Tag Archives: Unlimited Commission

Hong Kong, Singapore, Womenspire 2018!

Mid April already, richard iii redux completed for the time being after a terrific Wales-wide tour – and now far-flung travel beckons. I leave next week for Hong Kong, where I will be leading a six day workshop on inclusivity and forms of storytelling for ADAHK

I was last in Hong Kong in 2016 with my performance text about Frida Kahlo, the 9 fridas, directed by Phillip Zarrilli and produced for the Black Box International Festival at Hong Kong Repertory Theatre, in association with Mobius Strip, from Taiwan.  It will be fascinating to spend more time in Hong Kong working with local theatre practitioners, learning about their approaches to inclusive practice. I’m hoping to have an opportunity to see new work as well as explore the art centres and galleries of Kowloon, where I will be based.

From Hong Kong I will fly directly to Singapore, to begin rehearsals on my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues. We have just released tickets for the World premiere of this dialogue about difference, disability and diversity from opposite sides of the world, premiering on 25 May 2018 at National Museum of Singapore Bit.ly/and suddenlyidisappear

The production will tour to the UK in September, and I will give further details of the venues in England and Wales, plus special guests, closer to the time. My thanks, as ever, goes to our funders and supporters: Unlimited, Arts Council Wales, and the British Council, who alongside Singapore International Foundation and Centre 42 will make this innovative intercultural project possible. Meanwhile, here’s the glorious video featuring Sophie Stone, Ramesh Meyyappan, Sara Beer, Peter Sau, Grace Khoo and Lee Lee Lim, made by James Khoo with director Phillip Zarrilli:

.

I was wonderfully surprised earlier this week to get an email from Chwarae Teg, informing me I had been shortlisted for their Womenspire 2018 Awards. Chwarae Teg is a charity working to redress the gender balance in the workplace in Wales, with a vision to create: “A Wales where women achieve and prosper.” I didn’t know I had been nominated for the Culture award, so to discover I’ve made the shortlist of four has been an incredible pleasure and privilege, making this quite a week. I’ll be celebrating the talent, passion, and vivacity of women in Wales at Womenspire 2018 at the Wales Millennium Centre on 5th June.

 

 

Guardian review: In Water I’m Weightless – 4 stars

David Toole and Nick Phillips – In Water I’m Weightless. Photo: Farrows/ National Theatre of Wales

The following is a review by Alfred Hickling, 3rd Augut 2012, reproduced from http://www.guardian.co.uk/stage/2012/aug/02/in-water-im-weightless-review

The writer Kaite O’Reilly says that she maintains two careers: “the mainstream playwright and the less visible disability artist.” Recently, that balance has arguably been reversed. Three months ago, Sheffield Crucible and Chol Theatre presented O’Reilly’s LeanerFasterStronger – a provocative meditation on biological engineering that predicted Paralympians may one day overtake their able-bodied rivals.

Now comes this Cultural Olympiad commission for the National Theatre Wales, featuring some of the finest differently abled performers in the country. There’s no plot, narrative or characterisation to speak of, though the point is simple enough to grasp. Despite all the advances made in accessibility and civil rights, disabled people still find themselves ostracised, patronised and feared. “We’re a fire hazard. A drain on your resources,” they state – and they’re angry. Very angry. John E McGrath’s production opens in high-concept mode, with much strobing and strutting to loud music that seems to suggest a catwalk show. Then the five performers (originally six – Mandy Colleran unfortunately had to withdraw through injury) take a turn at the microphone and tell their stories. Often these are sardonically funny: in a section entitled Things I Have Lip-Read, deaf actor Sophie Stone recounts someone saying, “Well, at least the phone bill will be small.” At another point David Toole and Nick Phillips compare notes on typecasting. “I’m always the monster, the serial killer or, worst of all, the plot device,” Toole complains. “I got to play a regular criminal once,” Phillips replies, “but they had to change the line ‘take him down’ because of the stairs.”

The cut-and-paste make up of the monologues can sometimes be frustrating: there is a tendency for significant points to be raised rather than developed. But there are some thrillingly vitriolic passages enhanced by the aggressive physicality of the choreography by Nigel Charnock, whose death from cancer was announced yesterday. Mat Fraser contorts his body through a spasmodic sequence of movements to the Sex Pistols’ Bodies, whose sneering line, “I don’t wanna baby that looks like that” sums up the show’s punk-like ethos. And there’s an arresting instance of table-turning when Stone delivers a long speech in British Sign Language without translation. Suddenly you realise how incomprehensible the world would seem if you lost the ability to hear. I couldn’t understand a word, though the final gesture – a middle finger jabbed aggressively upwards – was enough to give the gist.

  •  At Southbank Centre, London on 31 August and 1 September