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I l I a dNatioNal theatre Wales iN associatioN With meWN cydWeithrediad â FFWrNes 21.09—03.10.2015

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“In the begInnIng there was no begInnIng, and In the end, no end…”

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directors/cyFarWyddWyr Mike PearsoN & Mike Brookes a TheaTrical sTagiNg of chrisToPher logue’s War MusicllWyfaNiad TheaTrig o War Music gaN chrisToPher logue

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FFWrNesllaNelli

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Commentary/sylwebaeth _____ makIng IlIad/CreU IlIad

for us, it begins with an ambition: to stage the whole of christopher logue’s War Music – his account of homer’s iliad – in a single durational performance; to highlight his extraordinary text; to make it available to audiences in the most immediate and exciting manner. [We plan to do this.] Then come our desires: to make site-specific performance in a theatre auditorium; to employ a particular range of scenic devices and theatrical components; to explore the use of contemporary technologies, concentrating on audio. [i imagine this. i want to do that.] and those ideas that appear out of the blue: what if the gods are annoying teenagers? [how about this?] and the practical challenges: of presenting three hundred pages of poetry as theatre; of addressing the constraints of budget, of available resources, of time; of working with young people. [We’ll need to do that.] and gradually a unifying concept emerges that meshes ideas and aspirations and realities, opportunities and prohibitions: embodied in an exchange of detailed ground plans and scale models and scripts of many colours and schedules. [This we can envisage. on this we can agree.] a combination of performers and projections and sounds and architectures and behaviours organised in time and space that together resembles a ‘theatre machine’ – the mechanism that embodies War Music as iliad. [let’s do this.] But that concept may only make sense to us, its originators, as an overall design or as a set of operational procedures. how to characterise it, for its makers and for its audience? [We’ll need a straightforward notion.] Perhaps the key is in something logue himself said of War Music – ‘in some ways it resembles a movie. i have a cast of fifty thousand: fifteen major characters, twenty-five subsidiary characters, and two superheroes’. it’s an idea that christopher

read takes up in his introduction to War Music (2001): ‘cinematic terms – jump cuts, reverse shots – are part of his narrative vocabulary, allowing movie-literate (i.e. most) readers to register certain scenes quickly and vividly. cinema’s rapid alternation between the small, isolated detail and the big, general effect has been another useful lesson. kings itself opens as if on some gigantic screen…’ and alan Brien in New statesman: ‘logue seems everywhere at once, like a camera in a helicopter, continually varying close up and long shot, description and comment, asides to the reader and direct address to his characters’. and James o’Brien in The Tablet: ‘We hear the music of war and it is thrilling. We see the cinematography of the battlefield and it is astonishing’. What if we regard iliad as the screenplay of an imaginary film? Never portrayed, ever ghostly, but evoked and conjured in the room:– Through the words of Narrators who resemble benshi – ‘poets of the dark’ – those live actors employed by early cinemas in Japan to accompany silent foreign films: to relate the story; to voice the characters; to provide commentary; to describe, summarise, explain and interpret motives and events. or else who perform as if for absent cameras.– Through the actions of constructors who at times resemble set-builders, at others extras, at others choreographers or second unit directors…– Through projections – as rushes, as cutaways, as footage already in the can…– Through an evocative soundtrack, being mixed as the invisible film runs…– Through the involvement of audiences in crowd scenes. But in the end this is a convenience. We will only know what iliad uniquely is when the already achieved, the rehearsed and the improvised meet its public. and the result may be very different from what we ever imagined!

Mike Brookes & Mike PearsoN

richard JaNko The iliad: a coMMeNTary Vol. iV (1994) (P.4)

‘By leaViNg aN uNdefiNed area BeTWeeN free Will aNd suPerNaTural forces, hoMer achieVes TWo goals: his characTers are seer, To suffer for Their oWN choices, Which is clearly Tragic, aNd yeT The Whole ouTcoMe seeMs BeyoNd Their iNdiVidual coNTrol or eVeN Pre-ordaiNed, Which is Tragic iN aNoTher Way.’

iMages/delWeddau eMyr youNg

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cadaM NicholsoN The MighTy dead (2014) (PP.109-110)

‘he Makes a PoeM of deaTh ThaT is iTself a ThiNg of WoVeN BeauTy. ThaT is The esseNTial PicTure of The iliad, a greaT hisTory cloTh, a TaPesTry of sorroW, iN Which The NoN-ciTy is seT agaiNsT The ciTy, Where The MargiNal aNd coNTiNgeNT coNfroNTs The seTTled aNd The secure.’

the iliad is an account of the fateful result of his refusal to fight:

- greeks and Trojans meet – in single combats; in beachhead camps; on chaotic battlefields; in smoky halls…

- arguments, negotiations, deadly encounters, untimely deaths: venal, vivid, visceral…

- and ever-present, the gods: wilfully interfering in human affairs, manipulating events…

the story/y storI _____ homer’s IlIad/IlIad homer

usually referred to as The iliad, iliad (meaning ‘a poem about Troy’) is an oral epic composed in the 7th/8th century Bc that tells of early 12th century events. The original greek contains 15,693 lines. set in the tenth year of the Trojan War, it follows the abduction of helen, the most beautiful woman in the world, by Paris (prince of Troy, son of Priam, brother of hector) from her husband Menelaos of sparta (brother of agamemnon of Mycenae). helen falls in love with Paris after the intervention of the goddess aphrodite. To repossess her, agamemnon puts together an expeditionary force to besiege the city – a coalition of achaean (i.e. greek) states that includes the fiercest warrior achilles (son of Peleus and the goddess Thetis, leader of the Myrmidons). The iliad’s theme is the ‘rage of achilles’: the poem maps its cause, its course and the consequences. The immediate reason for achilles’s anger is the refusal of agamemnon to return cryzia, who was taken as war booty, to her father, a priest of apollo. after apollo sends a plague of mice, agamemnon relents but demands compensation. a violent quarrel erupts and agamemnon announces he will take achilles’s ‘she’ Briseis in recompense. achilles withdraws his support.

cyfeirir at y gwaith hwn fel arfer fel yr iliad, ac mae’r iliad (sy’n golygu cerdd am gaerdroea) yn waith llafar epig a gyfansoddwyd yn y 7fed/8fed ganrif cc sy’n adrodd digwyddiadau cynnar y 12fed ganrif. Mae’r fersiwn roegaidd wreiddiol yn cynnwys 15,693 o linellau.Wedi’i osod yn negfed flwyddyn rhyfel caerdroea, mae’n dilyn herwgipio helen, y fenyw brydferthaf yn y byd, gan Paris (tywysog caerdroea, mab Priam, brawd hector) oddi wrth ei gwr Menelaos o sparta (brawd agamemnon o Mycenae). Mae helen yn syrthio mewn cariad â Paris wedi i’r dduwies aphrodite ymyrryd. er mwyn ei chael yn ôl, mae agamemnon yn trefnu cyrch grymus i ymosod ar y ddinas, ar ffurf cynghrair o daleithiau achaeaid (h.y. groegaidd) sy’n cynnwys y rhyfelwr mwyaf brawychus achilles (mab Peleus a’r dduwies Thetis, arweinydd y Myrmidoniaid). Thema yr iliad yw ‘dicter achilles’: mae’r gerdd yn mapio’i wreiddiau, ei ddatblygiad a’r canlyniadau. y rheswm amlwg dros ddicter achilles yw bod agamemnon yn gwrthod dychwelyd cryzia, a gipiwyd fel gwobr rhyfel, at ei thad, offeiriad apollo. ar ôl i apollo anfon pla o lygod, mae agamemnon yn ildio ond yn mynnu cael iawndal. Mae dadl ffyrnig yn dilyn ac mae agamemnon yn dweud y bydd yn cymryd menyw achilles, sef Briseis, yn ei lle. Mae achilles yn tynnu ei gefnogaeth yn ôl.

mae the iliad yn gofnod o ganlyniad ofnadwy gwrthwynebiad achilles i ymladd:

- Mae’r groegiaid a’r caerdroeaid yn cwrdd - yn ymladd un i un; mewn gwersylloedd ger y môr; ar gaeau rhyfel gwyllt; mewn neuaddau myglyd....

- dadleuon, trafodaethau, brwydrau angheuol, marwolaethau anamserol: llygredig, byw, angerddol…

- ac yn fythol bresennol, y duwiau: yn ymyrryd yn fwriadol ym myd dynion, gan lywio digwyddiadau…

gods

agamemNoNkIng of myCenae;

sUpreme Commander/ brenIn myCenae; UwCh

gomander

meNelaoskIng of sparta;

yoUnger brother of agamemnon; hUsband

of helen/ brenIn sparta; brawd IaU

agamemnon; gwr helen

PriamkIng of troy; hUsband of heCUba/ brenIn

Caerdroea; gwr heCUba

Paris son of prIam; favoUrIte of aphrodIte; abdUCtor/

lover of helen/ mab prIam; hoff Un

aphrodIte;herwgIpIwr/CarIad helen

Zeus god; father of the gods

dUw; tad y dUwIaU

PoseidoNgod of the sea; brother of ZeUs

(agaInst the greeks)/ dUw y môr; brawd ZeUs (yn erbyn y

groegIaId)

hera sIster and

wIfe of ZeUs (for the greeks)/ Chwaer a gwraIg ZeUs (o blaId y

groegIaId)

atheNe daUghter of ZeUs (for the greeks)/

merCh ZeUs (o blaId y groegIaId)

iris

a messenger negesydd

aPhrodite daUghter of ZeUs and dIone (for the trojans, espeCIally parIs)/ merCh ZeUs a dIone (o blaId y CaerdroeaId, yn enwedIg parIs)

thetis a sea nymph; wIfe of peleUs, mother of aChIlles (for

aChIlles)/ nymff y môr; gwraIg peleUs,

mam aChIlles (o blaId aChIlles)

hePhaestus lord of fIre; dIsabled son of ZeUs and hera

(for the greeks)/ arglwydd tân; mab

anabl ZeUs a hera (o blaId y groegIaId)

prInCIpal greeks/ prIf roegIaId [aka/sef aChaeans, danaans, argIves)

achillesson of goddess thetIs and hUman peleUs/

mab y ddUwIes thetIs a’r dyn peleUs

ajax

kIng of salamIs/ brenIn salamIs

odysseuskIng of IthaCa/ brenIn IthaCa

thoal

kIng of maCedon/ brenIn maCedon

Nestor

kIng of pylos/ brenIn pylos

idomeNeokIng of Crete; Crete/ brenIn Creta; Creta

diomed

son of tydéUs, kIng of argos/ mab tydéUs,

brenIn argos

PatroclusaChIlles’s lover/

Closest CompanIon/ CarIad/ffrInd agosaf

aChIlles

heleNdaUghter of ZeUs and leda; wIfe of menelaos/ merCh

ZeUs a leda; gwraIg menelaos

prInCIpal trojans/ prIf gaerdroeIaId [aka IlIans]/[sef yr IlIaId]

hectorson of prIam; hUsband

of andromaChe mab prIam; gwr andromaChe

chylabborak

andomaChe’s brother / brawd andomaChe

abassee

Chylabborak’s brother/ brawd Chylabborak

aeNeas son of anChIses

and aphrodIte/ mab anChIses a aphrodIte

sarPedoN

kIng of lyCIa; son of ZeUs and laodamIa

brenIn lyCIa; mab ZeUs a laodamIa

PaNdar lyCIan Commander Comander lyCIaIdd

hecuba

wIfe of prIam; mother of heCtor, parIs and Cassandra/ gwraIg prIam; mam heCtor, parIs a Cassandra

aNdromache

wIfe of heCtor/ gwraIg heCtor

cassaNdra daUghter of prIam

and heCUba/ merCh prIam a heCUba

briseis

trojan woman; aChIlles’s CaptIve

‘she’/ menyw o gaerdroea; menyw

gaeth aChIlles

cryZeZ arChprIest of apollo;

father of CryZIa/ arChoffeIrIad apollo;

tad CryZIa

cryZia daUghter of CryZeZ; agamemnon’s CaptIve ‘she’/ merCh CryZeZ;

menyw gaeth agamemnon


1 2 3 4The husBaNdskiNgs red/cold War Music

The greeks have been on the beach for nine years. Their expedition to recover helen, whose kidnapping sparked the war with the Trojans, has stalled. Tempers are frayed; leaders are squabbling. achilles throws a strop and decides not to fight. The gods take sides. can the greeks survive without their greatest warrior? Will king agamemnon go it alone? can Troy’s best warrior hector save his city? scenes of accusation and bad blood, of passion and anxiety, of fervour and doubt, of recklessness and funk.

Mae’r groegiaid wedi bod ar y traeth ers naw mlynedd. Mae eu taith i achub helen, y gwnaeth ei herwgipio ddechrau’r rhyfel gyda’r Troeaid, wedi’i rhwystro. Mae pawb mewn tymer; mae’r arweinwyr yn dadlau. Mae achilles yn pwdu ac yn penderfynu peidio ag ymladd. Mae’r duwiau’n dechrau ochri. a all y groegiaid oroesi heb eu hymladdwr gorau? a fydd y Brenin agamemnon yn mentro ar ei ben ei hun? a all rhyfelwr gorau caerdroea, hector, achub ei ddinas? golygfeydd o gyhuddo a drwgdeimlad, angerdd a phryder, brwdfrydedd ac amheuaeth, byrbwylltra a llwfrdra.

The greeks are at the Trojan Wall, poised for battle. But the head of the Trojan army, hector, has a plan to settle the never-ending conflict; his brother, Paris should fight helen’s husband Menelaos, man to man; winner takes all. But the gods have other ideas... can compromise ever be reached in times of war? Who will remain true to their word? and will the gods ever leave the humans alone? scenes of ritual and chivalry, of deceit and double-dealing, of claim and counter-claim, of hypocrisy and rage.

Mae’r groegiaid wrth Wal y Troeaid, yn barod am frwydr. ond mae pennaeth y fyddin droeaidd, hector, â chynllun i ddatrys y frwydr ddiddiwedd; dylai ei frawd Paris ymladd gwr helen, Menelaos, un i un; a’r enillydd yn ben. ond mae gan y duwiau syniadau eraill… a oes modd cyfaddawdu byth adeg rhyfel? Pwy fydd yn driw i’w gair? ac a fydd y duwiau yn gadael llonydd i’r bobl? golygfeydd o ddefod a sifalri, dichell a thwyll, hawlio ac ail-hawlio, rhagrith a dicter.

The armies hum. Thunder rolls. and with ferocious energy, the two sides go to war. heroes hack and slice and scream. Warriors go berserk: roaring, slamming, clamouring. The greeks are in peril. The gods interfere. achilles broods in the distance, his anger simmering as he looks on… scenes of heroism and horror, of comradeship and craziness, of challenges and pleas, of daring deeds and cowardly acts.

Mae’r byddinoedd yn sïo. Mae taranau’n codi. a gydag egni gwyllt, mae’r ddwy ochr yn rhyfela. Mae arwyr yn trywanu a thorri a sgrechian. Mae rhyfelwyr yn mynd yn wyllt: yn gweiddi, taro, crochlefain. Mae’r groegiaid mewn perygl. Mae’r duwiau’n ymyrryd. Mae achilles yn myfyrio yn y pellter, ei ddicter yn codi wrth iddo wylio… golygfeydd o arwriaeth ac arswyd, cyfeillgarwch a gwylltineb, heriau a phledio, gweithredoedd dewr a chamau llwfr.

achilles still refuses to fight, but his best friend Patroclus has a plan; to take achilles’ place and rescue the greek ships himself. The greeks attack and Patroclus reaches the Wall. But this time fate, rather than the gods, muscles in… can achilles and king agamemnon settle their difference for the sake of the greeks? Will the great warrior ever return to battle? how will this ever end? scenes of loyalty and loss, of courage and foolhardiness, of grief and anguish, of reconciliation… and of bitter resolve.

Mae achilles yn dal i wrthod ymladd, ond mae gan ei ffrind gorau Patroclus gynllun; cymryd lle achilles ac achub y llongau groegaidd ei hun. Mae’r groegiaid yn ymosod ac mae Patroclus yn cyrraedd y Wal. ond y tro hwn mae ffawd, yn hytrach na’r duwiau, yn ymyrryd... a all achilles a’r Brenin agamemnon ddatrys eu cweryl er mwyn y groegiaid? a fydd y rhyfelwr mawr byth yn dychwelyd i gae’r frwydr? sut fydd hyn yn dod i ben? golygfeydd o deyrngarwch a cholled, dewrder a ffolindeb, galar ac ing, adfer... a phenderfyniad chwerw.

the story/y storI _____ logUe’s IlIad/IlIad logUe

christopher logue (1926-2011) was an eminent english poet, playwright, screenwriter and pacifist who experimented with jazz and poetry in the 1960s. a long-term contributor to Private eye, logue wrote the screenplay to savage Messiah (1992), ken russell’s biographical film of the life of sculptor henri gaudier-Brzeska, which was shown on the opening night of the sherman Theatre, cardiff. War Music is the title usually given to logue’s overall project to compose an original poetic rendering of the main events in homer’s iliad. logue himself subtitled it an ‘account’ of homer’s epic; more recently it is often simply referred to as ‘logue’s homer’. The five full-length collections (known collectively as War Music) were written and published out of homeric sequence – kings (1991); The husbands (1994); all day Permanent red (2003); cold calls (2005); and War Music (1981). a sixth section remained unfinished at logue’s death. This theatrical version of iliad is a multimedia staging of the whole of christopher logue’s startling, filmic poem, derived from homer’s account of the last years of the Trojan War - divided and presented in four dramatically self-contained parts’

roedd christopher logue (1926-2011) yn fardd, dramodydd, awdur ar gyfer y sgrîn ac yn heddychwr enwog o loegr fu’n arbrofi gyda jazz a barddoniaeth yn 1960au. gan gyfrannu am gyfnod hir at Private eye, ysgrifennodd logue y sgript ar gyfer savage Messiah (1992), ffilm fywgraffiadol ken russell o fywyd y cerflunydd henri gaudier-Brzeska, gafodd ei dangos ar noson agoriadol Theatr y sherman, caerdydd. War Music yw’r teitl a roddir fel arfer i brosiect cyffredinol logue i gyfansoddi cyflwyniad barddonol gwreiddiol o brif ddigwyddiadau iliad homer. rhoddodd logue ei hun yr isdeitl ‘disgrifiad’ o epig homer arno; yn fwy diweddar cyfeirir ato’n syml fel ‘homer logue’. ysgrifennwyd a chyhoeddwyd y pum casgliad hir (a adwaenir ar y cyd fel War Music) allan o drefn - kings (1991); The husbands (1994); all day Permanent red (2003); cold calls (2005); a War Music (1981). roedd chweched adran heb ei gorffen adeg marwolaeth logue. Mae’r fersiwn theatrig hon o iliad yn llwyfaniad amlgyfrwng o gerdd ffilmig a thrawiadol gyfan christopher logue, sy’n deillio o ddisgrifiad homer o flynyddoedd olaf rhyfel caerdroea - wedi’i rhannu a’i chyflwyno mewn pedair rhan annibynnol, dramatig

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chrisToPher logue

‘alMosT eVeryThiNg i do is Based oN oTher TexTs. WiThouT PlagiarisM, There Would Be No liTeraTure. i’M a reWriTe MaN. a coMPleTe reWriTe MaN, like our Willy shakesPeare.’


claire cagerosa casadodaNiel haWksfordffioN JoNesrichard huW MorgaNguy leWisrichard lyNchJohN roWleyMelaNie WalTersllioN WilliaMs

__claire cage has worked in a wide variety of roles in theatre, television and radio since leaving aberystwyth university in 1993. her theatre credits include: leviathan (sherman cymru/oran mor), sexual Perversity in chicago (living Pictures), karen (National Theatre Wales / Blast Theory), i saw Myself (lurking truth). her television credits include: coronation street, doctors, Mistresses, Waterloo road, cara fi, Torchwood, sherlock and Being human. claire also played semi- regular Natalie fletcher in casualty and holby city. her film credits include: submarine, Moon dogs, Just Jim and elfie hopkins with ray and Jamie Winstone, directed by ryan andrews.

__rosa casado is an international independent artist and performer, currently based between spain and uk. initially studying ballet, physics, linguistics and physical theatre, her work has always bridged forms - producing performance, live art and gallery works at a range of scales. her work has been commissioned widely across europe, asia, australasia, south america and usa. she is currently developing a long term collaborative practice with Mike Brookes - their works having been commissioned by organisations such as iberescena, Wales arts international, instituto cervantes, Pact Zollverein and Brown university. she has been a fellow of the spanish academy, rome and recipient of artist residency awards in spain, germany, uk and usa.

__daNiel haWksford was born in Newport and raised in swansea. upon graduating from rada he has worked extensively in theatre, most recently in crouch, Touch, Pause, engage (National Theatre Wales, out of Joint, arcola Theatre with sherman cymru) and for the rsc, National Theatre, globe Theatre, Birmingham rep, almeida Theatre, young Vic, clwyd Theatre cymru (where he is an associate artist) orange Tree Theatre and National Theatre Wales. This is his fourth production for National Theatre Wales.

__ffioN JoNes is an artist/farmer/academic from Machynlleth in mid Wales. she developed her skills as a mixed-medium performance maker during her joint honours degree in Performance studies and scenographic studies at aberystwyth university. she continued her education at aberystwyth university by completing an Ma in Practicing Performance, and has recently just completed a practice-led Phd drawing on her experiences of farm life.

teeNage gods duWiau yN eu harddegau JacoB BroWNcoNNor charlesMadisoN elleryscoTT guTTeridgelucy haVardharry lyNNella PeelcarMeN sMiThJosePh sTockToNMaddisoN eVe ThoMas

Cast her solo work often involves creating place-specific interventions which try to challenge conventional ideas about what it means to live and work in rural spaces.

__richard huW MorgaN began working with Mike Pearson in Brith gof in 1990, making 19 productions in Wales and internationally. collaborator with John rowley since 1992, initially as das Wunden, and since 1996 as good cop bad cop creating over 50 works. he is a former research fellow in Performance at cardiff school of art & design and Vocational research fellow in bilingual graphic design at swansea Metropolitan university. This is his third production with Pearson/ Brookes for NTW following on from The Persians and coriolan/us. richard is creator, co-producer and co-presenter of weekly arts programme Pitch/ illustration/ radio on radio cardiff.

__guy leWis’ theatre credits include: Twelfth Night (regent’s Park), a christmas carol (Birmingham rep), hamlet, Pygmalion, Mary stuart, The drawer Boy, Memory, Measure for Measure, romeo and Juliet and rosencrantz and guildenstern are dead (clwyd Theatre cymru), she stoops To conquer, hamlet and canterbury Tales (Northern Broadsides), it’s a family affair (sherman cymru), an inspector calls (Torch Theatre), Telstar (New ambassadors Theatre), and Then They came for Me (lyric hammersmith), faustus (National Theatre), one flew over The cuckoo’s Nest and The graduate (The gielgud Theatre) and spring awakening (Bath Theatre royal). his television credits include: caerdydd, Torchwood and casualty. his film credits include: Telstar.

__richard lyNch‘s theatre credits include hamlet, a Midsummer Night’s dream, Mountain language, Bloody Poetry, galileo, shoot get Treasure repeat (Moving Being); house of america, flowers of the dead red sea, east from the gantry, song from a forgotten city (y cwmni); P.a.x., camlann,Patagonia (Brith gof). other theatre credits include The Mysteries(rsc), The storm(almeida), afore Night come (young Vic), gas station angel (royal court), Penny for a song (oxford stage company), snapshots (royal exchange), The Persians and coriolan/us for National Theatre Wales. recent television includes Pobol y cwm, hollow crown. film credits include Boy soldier, Branwen and recently Just Jim. directing credits: i saw Myself (The lurking Truth)

__JohN roWley initially studied visual arts, then trained at east 15 acting school. during the 90s John performed extensively with the legendary Welsh company Brith gof. since 2000 he has been an associate performer with forced entertainment, touring throughout europe and beyond. he recently returned from working in Zurich with first cut Productions on the project ‘129’. iliad is his third project with Pearson and Brookes for National Theatre Wales, following The Persians and coriolan/us. he is the co-artistic director of the multi-disciplinary performance company good cop bad cop who last year produced “lleisiau/Voices”, a project commissioned for the dylan Thomas 100 festival. __MelaNie WalTers graduated with a degree in drama from aberystwyth university. Theatre credits include: shadow of a gunman (gate Theatre, london), The rivals (chester gateway) Blood Brothers (sherman Theatre), Blue remembered hills (Theatr clwyd) and educating rita (swansea grand). Television credits include: doc Martin (iTV) Being human, gavin and stacey, under Milk Wood, annually retentive, The healer, Jack of hearts, holby city (BBc); holly oaks (lime pictures) coronation street (granada). feature films include: high Tide (long arm films) resistance (Big rich films) submarine (Warp Productions), Burn, Burn, Burn (Burn Productions), another Me (fox international). her most recent radio credit; somewhere else (rubber chicken company). __llioN WilliaMs is an associate of clwyd Theatr cymru and trained at coleg Prifysgol cymru, aberystwyth. Theatre credits include: abilgail’s Party, ghosts, doll’s house and herbal Bed (clwyd Theatr cymru), y Pair /The crucible and cariad Mr Bustl / le Misanthrope and y storm /The Tempest (Theatr genedlaethol cymru) un o’r Teulu / relatively speaking, chalk circle and The cherry orchard (Theatr gwynedd) angitone (Theatr Powys), llanast/carnage (Theatr Bara caws), and a history of falling Things (New Vic, stoke). Television credits include: hinterland and a Mind to kill, death or liberty (aBc australia) lan a lawr (s4c) radio credits include: Playboy of the Western World / congrinero’r gorllewin (BBc).


WriTTeN By ysgrifeNNWyd gaN chrisToPher logue direcTors cyfarWyddWyr Mike PearsoN & Mike Brookes coMPoser cyfaNsoddWr JohN hardy Music

CreatIve team tîm CreadIgol

__chrisToPher logue was a poet, screenwriter, actor and playwright. Born in Portsmouth in 1926, he served briefly in the Black Watch during and immediately after the second World War, before spending sixteen months in a military prison. he wrote plays for the royal court and scripts for ken russell, including savage Messiah and songs for Peter cook’s establishment club. he acted in several films, including russell’s The devils and went to prison again in 1961 with Bertrand russell and others for his support of cNd. on his release, he began his ‘True stories’ column for Private eye. he was responsible for some of the first poetry posters, and was a life-long advocate of performance verse. his retelling of the iliad begun in 1959 and was published in several volumes, which came to be known collectively as War Music, his best-known work. he had no greek and based his work on literal translations, many provided by donald carne-ross, who commissioned the first part of War Music for the Third Programme (radio Three). he recorded and performed it often, notably with alan howard. he married the writer and historian rosemary hill in 1985 and died in 2011. War Music remained incomplete at his death.

__Mike Brookes is an award-winning artist, director and designer. although initially trained as a painter, his work has always bridged media - engaging elements as diverse as photography, sampling, scale and multiple projection, short-range and satellite radio broadcast technology, helicopters, cars, trains, surveillance cameras, ice sculpture and drawing. he co-founded the performance collective Pearson/Brookes with Mike Pearson in 1997, going on to co-create their acclaimed productions The Persians and coriolan/us for National Theatre Wales. since 2005, his collaborative art work with spanish artist rosa casado has produced live art and gallery works across a range of media, which has been commissioned and presented around the world. other collaborators include Quarantine and untitled Projects. in 2007, he was appointed research fellow within aberystwyth university.

__Mike PearsoN was born in scunthorpe, lincolnshire; he came to Wales in 1968 to study archaeology at university college cardiff. he first made theatre with student group Theatre in Transit (1970-71). he was a member of r.a.T. Theatre (1972–73) and an artistic director of cardiff laboratory Theatre (1973–80) and Brith gof (1981–97).

he currently makes performance as a solo artist; with Mike Brookes in Pearson/Brookes and for National Theatre Wales. Mike is author of Theatre/archaeology (2001); in comes i: Performance, Memory and landscape (2006); site-specific Performance (2010); The Mickery Theater: an imperfect archaeology (2011); and Marking Time: Performance, archaeology and the city (2013). he was Professor of Performance studies, department of Theatre, film and Television studies, aberystwyth university (1999-2014).

__JohN hardy Music creates bespoke music for film, stage and live performance led by the composer John hardy. The company has been creating award-winning sound scores for 20 years and now has a team of five composers working at its cardiff based studio. since 2012, John and co-composers Benjamin Talbott and Tic ashfield have worked to create the score for crime-drama series hinterland/ y gwyll amongst other dance, theatre, TV and animation commissions. Previous engagements with National Theatre Wales include The Persians, coriolan/us, The gathering / yr helfa and {150}. after collaborations with Mike Pearson and Mike Brookes over several decades, John is now excited to be creating the score for iliad, working closely with sam Barnes and Pete smith, supported by the JhM team.

__siMoN BaNhaM is a founder member of the theatre company Quarantine, responsible for the scenography on their productions for the past 16 years. Most recently summer, exploring the human condition, and Wallflower, a durational piece seeking to remember every dance ever danced. he has a long working relationship with contemporary opera company Music Theatre Wales, most recently Philip glass’ new opera The Trial. he designed the British Premiere of luci Mie Traditrici and greek. simon has previously collaborated with Mike Pearson, Mike Brookes and National Theatre Wales on The Persians and coriolan/us. for the past four years simon has also been a commissioner for the international Performance design event the Prague Quadrennial of Performance design and space - shared space: Music Weather Politics. a freelance designer, he also teaches at aberystwyth university; where he is reader in scenography and Theatre design.

__Mike Beer started his career at sherman Theatre, cardiff in the late 80’s. he has toured theatre and corporate events worldwide, including with dV8 Physical Theatre, imagination, diversions dance, West yorkshire Playhouse, Theatre clwyd, and The National Museum and galleries of Wales. Theatre sound designs include, ar Waith ar daith, (Walk the Plank), {150}, Mametz, silly kings, coriolan/us, The radicalisation of Bradley Manning and The Passion, (National Theatre Wales), Tristan & yseult (kneehigh), a story of Tom Jones (Theatr na nog), Peter Pan and Treasure island (Bristol old Vic), Tir sir gar and deffro’r gwanwyn (Theatr genedlaethol cymru), & romeo and Juliet, say it with flowers (sherman cymru). Mike has also worked with stage sound services as sound designer, Production engineer and Project Manager.

__luke JacoBs is an award-winning Welsh cinematographer who graduated from the international film school of Wales in 2002. his graduation film light picked up a ffresh award for its cinematography, and helped luke go on to shoot numerous uk film council shorts.he has also won awards for music videos, including rudimental’s smash hit music video Not giving in which won european Video and audience choice gongs at the cannes yda awards 2013 as well as an uk MVa award. luke won Best Music Video at the Q awards 2013 for his Manic street Preachers music video show Me The Wonder, directed by BafTa-winning director kieran evans.

__Julia ThoMas was resident director at the National Theatre studio for seven months earlier this year, through a partnership with National Theatre Wales. having trained at drama centre london, she pursued her interest in directing through a mentoring opportunity with elen Bowman and living Pictures. iliad is Julia’s second production with National Theatre Wales, having been emerging director on a Provincial life. in 2013, Julia set up canoe Theatre. directing credits include: blue/orange (canoe/sherman Theatre), dirty, gifted and Welsh (dirty Protest/NTW), Marsha (capital fringe festival Washington dc). assisting directing credits include: say it with flowers (sherman cymru) and high society (anna linstrum/andrew Wright/ Music and lyrics National Tour). Julia is delighted that iliad is being produced in her hometown of llanelli.

cosTuMe desigNer dyluNydd gWisgoedd siMoN BaNhaM souNd desigNer dyluNydd saiNMike Beer ciNeMaTograPher siNeMaTograffyddluke JacoBs aNd like aNd egg ProducTioNs assisTaNT direcTor cyfarWyddWr cyNorThWyolJulia ThoMas


14 NaTioNalTheaTreWales.org13 #NTWiliad

iaN BuchaNaNcoMPaNy sTage MaNager rheolWr llWyfaN y cWMNi

keViN sMiThdePuTy sTage MaNager diPrWy reolWr llWyfaN

MaTT JoNessTage MaNager rheolWr llWyfaN

edWiNa WilliaMs JoNescosTuMe suPerVisorgoruchWyliWr gWisgoedd

Joe fleTcherTechNical MaNager rheolWr TechNegol

saM BarNes, PeTe sMiThBeNJie TalBoTTJohN hardy Music

prodUCtIon team tîm CynhyrChU

JaMes MarshsouNd TechNiciaN TechNegydd saiN

ToMi hargreaVessouNd TechNiciaN (Build)TechNegydd saiN (adeiladu)

rhiaNNa MorgaNsTage MaNageMeNT PlaceMeNTProfiad gWaiTh rheoli llWyfaN

Nickii caWkWellcosTuMe PlaceMeNTProfiad gWaiTh gWisgoedd

rhys hoPkiNProMoTerhyrWyddWr

saM JoNes c.d.gcasTiNg direcTorcyfarWyddWr casTio

lucy TaylorcasTiNg assisTaNTcyNorThWy-ydd casTio

ThaNks/ diolchThe staff at ffwrnes, Bryony evett at colegsir gâr, dragon Tyres llanelli, lBs BuildersMerchants, sarah Jones at Mess up TheMess, Mark Jermin stage school, huw andluan davies at stagecoach, Jill stevens andchristopher rees at llanelli youth Theatre,Thomas Tyres, Trostre Tyres, stephencasey, elena clifton, dave garland, ioan hefin, lowri Bowen Jones, carys howells Jones, harry lynn, rhodri Meilir, Jon Morgan, rhianna Morgan, simon Nehan, emma-lynne Nicholas, rachael o’keefe, Joel Phillips, Nicola reynolds, Nia roberts, Nicole seabright, eleanor shaw, keira spencer

iMages/delWeddau eMyr youNg Mike Brookes

iMages/delWeddau siMoN BaNhaM


01 #NTWiliad

joiN us to helP shaPe NtW’s aPProach to educatioN With iliad, we have been delighted to be able to offer a range of opportunities to young people across West Wales. We are currently looking at the ways in which we can continue our work in this area. We want to connect with young people across the country; we want to listen to their stories, explore their creative skills and help to guide and encourage our artists of the future.

ymuNWch â Ni i helPu siaPio sut mae NtW yN ymdriN ag addysggyda iliad, rydym yn falch iawn o gael cynnig amryw o gyfleoedd ar gyfer pobl ifanc ar draws gorllewin cymru. rydym wrthi’n edrych ar wahanol ffyrdd o barhau i weithio o fewn y maes yma. rydym eisiau cysylltu gyda phobl ifanc ar draws y wlad; i wrando ar eu straeon, archwilio eu sgiliau creadigol a rhoi cymorth gan arwain ac annog ein hartistiaid i ddod.

FiNd out more/dargaNFyddWch mWy: community.nationaltheatrewales.org/group/rethinking-education

Be a ParT of NTW’s iNTerNaTioNal NeTWork… ByddWch yN rhaN o rWydWaiTh rhyNgWladol NTW…

PlacemeNts Join our communications team or perform in one of our shows – TeaM members get the opportunity to gain experience in every part of NTW. Many go on to work with us on future projects. ProFiad gWaith ymunwch â’n tîm cyfathrebu neu perfformiwch yn un o’n sioeau – mae aelodau TeaM yn cael y cyfle i ennill profiad ym mhob rhan o NTW. Mae llawer ohonynt yn mynd ymlaen i weithio gyda ni ar brosiectau yn y dyfodol.

ruNNiNg Projects & eVeNts from spoken word nights to TeaM parties, TeaM members are encouraged to explore their own ideas and put them into practice with the support and guidance from NTW staff, Board members and fellow TeaM members. cyNNal Prosiectau a digWyddiadauo nosweithiau’r gair llafar i bartïon TeaM, anogir aelodau TeaM i archwilio eu syniadau eu hunain a’u rhoi ar waith gyda chefnogaeth ac arweiniad gan staff NTW, aelodau’r Bwrdd a’u cyd aelodau TeaM.

aN oPPortuNity to haVe your say our TeaM Panel regularly meet with our Board members and staff and have a say in how NTW is run, from programming to our strategic plan. We also hold regular events in which TeaM get the chance to give feedback on TeaM and NTW. cyFle i ddWeud eich dWeudMae ein Panel TeaM yn cwrdd yn rheolaidd ag aelodau’n Bwrdd a’n staff ac mae ganddynt lais o ran sut mae NTW yn cael ei redeg, o raglennu i’n cynllun strategol. rydym hefyd yn cynnal digwyddiadau rheolaidd lle gall aelodau TeaM adrodd yn ôl ar TeaM a NTW.

team socials TeaM members get to see our shows before anyone else. our socials give members the chance to network with each other, NTW staff and cast members. gWeithgareddau cymdeithasol teamMae aelodau TeaM yn cael gweld ein sioeau cyn neb arall. Mae ein gweithgareddau cymdeithasol yn rhoi cyfle i aelodau rwydweithio â’i gilydd, staff NTW ac aelodau’r cast.

traiNiNg & meNtoriNg We run regular training sessions from leadership to creative writing. These are run by TeaM members, NTW staff or industry professionals. if there’s a session you feel we should be running then let us know.

hyFForddi a meNtorarydym yn cynnal sesiynau hyfforddi rheolaidd o arweinyddiaeth i ysgrifennu creadigol. fel arfer cynhelir y rhain gan aelodau TeaM, staff NTW a gweithwyr proffesiynol y diwydiant. os oes sesiwn yr ydych yn credu y dylem ei rhedeg, rhowch wybod i ni.

oN-goiNg suPPort We see this as an on-going relationship and we want you to continue developing and using the skills you’ve gained through TeaM.so once you’re ready we’ll support you to run your own project, event or training session. it doesn’t have to be about theatre – as long as it gets people involved in the arts, can involve a range of people or helps others develop skills we’d like to hear from you. ceFNogaeth barhausrydym yn gweld hon fel perthynas barhaus ac rydym am i chi barhau i ddatblygu a defnyddio’r sgiliau yr ydych wedi’u hennill drwy TeaM.felly unwaith y byddwch yn barod byddwn yn eich cefnogi chi i redeg eich prosiect, digwyddiad neu sesiwn hyfforddi eich hun. Nid oes rhaid iddi ymwneud â’r theatr – os yw’n tynnu pobl i mewn i’r celfyddydau, yn gallu cynnwys amrywiaeth o bobl neu’n helpu eraill i ddatblygu sgiliau, hoffem glywed gennych chi.

joiNiNg is easy, here’s a FeW Ways: Join the NTW TeaM group on our online community. This is where all our opportunities will be placed first, so keep an eye out for something that suits you. come to any NTW event and speak to a member of staff, TeaM Panel or another TeaM member. This is the best way to find out what TeaM is about. come to NTW hQ and have a chat. mae ymuNo yN haWdd, dyma rai FFyrdd i WNeud hyNNy:ymunwch â grwp TeaM NTW ar ein cymuned ar-lein. dyma lle bydd ein holl gyfleoedd yn ymddangos gyntaf, felly edrychwch am rywbeth sydd at eich dant. dewch i unrhyw ddigwyddiad NTW a siarad gydag aelod o staff, Panel TeaM neu aelod arall o TeaM. dyma’r ffordd orau o gael gwybod hyd a lle TeaM. dewch i Bencadlys NTW am sgwrs.

laura fay ThoMasTeaM assisTaNT/ cyNorThWyydd TeaM

NaTioNal TheaTre Wales30 casTle arcade/ arcÊd y casTell cardiff/ caerdydd cf10 1BW

T: 029 2035 3070e: [email protected]#NTWTeaM nationaltheatrewales.org/community

team

everywhere we go we collaborate with and support an ever-growing network of TeaM members. These are the people who play a part in everything we do, giving us a truly international reach. They are our leaders in their communities: they create, inspire, perform, teach, write, organise, run projects, give feedback and make decisions with us on the future of National Theatre Wales. Ble bynnag y byddwn ni’n mynd, rydym yn cydweithredu â rhwydwaith cynyddol o aelodau TeaM ac yn eu cefnogi. dyma’r bobl sy’n chwarae rhan ym mhopeth rydym yn ei wneud. Nhw yw ein harweinwyr yn eu cymunedau nhw: maent yn creu, yn ysbrydoli, yn perfformio, yn dysgu, yn ysgrifennu, yn trefnu, yn rheoli prosiectau, yn rhoi adborth ac yn gwneud penderfyniadau gyda ni ar ddyfodol National Theatre Wales.

National Theatre Wales’ commitment to Wales extends beyond its venues, communities and talent, to its future. every decision we make, be it in programming, production, communications, or administration, is put through a rigorous sustainability test. We mostly work out of a small office in cardiff, so it is relatively easy to manage our day-to-day impact; our staff cycle or walk to work, we try to use public transport when travelling around the country, and plan each journey carefully when we have to use vehicles. We recycle and reuse as much material as possible. We believe that a cultural change is essential to create a sustainable future in Wales, so we must incorporate that in the way we work. for iliad, our main challenges have been travel and the set; in particular the floor. There are approximately 200 sheets of 6mm Mdf in the show. This is a durable product that satisfies the aesthetic of the design. its strength is a key element because if stored properly, it can be used again and again, and this is our plan. We will reuse most of the sheets on our next production; The insatiable, inflatable candylion, and any that are not needed for that show will either be kept here at ffwrnes or will be used by the students at coleg sir gâr. The tyres were all donated by local tyre companies and were scheduled for recycling, we have merely delayed this and given them a temporary new life. almost all the technology that you see is either owned by the theatre, hired in or reused from other shows. The screens displaying the text come from a previous NTW production; Mother courage and her children, and some of the iPads first appeared in {150}, our co-production with Theatr genedlaethol cymru in association with s4c. Travel has a huge impact, so we have all tried to share cars when we have driven here. Between cardiff and llanelli there is an adequate train service so that is regularly used. Many of our team have relocated, this has significantly reduced the co2 emissions, and has fed another important element of sustainable work: it has created additional income for local businesses. This is an important part of how NTW tries to work. Where possible we buy locally, and here we are paying for accommodation and we are using local businesses as suppliers. None of this would have been possible without the partnership with ffwrnes. The vision that produced this wonderful building incorporated important sustainable elements; rainwater is harvested to supply all grey water requirements and solar panels on the roof offset part of the electricity consumption.

Mae ymrwymiad National Theatre Wales i gymru yn ymestyn y tu hwnt i’w lleoliadau, ei chymunedau a’i thalent, i’w dyfodol. Mae pob penderfyniad a wnawn, boed mewn rhaglennu, cyfathrebu neu weinyddu, yn destun prawf cynaliadwyedd trylwyr. rydym yn gweithio yn bennaf o swyddfa fach yng Nghaerdydd, felly mae’n gymharol hawdd rheoli ein heffaith dydd i ddydd; mae ein staff yn beicio neu’n cerdded i’r gwaith, rydym yn ceisio defnyddio trafnidiaeth gyhoeddus wrth deithio o gwmpas y wlad, ac yn cynllunio pob taith yn ofalus pan fydd rhaid i ni ddefnyddio cerbydau. rydym yn ailgylchu ac yn ailddefnyddio cymaint o ddeunydd â phosibl. rydym yn credu bod newid diwylliannol yn hanfodol er mwyn creu dyfodol cynaliadwy i gymru, felly mae’n rhaid i ni ymgorffori hynny yn y ffordd yr ydym yn gweithio. o safbwynt iliad, teithio a’r set fu’r heriau mwyaf i ni; yn enwedig y llawr. Mae hwn yn gynnyrch gwydn sy’n bodloni esthetig y dyluniad. Mae ei gryfder yn elfen allweddol oherwydd os caiff ei storio’n gywir, gellir ei ddefnyddio dro ar ôl tro, a dyna yw ein bwriad. Byddwn yn ailddefnyddio rhan fwyaf y dalenni ar ein cynhyrchiad nesaf, sef The insatiable, inflatable candylion, a bydd unrhyw rai nad oes eu hangen ar gyfer y sioe honno yn cael eu cadw yma yn ffwrnes neu’n cael eu defnyddio gan y myfyrwyr yng Ngholeg sir gar. rhoddwyd y teiars i gyd gan gwmnïau teiars lleol - roedden nhw ar fin cael eu hailgylchu, ac rydym wedi oedi’r broses honno drwy roi bywyd newydd dros dro iddynt. Mae bron yr holl dechnoleg a welwch yn eiddo i’r theatr, wedi cael ei llogi i mewn neu wedi’i hailddefnyddio o sioeau eraill. Mae’r sgriniau sy’n dangos y testun yn dod o gynhyrchiad blaenorol NTW; Mother courage and her children, a ymddangosodd rhai o’r iPads yn gyntaf yn {150}, ein cyd-gynhyrchiad gyda Theatr genedlaethol cymru mewn cydweithrediad ag s4c. Mae teithio yn cael effaith fawr iawn, felly rydym wedi ceisio rhannu ceir wrth yrru yma. rhwng caerdydd a llanelli mae gwasanaeth trenau digonol felly mae hynny’n cael ei ddefnyddio’n rheolaidd. Mae llawer o’n tîm wedi adleoli, ac mae hyn wedi lleihau’r allyriadau co2 yn sylweddol, ac wedi cyfrannu at elfen arall bwysig o waith cynaliadwy: mae wedi creu incwm ychwanegol i fusnesau lleol. Mae hyn yn rhan bwysig o sut mae NTW yn ceisio gweithio. lle mae’n bosibl rydym yn prynu’n lleol, ac yma rydym yn talu am lety ac yn defnyddio busnesau lleol fel cyflenwyr. Ni fyddai hyn wedi bod yn bosibl heb y bartneriaeth gyda ffwrnes. fe wnaeth y weledigaeth a gynhyrchodd yr adeilad arbennig hwn ymgorffori elfennau cynaliadwy pwysig; mae dwr glaw yn cael ei gasglu i gyflenwi’r holl ofynion dwr llwyd ac mae’r paneli solar ar y to yn cael eu gosod yn erbyn peth o’r defnydd o drydan.

We have three key phrases that we use in planning and executing our work: Plan more carefullyshare more oftentalk to more people if you’ve any feedback or ideas or suggestions for future use for elements of this show please get in contact with david evans on [email protected]

Mae gennym dri ymadrodd allweddol yr ydym yn eu defnyddio wrth gynllunio a gweithredu ein gwaith: cynllunio’n fwy gofalusrhannu’n fwy amlsiarad â rhagor o bobl os oes gennych unrhyw adborth neu awgrymiadau ar gyfer defnyddio elfennau o’r sioe hon yn y dyfodol, cysylltwch â david evans ar [email protected]

sUstaInabIlIty CynalIadwyedd

16 NaTioNalTheaTreWales.org15 #NTWiliad

04 NAtioNAltheAtrewAles.org02

sitting proudly in a prime location adjacent to llanelli’s east gate, the ffwrnes has much more to offer local and regional theatre-goers than its predecessor Theatr elli. The ffwrnes still has the sparkle of newness and comes with all the advantages of modernity. The complex within also holds the intimate stiwdio stepni, the multifunctional crochan and the refurbished Zion chapel now renamed the ffwrnes fach which will soon be occupied by clusters of cultural social enterprises. The ffwrnes’ main auditorium and its high adaptability is the reason it brings National Theatre Wales to llanelli. The ffwrnes is a young venue but like other theatres its ambitions as a receiving and producing venue for production are laudable and is reflected in the autumn/ Winter season with over 60 new and exciting shows on offer. it’s a programme of cultural plenty where new and young companies vie with the more traditional for audiences which are growing and expanding.Not only has the ffwrnes established itself as the cultural centre of llanelli, it’s becoming a significant rehearsal space to support the development of new creative ideas and encourage new diverse voices.

ffwrnes llanellI

saif y ffwrnes yn falch mewn lleoliad rhagorol gerllaw Porth y dwyrain yn llanelli, ac mae ganddi lawer iawn mwy i’w gynnig i selogion lleol a rhanbarthol y theatr na’i ragflaenydd, Theatr elli. Mae’r ffwrnes yn dal yn meddu ar nwyf newydd-deb ac mae’n cynnwys holl fuddion modernrwydd. Mae’r safle hefyd yn cynnwys man cyfarfod clyd stiwdio stepni, y crochan amlbwrpas a chapel seion wedi’i adnewyddu ac a elwir bellach yn ffwrnes fach; bydd clystyrau o fentrau cymdeithasol yn ei ddefnyddio’n fuan. Prif awditoriwm y ffwrnes a’i hyblygrwydd sylweddol yw’r rheswm pam ei fod yn denu National Theatre Wales i lanelli. Mae’r ffwrnes yn fan cyfarfod ifanc, ond fel theatrau eraill, mae ei uchelgeisiau fel lleoliad derbyn a chynhyrchu cynyrchiadau yn ganmoladwy, ac mae tymor yr hydref/ gaeaf yn adlewyrchu hynny trwy gynnig dros 60 o sioeau newydd a chyffrous. Mae’n rhaglen ddiwylliannol helaeth a cheir cwmnïau newydd ac ifanc a rhai traddodiadol yn cystadlu am gynulleidfaoedd sy’n tyfu ac yn ehangu. yn ogystal â sefydlu ei hun fel canolfan ddiwylliannol llanelli, mae’r ffwrnes yn dod yn llecyn ymarfer o bwys i gefnogi datblygiad syniadau creadigol newydd ac annog lleisiau newydd amrywiol.

carWyN MaTera-rogers couNTy TheaTres MaNager“seVeN years ago WheN i aTTeNded The WelcoMiNg recePTioN for JohN McgraTh i kNeW ThaT Wales Was iN for soMeThiNg sPecial. liTTle did i realise aT The TiMe i Would Be WelcoMiNg NaTioNal TheaTre Wales To our Very oWN aNd exciTiNg ffWrNes TheaTre”

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NaTioNal TheaTre Wales

Staff LiSt RheStR Staff

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fioNa CURtiSProducTioN co-ordiNaTorcydlyNydd cyNhyrchiad

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deViNda de SiLVahead of collaBoraTioNPeNNaeTh cydWeiThredu

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haNNah JohNcoMPaNy co-ordiNaTorcyd-drefNydd y cWMNi

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@caTriN _NTW SeeMa SahiRfiNaNce assisTaNTcyNorThWyydd cyllid MawGaiNe taRRaNt-CoRNiShexecuTiVe assisTaNTcyNorThWyydd gWeiThredol

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