Issue 110 (Winter 2016)

‘Cosy’ by Kaite O’Reilly at WMC 

Sophie Baggott  https://www.newwelshreview.com/article.php?id=1169

…‘Cosy’ is simultaneously the most moving and entertaining script I’ve heard on a Welsh stage in years…The all-female cast members are each phenomenally in tune with their characters… O’Reilly’s writing is, at times, breathlessly beautiful. Without warning, bickering is wrenched into raw, soul-searching outbursts… [O]ne might…have been aghast at the deafening decibels of laughter spilling out of Weston Studio throughout the performance. Yet, rather than cloaking ‘Cosy’ in gloom, O’Reilly’s play beams with black comedy. The sisters are wickedly funny in this cross-wired mess of a situation. The playwright displays a quite perfect clip of how families so often muddle their way through the most maze-like dramas with a ‘well, you have to laugh’ mentality.

Sharon Morgan in 'Cosy'. Photo: Farrows Creative

Sharon Morgan in ‘Cosy’. Photo: Farrows Creative

The Arts Desk, 4 stars

Powerful disquisition on ageing, death and womanhood

 Gary Raymond 10 March 2016 The Arts Desk **** http://www.theartsdesk.com/theatre/cosy-wales-millennium-centre

‘Kaite O’Reilly’s new play is a dark dark comedy, a Chekhovian family saga on a mainly bare stage that handles its subjects of aging, death and family with a rich and grounded intellectualism to be expected of the playwright’s work. The production itself skips lightly along the thin line that separates reality from a discomforting dreamscape, the waiting room: everyone is waiting, for death, for life, for family members to arrive. It is an ominous comedy…

Sharon Morgan is regal as Rose; Ri Richards, Ruth Lloyd and Llinos Daniel are excellent as the sisters; Bethan Rose Young has perhaps the most difficult task as the precocious 16-year-old who seems to learn nothing in school other than enlightenment philosophy; but it is Sara Beer who steals the show as Maureen, a brilliant and disconcerting comic turn that from the off envelops the play in a sense of the otherworldly.’

Western Mail/Wales Online

Cosy tackles the difficult subject of suicide with comic timing and emotional depth

Jafar Iqbal 10 March 2016 http://www.walesonline.co.uk/whats-on/theatre-news/cosy-tackles-difficult-subject-suicide-11020164

‘Good things happen when Kaite O’Reilly comes to Cardiff. Previous visits have resulted in critically acclaimed productions showcased by the likes of Sherman Cymru and National Theatre Wales…For what is arguably her most intimate production to date, O’Reilly may also have produced her best…Cosy is a tender meditation on the value of life…What immediately stands out when watching Cosy is its honesty. O’Reilly tackles an extremely sensitive subject with a matter-of-factness that is, at times, shocking. Suicide is discussed frankly, without prejudice and, crucially, with laugh-out-loud humour, giving it a legitimacy that is both liberating and unnerving at the same time…six exceptional performances. The characters are all beautifully developed, the natural chemistry between them all making for great viewing. Standing out from the pack is Sharon Morgan, as Rose… As the play reaches its powerful conclusion, the audience is gripped. Comedies about suicide aren’t made too often but, in writing a very good one, Kaite O’Reilly proves yet again why she is amongst Britain’s best playwrights. And someone welcome back to Cardiff any time.’

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in 'Cosy'. Photo: Farrows Creative

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in ‘Cosy’. Photo: Farrows Creative

 

The Stage. 4 stars.

Cosy review at Wales Millennium Centre – ‘deliberately discomforting confrontation with death’

Rosemary Waugh. **** https://www.thestage.co.uk/reviews/2016/cosy/

‘“Well, doesn’t this look cosy?” says Gloria (Llinos Daniel) as she lets herself into her mother’s living room. Yet, despite the title, there is nothing cosy about Kaite O’Reilly’s new play. Instead, all aspects sit incongruously with one another, from the self-consciously fashionable clothes warn by middle-aged Camille (Ruth Lloyd), to the clunky, prep school philosophy phrasing spouted by granddaughter Isabella (Bethan Rose Young) and, most of all, the different family members forced together.

This conscious discomfort continues into Simon Banham’s set design, which starts life as nondescript, dust-sheeted mounds, before morphing into blood-red lines of nursing home chairs that slice the space into disjointed angles. Lighting by Ace McCarron brings the medicinal into the domestic setting, turning first spearmint blue and then a saccharine peach. Gloria, the most estranged daughter, is introduced in a blaze of red, while the increasingly frequent mentions of death turn the stage black. The production’s soul is found in the musical interludes by Daniel, which act as buffer zones between the fraught familial exchanges.

Rose’s (Sharon Morgan) insistence that her family must confront the idea of death is the ultimate un-cosy element. Her more didactic ruminations are lifted by Sara Beer’s humorous, subtler comments on assisted suicide and disability…’

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O'Reilly's 'Cosy'. Photo: Farrows Creative

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O’Reilly’s ‘Cosy’. Photo: Farrows Creative

 

Dr Mark Taubert. Ehospice.com

Author: Dr Mark Taubert, Clinical Director/Consultant in Palliative Medicine, Velindre NHS Trust, Cardiff) (http://www.ehospice.com [palliative care news])

‘Where to begin to describe this play by renowned playwright Kaite O’Reilly? I’ll start by making up a word: ‘uncosy’ came up repeatedly in my mind with an ill-at-ease feeling delivered with unremitting pace throughout this play……Sara Beer gives one of the stand-out performances in this play, with her witty, funny and astutely observed thoughts on modern medicine, life, death, attitudes towards disabled people and also assisted suicide…

‘Cosy’ dealt with the big ethical questions our society will face in future in a surprisingly balanced way. This balance is achieved by witnessing debates between people with very different opinions: they argue and argue, but this is portrayed in an informed way.

Advance care planning, advance decisions, do not attempt cardiopulmonary resuscitation decisions (and tattoos) all get pitched in such a way that a medical professional like myself could identify with this societal critique – and not cringe, as so often happens when fiction tries to imitate medical reality. I nodded a lot during the play, mainly in recognition of what I have seen and heard in hospital, community and hospice medicine over the last 16 years…’

 

British Theatre Guide

Othniel Smith

Cosy ‘…wears its deep seriousness lightly; a tale of empowerment which leaves one deep in contemplation.’

Ruth Lloyd in 'Cosy'. Photo: Farrows Creative

Ruth Lloyd in ‘Cosy’. Photo: Farrows Creative

 

3rd Act Critic

Cosy: ticking meat

Holly Joy https://3rdactcritics.wordpress.com/?s=Cosy&submit=Search

‘We are hit with a sombre set. Cosy, it says on the backdrop. Exquisitely mournful music plays, a woman’s voice breaks the air and it begins. Watching these remarkable women enact such complex and difficult subjects – ageing, euthanasia, suicide, terminal illness and sibling rivalry with sense, passion, anger and humour was sobering.’


The playwright is leaving the building…. embracing diversity and challenging normalcy

 

Sharon Morgan, Ruth Lloyd and Ri Richards in 'Cosy' rehearsals. Image: Farrows Creative

Sharon Morgan, Ruth Lloyd and Ri Richards in ‘Cosy’ rehearsals. Image: Farrows Creative

There reaches a point in every theatre production of a sole-authored script when the playwright needs to leave the room…. and now is my time to do just that….

New writing is exactly that – new – it is untried and brings with it all the excitement, risk and anticipation of doing something for the first time… I loved being in rehearsals full time for several weeks, trying out the script, making amendments, getting feedback from visiting playwrights and dramaturgs as well as the company… Now it is my turn to leave everything in the director’s capable hands and allow him and the company to make their final preparations…

We preview on Tuesday 8th March, International Women’s Day, which seems an appropriate day for a play all about women, of all ages, written by a woman playwright…. We’ve also been receiving some fantastic coverage in the press and media, which I reproduce below. Have a ‘Cosy’ read or a listen….

A podcast with Dylan Moore for the Institute of Welsh Affairs: http://www.clickonwales.org/2016/02/iwa-podcast-confronting-the-last-taboo-old-age-and-death-in-theatre/

Read about the most influential and powerful women in Welsh theatre here 

On normalcy and diversity – an interview in The Stage

Lyn Gardner’s Guardian preview of Cosy

Actor Sara Beer and me in conversation with Nicola Heywood Thomas on BBC Radio Wales Arts Show

Joe Turnbull’s interview with me on normalcy and coming from a family of rebels for Exeunt theatre magazine

A feature I wrote about writing for female protagonists for Art Scene In Wales

An interview with Welsh National Treasure Sara Beer for Western Mail and Wales Online

Richard Huw Morgan and Pitch – radio interview with Tom Wentworth, Ruth Lloyd, Llinos Daniel and me

25 exciting things to do in Wales during March WOW247