Well, another year almost over.
Last night I saw a DVD of 'The Curious Case of Benjamin Button'. If you don't know the film, Benjamin, played by Brad Pitt, was born old and wrinkled and as the years go by he grows younger until he dies a newborn baby. He falls in love with Daisy, played by Kate Blanchett and they work out that when she's about 40, he is too. But after that she gets gradually older while he gets younger. When she's 75 he's about 10 and suffering from dementia. She looks after him until as a baby he dies in her batwing arms. Daisy tells Benjamin a thousand times,'God, you look good' and boy, doesn't he!
As my years flash by, whizzing through space ever faster, I was thinking how wonderful it would be to be growing younger, more intelligent, having a sharper short term memory than a better long term one, be sexier, more beautiful, more naeve, less cynical, have just had my children, be fresh to marriage and relationships, just starting a career. Whoa! Then they'd be teenage hormones, moods, anxiety, depression, self hatred, lack of self confidence, constant embarassment and humiliation, disastrous relationships. No! No! Fairy Godmother if you're listening, I didn't really wish for that.
What I really wish for is that my world slows down so that I can savour and enjoy everything that's good, learn from the bad stuff and let it go. I may not be growing any younger but I do hope that I can go on growing- and not just widthwise!
What I have really appreciated this year more than ever is the constant love and support from my family and friends. Thank you! Particular thank you to Rhys, Angharad, Steffan, Jo, Sue, Den, Di,Wendy, Lynette, Janice and Emily.
A Massive Happy & Healthy New Year to everyone who's read my blog this year.
THANK YOU!
Tuesday 28 December 2010
Monday 20 December 2010
FABLER THEATRE & WRITING FOR THEATRE
Last week I was delighted to be invited by Adam Timms, a co-participant on the Sherman's new writing course and co-founder of Fabler Theatre, to an evening showcase of his work, entitled,' A Mindless Distraction.' Fabler is' a multi-faceted theatre company focussed on strong storytelling, public engagement with the arts, and the provision of experiential training.' Adam and his co-founder Hannah O'Leary set up Cardiff Shakespeare Readers and Healthcare Interact in 2007. They have incorporated a performance element to their work and under the banner of Fabler offer opportunities for actors and the community to become involved. Four short plays were performed by professional actors. Each play was sharp, witty, challenging. Adam is a talent to watch.
Several people we knew long ago, when I worked for Spectacle Theatre and Arts for Disabled People in Wales (now Disability Wales), were involved in the productions as actors and directors. It was lovely to catch up with ex Hijinx and ex Theatre Powys folk and to see how their careers have developed. And very sad to hear of the recent death of Dave Hardy, a talented graphic artist and well respected in his field. Most of us had some kind of health issue. Some more worrying than others.
It was like time had stood still. Difficult to believe over twenty years have passed since I worked for Spectacle. Sadly, their funding is being withdrawn. As is funding for Theatre Powys and Theatre Gwent.
Most of my counselling clients have cancelled due to the bad weather but it has meant opportunities to stay put and get on with writing. I'm pleased to say I've finished the first draft of 'Fathers & Sons'-a play about a co-dependent relationship, blown apart by the arrival of an unexpected foreign guest. It also explores sexual tension between men at a time when homosexuality was illegal. I have also rewritten parts of 'The Reunion' with a different ending. It explores how three women, political activists in the 1960s, meet after 40 years to discover how their lives have changed and question the nature of friendship.
I'm on a bit of a roll, so if you don't hear from me, it's nothing personal, just the muse seems to be with me. HAPPY CHRISTMAS!
Several people we knew long ago, when I worked for Spectacle Theatre and Arts for Disabled People in Wales (now Disability Wales), were involved in the productions as actors and directors. It was lovely to catch up with ex Hijinx and ex Theatre Powys folk and to see how their careers have developed. And very sad to hear of the recent death of Dave Hardy, a talented graphic artist and well respected in his field. Most of us had some kind of health issue. Some more worrying than others.
It was like time had stood still. Difficult to believe over twenty years have passed since I worked for Spectacle. Sadly, their funding is being withdrawn. As is funding for Theatre Powys and Theatre Gwent.
Most of my counselling clients have cancelled due to the bad weather but it has meant opportunities to stay put and get on with writing. I'm pleased to say I've finished the first draft of 'Fathers & Sons'-a play about a co-dependent relationship, blown apart by the arrival of an unexpected foreign guest. It also explores sexual tension between men at a time when homosexuality was illegal. I have also rewritten parts of 'The Reunion' with a different ending. It explores how three women, political activists in the 1960s, meet after 40 years to discover how their lives have changed and question the nature of friendship.
I'm on a bit of a roll, so if you don't hear from me, it's nothing personal, just the muse seems to be with me. HAPPY CHRISTMAS!
Tuesday 14 December 2010
PARIS ON ICE
December and it must be Paris. Well, perhaps a little exaggeration. We spent a few days last year in Montmartre to celebrate our 30th wedding anniversary and decided to go again this year. This time our great friend Jo came too. It looked chaotic at St Pancras but despite the heavy snow in the south-east, Eurostar got us out with only a 15 minute delay. Speed restrictions meant we were an hour late. But on the return journey we caught an earlier train and got an upgrade to First Class. For 59 quid return, that can't be bad!
We strolled around the city sightseeing, visited the Sacre Coeur, the Notre Dame, the Shakespeare Bookshop, where among the shelves of English books is a piano and visitors are invited to take a pew, read or play. One evening we did the Christmas market in the Champs Elysees. Didn't buy anything but drinking vin chaud and peeping at the stalls was fun. We also managed to see Elles@Pompidou. The art centre had been closed due to strikes last year. They have made this exhibition of women's art (since the 1960's) a permanent feature. Well worth a visit.
In our apartment there was a visitor's book, where people wrote about the chic little restaurants they'd found. Looking for an authentic place to eat, we found a cheap place to eat near the Pompidou called 'Flunch'- a kind of BHS restaurant but where you can go back and help yourself to seconds from a vast range of veggies. It clearly provides a social service as we shared our meal with all kinds of characters-lady boys, hustlers, immigrants. One poor man, who looked like he had mental health problems went up three times to refill his plate with a mountain of rice and tomato sauce interjected by frequent visits to the Men's. On the way out a man who called himself himself the Chef, asked Jo if she'd enjoyed her meal and they shared a moment on the stairs enthusing about the quality of the food. I think the meal had cost about 6 pounds in total. One for the book!
By the third day it was sleeting and the pavements an ice rink. I began to get worried that I might fall and do damage to my hip but I held on tight to Rhys and all was well. Jo was braver and wandered round our area for hours inhaling the atmosphere. It was fun to spend the time together. But, I'm not sure I want a third helping of Paris in December. Now April, perhaps?
We strolled around the city sightseeing, visited the Sacre Coeur, the Notre Dame, the Shakespeare Bookshop, where among the shelves of English books is a piano and visitors are invited to take a pew, read or play. One evening we did the Christmas market in the Champs Elysees. Didn't buy anything but drinking vin chaud and peeping at the stalls was fun. We also managed to see Elles@Pompidou. The art centre had been closed due to strikes last year. They have made this exhibition of women's art (since the 1960's) a permanent feature. Well worth a visit.
In our apartment there was a visitor's book, where people wrote about the chic little restaurants they'd found. Looking for an authentic place to eat, we found a cheap place to eat near the Pompidou called 'Flunch'- a kind of BHS restaurant but where you can go back and help yourself to seconds from a vast range of veggies. It clearly provides a social service as we shared our meal with all kinds of characters-lady boys, hustlers, immigrants. One poor man, who looked like he had mental health problems went up three times to refill his plate with a mountain of rice and tomato sauce interjected by frequent visits to the Men's. On the way out a man who called himself himself the Chef, asked Jo if she'd enjoyed her meal and they shared a moment on the stairs enthusing about the quality of the food. I think the meal had cost about 6 pounds in total. One for the book!
By the third day it was sleeting and the pavements an ice rink. I began to get worried that I might fall and do damage to my hip but I held on tight to Rhys and all was well. Jo was braver and wandered round our area for hours inhaling the atmosphere. It was fun to spend the time together. But, I'm not sure I want a third helping of Paris in December. Now April, perhaps?
'THE PLAY'S THE THING'
I hadn't realised this was a quote from Hamlet until last Thursday, when together with some local friends and pals from Script Cafe, we saw a live performance in Cardiff broadcast from the National Theatre, London on to the big screen at Cine World cinemas across the globe. It was a stunning performance by Rory Kinnear as Hamlet and a very contemporary production directed by Nicolas Hytner, set in a modern dictatorship where everyone is being watched, and is watching and telling on everyone else. The play within the play that's performed by travelling players becomes a mask to reveal treachery.
I never studied Hamlet and at school I found the language of Shakespeare very difficult to understand. It bored me. I appreciated the lighter plays, the comedies. It's only as an adult, and now trying to write my own plays that I can appreciate the genius of the man- the complexity of the characters, the poetry, the drama and conflict, the twists and turns of the plot. I still struggle with the meaning of the language but Rory Kinnear gave Shakespeare's words such clarity and irony that really engaged me.
Two weeks previously, I saw a Sherman production of 'Measure for Measure' at what was the old Nat West Bank in Bute Town. It was a good production with wonderful set and costumes designed by Takis. The acting was good but some of the actors gabbled their lines and I was left not quite understanding some of the longer monologues.
In both plays I noticed that Shakespeare liked to tie up his endings neatly. I wonder if he was writing today if he's be so inclined to do so? I also wonder if he'd have done a bit more editing!
This week I've been tapping away at my own play, 'Fathers and Sons' (the working title). This has to be submitted to the Sherman's Script Cymu by the end of January. They set up two writing groups, one in English and one in Welsh. As a winner of Script Slam, along with others who'd taken part, I was invited to participate in the English language group, lead by Alan Harris, in a five week writing course and the bargain is to produce a full length play. My play is about the co-dependent relationship between a father and son running a B & B in West Wales in the 1960's. Their world is blown apart by a guest, who isn't what he first seems. It will explore men's relationships at that time and in the time of war.
A tad ambitious, perhaps! Well, with the inspiration of the Bard in my belly, who knows what might roll out, and 'catch the conscience of the King'?
I never studied Hamlet and at school I found the language of Shakespeare very difficult to understand. It bored me. I appreciated the lighter plays, the comedies. It's only as an adult, and now trying to write my own plays that I can appreciate the genius of the man- the complexity of the characters, the poetry, the drama and conflict, the twists and turns of the plot. I still struggle with the meaning of the language but Rory Kinnear gave Shakespeare's words such clarity and irony that really engaged me.
Two weeks previously, I saw a Sherman production of 'Measure for Measure' at what was the old Nat West Bank in Bute Town. It was a good production with wonderful set and costumes designed by Takis. The acting was good but some of the actors gabbled their lines and I was left not quite understanding some of the longer monologues.
In both plays I noticed that Shakespeare liked to tie up his endings neatly. I wonder if he was writing today if he's be so inclined to do so? I also wonder if he'd have done a bit more editing!
This week I've been tapping away at my own play, 'Fathers and Sons' (the working title). This has to be submitted to the Sherman's Script Cymu by the end of January. They set up two writing groups, one in English and one in Welsh. As a winner of Script Slam, along with others who'd taken part, I was invited to participate in the English language group, lead by Alan Harris, in a five week writing course and the bargain is to produce a full length play. My play is about the co-dependent relationship between a father and son running a B & B in West Wales in the 1960's. Their world is blown apart by a guest, who isn't what he first seems. It will explore men's relationships at that time and in the time of war.
A tad ambitious, perhaps! Well, with the inspiration of the Bard in my belly, who knows what might roll out, and 'catch the conscience of the King'?
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