The Wizard, the Goat and the Man Who Won the War

A tale of one man, or a tale of three?

A one off and premiere performance at the Dylan Thomas Festival

Writer/ Director: DJ Britton

Featuring: Richard Elfyn

 David Lloyd George was a man of great talents and great flaws, and in leading a very public life the press named him accordingly.

As the ‘Welsh Wizard’ for his oratory skills, the peoples champion – introducing pensions, national insurance and courage to take the country through its darkest hours in WW1.

‘The Goat’ for all his chapel upbringing he was a compulsive flirt and womanizer, having a long term mistress (later his second wife).

‘The Man Who won the War’: as named in 1918 in the tabloid press.

He started life as a lower class, chapel going Welsh boy from Criccieth who became Chancellor, Minister of War and later the Prime Minister. A champion of the Welsh and British cause, Lloyd George is one of the most documented men in history: from his own forays as a journalist, traveller, his autobiography, the press coverage of his life whilst alive, the countless accounts written of him by friends, family and historians and the numerous performances about him. All this information is a gift for a writer as, more often than not, research on a subject is scarce and here the writer David Britton – in his own words - takes the opportunity to pick “what’s interesting dramatically in his life”, using fact to inform an intricately woven fiction.

A one man play, it opens with Lloyd George sat on a bench in the French resort of Antibes covered in a Union Flag towel.  For the next hour we keep Lloyd George company during his waiting game for the young ‘Chanel girl’ Juliette even though it is supposed to be his 50^th wedding anniversary with Margaret. He talks about events and people in his life; his daughter Mair who died at 17, Frances his mistress and growing up as a child in Criccieth. It soon becomes evident that his life is one large juggling act: between his wife and mistress; his Welsh identity and British image and his role as the people’s protector with his ever increasing wealth. The French cloth makers have made him the Union towel but “oh for a draig goch” (Welsh dragon) he cries at one point. The play is a mix of three languages with the English speech broken up by flashes of Welsh and French and whilst many in the audience may not understand the French or Welsh it adds to the atmosphere and the depth of the character before us. He also breaks into song, Myfanwy being one: singing is a huge part of Welsh culture, more so then with the prevalence of Christian hymns one of his speeches in Wales during the war centres around singing, asking why should we not sing? I’d pick a link on you tube for Myfanwy but there are a lot of them and some are pretty awful - unfortunately I don’t have the technology to extract my decent recording from its vinyl record.  One theme running through the play is the legend of King Arthur and his Knights – he talks to his Uncle Lloyd as a child about the legends, to his daughter Mair about believing in the legends and compares his political partnership with Churchill to King Arthur and Lancelot – Lloyd George as Arthur and Churchill as Lancelot.

Richard Elfyn had the difficult task of holding the performance together without the support of fellow cast members and the end result is brilliant: for a one off premiere performance it was carried off with fantastic flair and if any words or lines were missed out, I couldn’t tell you. Lloyd George as a character animates Margaret, Frances and Mair: Richard pulls it off effortlessly – changing voices for each character. In all humorousness he continued the animation in the question and answer session after, imitating David (who is Australian) rather well.  His costume was fantastic – almost the image of the man he is portraying, down to the cream suit, pocket watch and slightly long hair.

I was utterly sympathetic to the play only being an hour long, firstly for Richard Elfyn’s sake coping with all those lines and that single character productions carry the danger of floundering on the rocks of dramatic tension and momentum. Yet this play, with its carefully crafted devices and props works well. Giving Lloyd George a past and a present allows tension to shift and create drama: moving between his memories and the expectations he carries for the present/future. Winston Churchill and his aides are also at Antibes: Lloyd George is unable to decide who he should approach should Churchill’s men come by or go to his latest ‘flirt’ Juliette when she appears and the knowledge that Margaret expects him back or may even appear at any point. It ends with neither; he is the butt of a joke between Juliette and friends and is ignored by Churchill’s men so returns to the hotel and to Margaret.

I love going to the Dylan Thomas Centre for events and the yearly Dylan Thomas Festival – this is the third year running I have attended at least one event and The Wizard, the Goat and the Man Who Won the War was a closing event for the festival. It is a brilliant place with a staff always willing to help and it would be a disappointment to see anything happen to it – if the rumours DJ Britton mentioned about it going or anything like that are true - even if I always complain there’s no room to move in the theatre’s seats, which there isn’t but I’d rather suffer a discomfort than see a vital piece of the Swansea arts scene disappear.  It has always been an opportunity to catch up with people I no longer see on a daily basis; lecturer’s and friends from the Swansea MA in Creative Writing – often it results in fresh writing tips, welcome encouragement and interesting titbits of information on new reading material.  Talking to David after I explained I was now a young critic and he revealed that being a premiere performance there were no ‘professional’ critics - simply not to put Richard off and also they are unsure as to what is the official next step. For that I am glad I didn’t catch him before hand, even if I am still only finding my feet.

Listening to David and Richard discuss the play after was interesting, as they revealed the organic process by which the play developed – David writing a few pages at a time, Richard reading them and David writing the next few depending on how Richard read each piece. Also that finding out about Lloyd George in Antibes had been a dramatic gift to good to turn down. They spoke about staying away from the ‘historical overview’ that piece’s like this can become and create “our Lloyd George” a fictional creation of their own based on the facts – after all Juliette is an invention.  The piece was excellent and I wish David and Richard all the best in taking it on tour next year, and would see it again just to find out what tweaks or sweeping changes they decide to make. I think that whatever they decide will only make it better.

The Wizard, the Goat and the Man Who Won the War

A tale of one man, or a tale of three?

A one off and premiere performance at the Dylan Thomas Festival

Writer/ Director: DJ Britton

Featuring: Richard Elfyn

 David Lloyd George was a man of great talents and great flaws, and in leading a very public life the press named him accordingly.

As the ‘Welsh Wizard’ for his oratory skills, the peoples champion – introducing pensions, national insurance and courage to take the country through its darkest hours in WW1.

‘The Goat’ for all his chapel upbringing he was a compulsive flirt and womanizer, having a long term mistress (later his second wife).

‘The Man Who won the War’: as named in 1918 in the tabloid press.

He started life as a lower class, chapel going Welsh boy from Criccieth who became Chancellor, Minister of War and later the Prime Minister. A champion of the Welsh and British cause, Lloyd George is one of the most documented men in history: from his own forays as a journalist, traveller, his autobiography, the press coverage of his life whilst alive, the countless accounts written of him by friends, family and historians and the numerous performances about him. All this information is a gift for a writer as, more often than not, research on a subject is scarce and here the writer David Britton – in his own words - takes the opportunity to pick “what’s interesting dramatically in his life”, using fact to inform an intricately woven fiction.

A one man play, it opens with Lloyd George sat on a bench in the French resort of Antibes covered in a Union Flag towel.  For the next hour we keep Lloyd George company during his waiting game for the young ‘Chanel girl’ Juliette even though it is supposed to be his 50^th wedding anniversary with Margaret. He talks about events and people in his life; his daughter Mair who died at 17, Frances his mistress and growing up as a child in Criccieth. It soon becomes evident that his life is one large juggling act: between his wife and mistress; his Welsh identity and British image and his role as the people’s protector with his ever increasing wealth. The French cloth makers have made him the Union towel but “oh for a draig goch” (Welsh dragon) he cries at one point. The play is a mix of three languages with the English speech broken up by flashes of Welsh and French and whilst many in the audience may not understand the French or Welsh it adds to the atmosphere and the depth of the character before us. He also breaks into song, Myfanwy being one: singing is a huge part of Welsh culture, more so then with the prevalence of Christian hymns one of his speeches in Wales during the war centres around singing, asking why should we not sing? I’d pick a link on you tube for Myfanwy but there are a lot of them and some are pretty awful - unfortunately I don’t have the technology to extract my decent recording from its vinyl record.  One theme running through the play is the legend of King Arthur and his Knights – he talks to his Uncle Lloyd as a child about the legends, to his daughter Mair about believing in the legends and compares his political partnership with Churchill to King Arthur and Lancelot – Lloyd George as Arthur and Churchill as Lancelot.

Richard Elfyn had the difficult task of holding the performance together without the support of fellow cast members and the end result is brilliant: for a one off premiere performance it was carried off with fantastic flair and if any words or lines were missed out, I couldn’t tell you. Lloyd George as a character animates Margaret, Frances and Mair: Richard pulls it off effortlessly – changing voices for each character. In all humorousness he continued the animation in the question and answer session after, imitating David (who is Australian) rather well.  His costume was fantastic – almost the image of the man he is portraying, down to the cream suit, pocket watch and slightly long hair.



David Lloyd George 1863-1945



I was utterly sympathetic to the play only being an hour long, firstly for Richard Elfyn’s sake coping with all those lines and that single character productions carry the danger of floundering on the rocks of dramatic tension and momentum. Yet this play, with its carefully crafted devices and props works well. Giving Lloyd George a past and a present allows tension to shift and create drama: moving between his memories and the expectations he carries for the present/future. Winston Churchill and his aides are also at Antibes: Lloyd George is unable to decide who he should approach should Churchill’s men come by or go to his latest ‘flirt’ Juliette when she appears and the knowledge that Margaret expects him back or may even appear at any point. It ends with neither; he is the butt of a joke between Juliette and friends and is ignored by Churchill’s men so returns to the hotel and to Margaret.

I love going to the Dylan Thomas Centre for events and the yearly Dylan Thomas Festival – this is the third year running I have attended at least one event and The Wizard, the Goat and the Man Who Won the War was a closing event for the festival. It is a brilliant place with a staff always willing to help and it would be a disappointment to see anything happen to it – if the rumours DJ Britton mentioned about it going or anything like that are true - even if I always complain there’s no room to move in the theatre’s seats, which there isn’t but I’d rather suffer a discomfort than see a vital piece of the Swansea arts scene disappear.  It has always been an opportunity to catch up with people I no longer see on a daily basis; lecturer’s and friends from the Swansea MA in Creative Writing – often it results in fresh writing tips, welcome encouragement and interesting titbits of information on new reading material.  Talking to David after I explained I was now a young critic and he revealed that being a premiere performance there were no ‘professional’ critics - simply not to put Richard off and also they are unsure as to what is the official next step. For that I am glad I didn’t catch him before hand, even if I am still only finding my feet.

Listening to David and Richard discuss the play after was interesting, as they revealed the organic process by which the play developed – David writing a few pages at a time, Richard reading them and David writing the next few depending on how Richard read each piece. Also that finding out about Lloyd George in Antibes had been a dramatic gift to good to turn down. They spoke about staying away from the ‘historical overview’ that piece’s like this can become and create “our Lloyd George” a fictional creation of their own based on the facts – after all Juliette is an invention.  The piece was excellent and I wish David and Richard all the best in taking it on tour next year, and would see it again just to find out what tweaks or sweeping changes they decide to make. I think that whatever they decide will only make it better.

Secrets? Truths? & Disclosing them to a stranger

Childhood             Forgiveness         Tolerance              Crazy Things

Like ghosts stepping out of the mists of time - instead it is the youth theatre cast approaching our tables from within the inner chapel and altar of St John the Baptist Church. But in the dark with the lighting set just right? It felt eerie yet I was relaxing into my seat. The haunting Russian folk /string music playing enforced that feeling actually enhancing the feeling of stillness that silence would normally bring in a church.

Kontakt 3 is not your average theatre production: pushing the boundaries of theatre as we know it: there no audience separation and you are right there in the thick of it. Singled out, one per table the ‘audience’ await the arrival of the cast - you are left alone with the music and your thoughts unable to converse with friends, family or even swap comments  with a stranger.  In the

blurb handed to participants on leaving Philip Mackenzie (Director) asks the very pertinent question of “How often does an adult sit across the table from a 14 year old and have a meaningful interaction or conversation?” and unfortunately today the answer is likely to be rarely; if ever. Not wanting to be clichéd but Kontakt does what it says on the tin, but it explores how we communicate in an unconventional manner

And to provoke some level of response? Yes.

The first point of contact between people is eye contact. To demonstrate this, a cast member come and sit opposite you, staring/watching you in silence before moving on and a second does the same.

Second is conversation: a third person comes and sits with you striking up conversation. Mine, a friendly young gentleman who wasn’t that much younger than me, asked me to tell him about myself and it turns out we had interests in common. Too be honest being of a similar age I wasn’t too surprised yet if an older adult was in my seat I doubt they would expect to have similar interests.

The third step in this process was a set of cards each having a topic or phrase to initiate specific conversation, whilst this is a somewhat forced way of interacting it opens doors for individuals to open up to a stranger or connect over similar situations. Here she held my hand in silence before the cards, hiding her face – creating a sense of security before the questions were asked.

In the fourth exploration of communication a girl sat opposite me with pen and paper and we communicated through art, drawing different things on the paper. The end result looked a bit like a child’s drawing of home with a house, sunshine, tree’s and people there were also the mountains of Wales as ‘home’. The music then changed to an Abba classic and everyone was coaxed up to dance: was this the breaking down of barriers now we had communicated? As many people find getting up and dancing difficult (the guzzling of alcohol is usually required in my case)

Last but not least was the ‘interrogation’ as the youngest of my questioners called it – wearing a Poirot moustache of all things, it was a series of probing questions that I had to answer although he was a bit too friendly and encouraging to be Poirot and I struggled not to laugh at the comedy value.

Throughout this process those of the cast who stood behind the chair opposite completed a set choreography that was nothing less than the Macarena in slow motion - though that it was the Macarena didn’t click until after when talking with the other young critics. I was rather unsure as to the point of this choreography initially it did not seem to have a purpose yet now thinking on it each movement was a representation of the open and closed nature of communication: showing open empty hands, hidden palms, hiding faces and arms wide open above heads. Not knowing what to expect at the start I was a little put out by the staring at first, didn’t know where to look and questions like why is she staring? What are they doing? Were running through my head: until I focused and simply stared back. One thing that did make me giggle as well as pause for thought was that on two occasions everyone sat down and the chair opposite me was empty – no one came to fill it for a moment – in those seconds I felt the echoed moments of loneliness I experienced as a young adult and also laughed at being the last one left as usual.

The actors and actresses where certainly brave to keep a straight face complete the piece’s and listen to strangers open up. I really enjoyed the experience and although very different, it was completely worthwhile. If you are given the opportunity to see a production like this go, though expect to divulge your inner most truths and wants and don’t expect to be judged: some are willing to divulge their own feelings and opinions to you to. Think of it as the turn of a priest to confess to the sinner who has been confessing, apt for a church I think.  Kontakt is on for a further day (Sat 6^th November).

KONTAKT 3

Kontakt 3

 Secrets? Truths?  and Disclosing them to a stranger

Childhood

Forgiveness

Tolerance

Crazy Things

Ghosts?

Like ghosts stepping out of the mists of time - instead it is the youth theatre cast approaching our tables from within the inner chapel and altar of St John the Baptist Church. But in the dark with the lighting set just right? It felt eerie yet I was relaxing into my seat. The haunting Russian folk /string music playing enforced that feeling actually enhancing the feeling of stillness that silence would normally bring in a church.

Kontakt 3 is not your average theatre production: pushing the boundaries of theatre as we know it: there no audience separation and you are right there in the thick of it. Singled out, one per table the ‘audience’ await the arrival of the cast - you are left alone with the music and your thoughts unable to converse with friends, family or even swap comments  with a stranger.  In the blurb handed to participants on leaving Philip Mackenzie (Director) asks the very pertinent question of “How often does an adult sit across the table from a 14 year old and have a meaningful interaction or conversation?” and unfortunately today the answer is likely to be rarely; if ever. Not wanting to be clichéd but Kontakt does what it says on the tin, but it explores how we communicate in an unconventional manner:                                    

All to provoke some level of response? Yes, definately.

• The first point of contact between people is eye contact. To demonstrate this, a cast member come and sit opposite you, staring/watching you in silence before moving on and a second does the same.
• Second is conversation: a third person comes and sits with you striking up conversation. Mine, a friendly young gentleman who wasn’t that much younger than me, asked me to tell him about myself and it turns out we had interests in common. Too be honest being of a similar age I wasn’t too surprised yet if an older adult was in my seat I doubt they would expect to have similar interests.
• The third step in this process was a set of cards each having a topic or phrase to initiate specific conversation, whilst this is a somewhat forced way of interacting it opens doors for individuals to open up to a stranger or connect over similar situations. I turned over 4 cards, the words meaning quite different things to me. Here she held my hand in silence before the cards, hiding her face – creating a sense of security before the questions were asked.
• In the fourth exploration of communication a girl sat opposite me with pen and paper and we communicated through art, drawing different things on the paper. The end result looked a bit like a child’s drawing of home with a house, sunshine, tree’s and people there were also the mountains of Wales as ‘home’. The music then changed to an Abba classic and everyone was coaxed up to dance: was this the breaking down of barriers now we had communicated? As many people find getting up and dancing difficult, lots of cider is usually required in my case. 
  

 Speak in silence, in ink.

   Can you dance? Show me...

• Last but not least was the ‘interrogation’ as the youngest of my questioners called it – wearing a Poirot moustache of all things, it was a series of probing questions that I had to answer although he was a bit too friendly and encouraging to be Poirot and I struggled not to laugh at the comedy value.

Throughout this process those of the cast who stood behind the chair opposite completed a set choreography that was nothing less than the Macarena in slow motion - though that it was the Macarena didn’t click until after when talking with the other young critics. I was rather unsure as to the point of this choreography initially it did not seem to have a purpose yet now thinking on it each movement was a representation of the open and closed nature of communication: showing open empty hands, hidden palms, hiding faces and arms wide open above heads. Not knowing what to expect at the start I was a little put out by the staring at first, didn’t know where to look and questions like why is she staring? What are they doing? Were running through my head: until I focused and simply stared back. One thing that did make me giggle as well as pause for thought was that on two occasions everyone sat down and the chair opposite me was empty – no one came to fill it for a moment – in those seconds I felt the echoed moments of loneliness I experienced as a young adult and also laughing at being the last one left as usual.

The actors and actresses where certainly brave to keep a straight face complete the piece’s and listen to strangers open up. I really enjoyed the experience and although very different, it was completely worthwhile. If you are given the opportunity to see a production like this go, though expect to divulge your inner most truths and wants and don’t expect to be judged: some are willing to divulge their own feelings and opinions to you to. Think of it as the turn of a priest to confess to the sinner who has been confessing, apt for a church I think.  Kontakt is on for a further day (Sat 6^th November).

Kontakt 3 is at St John the Baptist Church in Canton until 6th November 2010

performed by Sherman Cymry Youth Theatre

Photos by Andy Hammer

Bay Lit Festival Shock of the New

Over the weekend I scouted out the Bay Lit Festival - something I have been looking forward to since I came across it last year. It is a literary festival held over two weeks and it’s a chance for the authors, artists and publishers of Wales to showcase their talent on home soil and discuss topics central to welsh literature. Events take place across the modern, popular environment of Cardiff Bay: a centre of artistic and creative events and the home of the Wales Millennium Centre. 

Of the events I attended, Shock of the New proves an apt title for this Bay Lit Festival and not simply because the titles launched are new. Those new titles I was tempted with are a mix of innovation, challenge and certainly unusual in some cases, they should provide an exciting year for Welsh literature and entertainment for the reader. Listen, and for all the newness that abounds in these titles, the past gets a nod: after all there is no future without a past.

Thurs 28^th: New Stories from the Mabinogion launch by Seren

Outside of Wales and even to some Welsh the Mabinogion is an unknown so firstly: the book is 11 stories from early British history from the Red book of Hergest and the White book of Rhyderch but brought to prominence as the Mabinogion in the 1800’s by Lady Charlotte Guest. The stories give us the ancient perspective of the Arthurian tales; Celtic mythology and the magical belief’s of the British people. For the modern reader the Mabinogion can be a difficult read: the language is dry, its prose frustrating and it often leaves moments important to the narrative that are ripe for emotion as bare facts. Although for all its anarchic qualities it carries a freedom – there are no rules binding it to genre, form or style: the myth chosen by Gwyneth Lewis has Blodeuwydd as a woman created from flowers then turned into an owl as punishment, few writers could put that together even as Sci-fi or magic realism.

Change and tradition were the buzz words at the launch; difficult words to pair up but with a reworking of Mabinogion up for discussion they are central themes. How much danger do retellings carry? Too much change and the essence can be lost, not enough is seen as going over old ground. Seren’s editor Penny Thomas explained the writers were invited to choose a myth, given a deadline and a word count then given free reign – even with full creative control each chosen myth is at the centre of the novellas, this was evident from the readings given by the authors. Owen Shear’s in White Ravens borrows pieces of his myth Branwen’s message too her brother via bird as one example. As a Liverpudlian with Welsh and Irish heritage Niall Griffiths spoke of it as an opportunity to “reassess and rewrite a part of his own history”. Taping into the myth’s narratives unearths the roots of the Welsh and Celtic culture’s; carrying on our storytelling tradition.

We are as bad now as we were then: something of a generalist claim I agree but there is a parallel between the now of the Mabinogion stories and the here and now: a great deal of conflict existed then the only difference is that conflict now exists on a far more global stage. To the British chieftains of the time the Irish and greedy neighbouring kings were the biggest threats. History should teach us the lessons we need to change but Prince’s still head off to war to defend their people and from already leafing through the pages both The Ninth Wave and the Dreams of Max and Ronnie promise to pull in that parallel: from observing the state of the nation to setting it in an almost plausible future.

As a lover of ancient literature I have read the Mabinogion and even though it is a struggle to read it is rewarding. My advice is to just tackle each story one at a time and at your own pace and you will discover the wonders of magic and myth. As something of a devourer of all things Welsh I am certainly looking forward to reading my freshly purchased copies and hope to be as enthralled as I was last night.

Saturday 30^th: Getting Up Launch

Breakfast and Books: a brilliant idea, but at 10am on a Saturday morning? My first thought was adding a bed would be perfect but I doubt many people would  appreciate a) sharing a bed with strangers in a public place, b) going to someone’s house for the event or c) people turning up to a public event in pyjamas no matter how comfortable they were. Though if memory serves, I could name certain individuals who have actually turned up to events or gone shopping in their PJ’s and called it ‘self expression’: 9am lecture’s in my slippers is as far as I’ll ever go. With the early morning moan over and tucking into tea, scrumptious looking pastries, fruit and yogurt (I was good I chose the healthy fruit and yogurt option) I settled into literary and writer esq conversation about the Rhys Davies short story competition – Getting Up the collection of the winning and runner up short stories - with a lovely lady who I’d met whilst getting confused trying to find the location within the Wales Millennium Centre.  It was a tad disappointing to see so few of the runner’s up included in the book attending – only one was there.

Getting up is certainly an innovative piece:  written from a young graffiti artist’s point of view – Sian, as the discussion progressed, talked about art as a form of communication across cultures and time: her own experience with a museum guide whose first language was not English where they ended up communicating via images and the boy in her story falls into a cave coming across cave drawings. Cave drawings being a rare access to a past we know very little about.  Graffiti is much like the short story: short, succinct and often short lived but altogether powerful with an immediate impression. Short stories are slowly gaining more ground in literary circles, but as a form still have to justify their existence in the market far more than the novel even though examining history proves the form is far older – for example the Mabinogion is in a sense made up of ‘short stories’ that came from the oral traditions. They are gaining more prevalence via the Radio: BBC Radio 4 has the 15 minute afternoon reading slot, particularly suited to radio in their paired down, very visual nature where the reader/listener can fill in their own images and imagination.

Saturday 30^th Bright Young Things

A solid walk later I entered the cosy Havannah Bar and was greeted by a friendly, young crowd gathered near the bar awaiting the next event. I have been intrigued by the Bright Young Things and their titles – they blog regularly, or at least try to as author Tyler Keevil admits, and are debut writers that together create a unique support network for each other: a rare thing indeed for the writer. Yet their books seem to come from very different places, a small nugget garnered from the readings given by Suzie Wilde and Tyler Keevil who are in attendance at the event with the Parthian editor Lucy Llewellyn. I appreciated the inclusion of the missing author’s Wil Gritten and James Smythe: giving an appreciation of all the books together particularly as they are being marketed as a group.

One thing that stood out against the other launches was the encouragement of audience participation: ‘quiz’ sheets were handed out at the start and we were encouraged to listen carefully and fill in the sheet as there would be prizes for the winner. This is my meagre attempt: I have left it as I started it (honestly) – my multi-tasking skills have been left wanting between the listening, taking notes and filling in quiz sheets although it was a nice gesture and certainly a good incentive tool to engage with the panel. Goodies were also given out at the end for those who had questions.

One comment made by the audience that there is a common theme running through the books: there is a macabre quality to all the books as each deal’s with darkness and death; yet the writers are all young.  It was certainly evident in the readings as Suzie’s character Amy loses her boyfriend and Tyler’s Razor loses his friend Chris although I will certainly reserve judgement and eagerly devour the books at a near point in the future.

Whilst I have thoroughly enjoyed my weekend of literary events and I certainly wish I could have attended more, one thing that has disappointed me is the timing: the end of the festival clashes with the start of Swansea’s Dylan Thomas Festival. It is an even smaller festival but one just as good and seems to carry more worldly renown and reach. Bay Lit is very much a writer/author and literary orientated event and it would be interesting to see collaboration between Academi and other artistic forms to create a bigger, more modern bilingual festival. The bilingual nature adopted by Academi is fantastic: it encourages the inclusion of all Welsh people: providing a local and international outlook, whereas the yearly Eisteddfod is still very much a Welsh language led programme and difficult to navigate by those of us struggling with the Welsh language. The location is a good one: Cardiff Bay has good parking facilities as well as the numerous places to eat before and after even if the events are spread out – the walk between the Millennium Centre and Havannah Bar felt a bit long after having to search for it. There are maps of the Bay posted on various walls but a map on the website to pin point all the places would have been good.  I do have high expectations for next year, and I am curious to see the theme as Shock of the New has been inspiring and thought provoking. I hope that it has chance to grow and opportunities arise for expansion or collaboration.

As a writer myself I am always on the lookout for idea’s or even inspiration for ideas and listening to the readings and the author’s generally talking has sent me in the direction of a new piece so we shall see what path that takes.

Bay Lit Festival Shock of the New

Over the weekend I scouted out the Bay Lit Festival - something I have been looking forward to since I came across it last year. It is a literary festival held over two weeks and it’s a chance for the authors, artists and publishers of Wales to showcase their talent on home soil and discuss topics central to welsh literature. Events take place across the modern, popular environment of Cardiff Bay: a centre of artistic and creative events and the home of the Wales Millennium Centre.  The festival ran from 25th - 30th October.

Of the events I attended, Shock of the New proves an apt title for this Bay Lit Festival and not simply because the titles launched are new. Those new titles I was tempted with are a mix of innovation, challenge and certainly unusual in some cases, they should provide an exciting year for Welsh literature and entertainment for the reader. Listen, and for all the newness that abounds in these titles, the past gets a nod: after all there is no future without a past.

Thurs 28: New Stories from the Mabinogion launch by Seren



Owen Shears, Niall Griffiths, Gwyneth Lewis &

Russell Celyn Jones



Outside of Wales and even to some Welsh the Mabinogion is an unknown so firstly: the book is 11 stories from early British history from the Red book of Hergest and the White book of Rhyderch but brought to prominence as the Mabinogion in the 1800’s by Lady Charlotte Guest. The stories give us the ancient perspective of the Arthurian tales; Celtic mythology and the magical belief’s of the British people. For the modern reader the Mabinogion can be a difficult read: the language is dry, its prose frustrating and it often leaves moments important to the narrative that are ripe for emotion as bare facts. Although for all its anarchic qualities it carries a freedom – there are no rules binding it to genre, form or style: the

myth chosen by Gwyneth Lewis has Blodeuwydd as a woman created from flowers then turned into

an owl as punishment, few writers could put that together even as Sci-fi or magic realism.

Change and tradition were the buzz words at the launch; difficult words to pair up but with a reworking of Mabinogion up for discussion they are central themes. How much danger do retellings carry? Too much change and the essence can be lost, not enough is seen as going over old ground. Seren’s editor Penny Thomas explained the writers were invited to choose a myth, given a deadline and a word count then given free reign – even with full creative control each chosen myth is at the centre of the novellas, this was evident from the readings given by the authors. Owen Shear’s in White Ravens borrows

pieces of his myth Branwen’s message too her brother via bird as one example. As a Liverpudlian with Welsh and Irish heritage Niall Griffiths spoke of it as an opportunity to “reassess and rewrite a part of his own history”. Taping into the myth’s narratives unearths the roots of the Welsh and Celtic culture’s; carrying on our storytelling tradition.

We are as bad now as we were then: something of a generalist claim I agree but there is a

parallel between the now of the Mabinogion stories and the here and now: a great deal of

conflict existed then the only difference is that conflict now exists on a far more global stage. To

the British chieftains of the time the Irish and greedy neighbouring kings were the biggest

threats. History should teach us the lessons we need to change but Prince’s still head off to war

to defend their people and from already leafing through the pages both The Ninth Wave and

the Dreams of Max and Ronnie promise to pull in that parallel: from observing the state of the nation

to setting it in an almost plausible future.

As a lover of ancient literature I have read the Mabinogion and even though it is a struggle to read it is rewarding. My advice is to just tackle each story one at a time and at your own pace and you will

discover the wonders of magic and myth. As something of a devourer of all things Welsh I am

certainly looking forward to reading my freshly purchased copies and hope to be as enthralled as I

was last night.

Saturday 30 (Morning): Getting Up Launch

Breakfast and Books: a brilliant idea, but at 10am on a Saturday morning? My first thought was adding a bed would be perfect but I doubt many people would  appreciate a) sharing a bed with strangers in a public place, b) going to someone’s house for the event or c) people turning up to a public event in pyjamas no matter how comfortable they were. Though if memory serves, I could name certain individuals who have actually turned up to events or gone shopping in their PJ’s and called it ‘self expression’: 9am lecture’s in my slippers is as far as I’ll ever go. With the early morning moan over
and tucking into tea, scrumptious looking pastries, fruit and yogurt (I was good I chose the healthy
fruit and yogurt option) I settled into literary and writerly conversation about the Rhys Davies short
story competition – Getting Up the collection of the winning and runner up short stories - with a lovely lady who I’d met whilst getting confused trying to find the location within the Wales Millennium Centre.  It was a tad disappointing to see so few of the runner’s up included in the book attending – only one was there.



Rhys Davies Short Story Competition Winner Sian Preece



Getting up is certainly an innovative piece:  written from a young graffiti artist’s point of view – Sian, as the discussion progressed, talked about art as a form of communication across cultures and time: her own experience with a museum guide whose first language was not English where they ended up communicating via images and the boy in her story falls into a cave coming across cave drawings. Cave drawings being a rare access to a past we know very little about.  Graffiti is much like the short story: short, succinct and often short lived but altogether powerful with an immediate impression. Short stories are slowly gaining more ground in literary circles, but as a form still have to justify their existence in the market far more than the novel even though examining history proves the form is far older – for example the Mabinogion is in a sense made up of ‘short stories’ that came from the oral traditions. They are gaining more prevalence via the Radio: BBC Radio 4 has the 15 minute afternoon reading slot, particularly suited to radio in their paired down, very visual nature where the reader/listener can fill in their own images and imagination.

Saturday 30 (Afternoon): Bright Young Things



Parthian Editor Lucy Llewellyn & author's Suzie Wilde and Tyler Keevil



A solid walk later I entered the cosy Havannah Bar and was greeted by a friendly, young crowd gathered near the bar awaiting the next event. I have been intrigued by the Bright Young Things and their titles – they blog regularly, or at least try to as author Tyler Keevil admits, and are debut writers that together create a unique support network for each other: a rare thing indeed for the writer. Yet their books seem to come from very different places, a small nugget garnered from the readings given by Suzie Wilde and Tyler Keevil who are in attendance at the event with the Parthian editor Lucy Llewellyn. I appreciated the inclusion of the missing author’s Wil Gritten and James Smythe: giving an appreciation of all the books together particularly as they are being marketed as a group.

One thing that stood out against the other launches was the encouragement of audience participation: ‘quiz’ sheets were handed out at the start and we were encouraged to listen carefully and fill in the sheet as there would be prizes for the winner. This is my meagre attempt:

I have left it as I started it (honestly) – my multi-tasking skills have been left wanting between the listening, taking notes and filling in quiz sheets although it was a nice gesture and certainly a good incentive tool to engage with the panel. Goodies were also given out at the end for those who had questions.

One comment made by the audience that there is a common theme running through the books: there is a macabre quality to all the books as each deal’s with darkness and death; yet the writers are all young.  It was certainly evident in the readings as Suzie’s character Amy loses her boyfriend and Tyler’s Razor loses his friend Chris although I will certainly reserve judgement and eagerly devour the books at a near point in the future.

Whilst I have thoroughly enjoyed my weekend of literary events and I certainly wish I could have attended more, one thing that has disappointed me is the timing: the festival clashes with the start of Swansea’s Dylan Thomas Festival. It is an even smaller festival but one just as good and seems to carry more worldly renown and reach. Bay Lit is very much a writer/author and literary orientated event and it would be interesting to see collaboration between Academi and other artistic forms to create a bigger, more modern bilingual festival. The bilingual nature adopted by Academi is fantastic: it encourages the inclusion of all Welsh people: providing a local and international outlook, whereas the yearly Eisteddfod is still very much a Welsh language led programme and difficult to navigate by those of us struggling with the Welsh language. The location is a good one: Cardiff Bay has good parking facilities as well as the numerous places to eat before and after even if the events are spread out – the walk between the Millennium Centre and Havannah Bar felt a bit long after having to search for it. There are maps of the Bay posted on various walls but a map on the website to pin point all the places would have been good.  I do have high expectations for next year, and I am curious to see the theme as Shock of the New has been inspiring and thought provoking. I hope that it has chance to grow and opportunities arise for expansion or collaboration.

Gary Owen's Love Steals Us from Loneliness

Organised  and produced by  National Theatre Wales and Sherman Cymru Love Steals Us from Loneliness was held in Hobo’s Bar in Bridgend from 7^th – 17^th October. This was my review:

“Is that where? ....”

“Yes, and so what?” 

“Is it really like that?”

“Oh shut up”

These days I often encounter conversations like this. Sometimes it can end at the first question or go on like that for ages but on rarer, much nicer occasions I can’t tell people to leave it alone and I talk about my home town. In January 2008 I received a text message off a friend asking how I was now I had moved back home – she said she had been reading the papers. It was nice she was concerned but I sat there in shock: was I now a product of someone’s inventive, sensationalist imagination? I had seen the papers but the Media student I was had seen a nasty, but typical attempt to increase tabloid sales.

I walked out of Hobo’s after Love Steals Us from Loneliness and in yards had to do a double take: right in front of me was familiar image of a young couple arguing, it was a moment of normality and coincidence doubled up and I just stood there staring. It was the play’s hidden argument between the main character Catrin and her ever missing boyfriend Lee come to life, yet it was probably just another harmless argument on an ordinary night out. The play provides a window into the lives of teenagers on what starts as an ordinary night out and its events cause ripples that affect the next forty years. I feel that Gary Owen’s play is a parallel of life and it wants to promise something more than emotional rollercoaster lived through at 17: that life will provide far bigger opportunities, but you have to grow up.

The play is across a 40 year span, with the first half occurring entirely over one night between the ill-fated lovers Catrin and Scott, the second half introduces further character’s central to Lee’s short life and it follows the journeys each character makes after the fateful accident. In order to follow each character a series of monologues are used: fragmenting and weaving between each individual as they lead separate lives or cross paths again. A grieving mother in Mag’s who is unable to live passed her son’s death; Becky as the sister and daughter who wants to move on, needing the attention of her mother as she grows into adulthood but never quite getting it. And Catrin and Scott, their chance at love lost before it can really form and Mikey the cocky, selfish exception to the rule as Catrin’s way out of her grief. Throughout Lee is only physically absent, we are given a clear idea of who he is and was via the relationships he has and the pieces of his life scattered across the set. The recurring Halloween theme serves to shore up the darkness of grief and loss, symbolising the ghostly chain of one death to a group of people.

The National Theatre Wales use of location provides an intrinsic link between the audience and the characters without the closeness, atmosphere and unconscious involvement, in its own way it breaks down that fourth wall in a theatre set.  At Hobo’s I was the teenager I used to be and the young adult I am now: transported back to a world of emotions, music and the statement clothes whilst watching the proceedings with an appreciative eye and an understanding. I certainly didn’t want to go up and sing Karaoke – I’d have cleared half the bar of its patron’s I suspect but music is a tool that not only evokes emotion but provides an outlet for it. It is a tool used perfectly by the artistic director and the actors who perform them. By using the bar and the room beside it you follow the characters through their night: you are with them each step of the way. Watching the same activity in a theatre would certainly detract from the impact, particularly a large theatre: it would seem like the further from the characters ‘lives’ you physically sat, the larger the gap between their emotions and your own. In saying this Gary Owen has a play of universal proportions: take it out of its heart and home and it will apply to any teenager in any small town across the world.

One thing that concerned me at the start of the play was the set: the modern art frame of hoops and wires that spread across the stage, what were they a representation of? On reflection they may have been a number of things: a representation of life winding in and around each individual or simply a silent, still stage hand to visualise the pieces of Lee’s life and keep the characters separate for each monologue.

I may not have fallen head over heels but I enjoyed Love Steals Us from Loneliness and glad I went to see it. The play does well not to answer the questions brought to us by the media’s portrayal of Bridgend but simply provide a tribute and encouragement to live life and carry on trying.