‘A massive challenge to re-build anaudience that h

Lyn T. Jones, Chair of the Board of Theatr Genedlaethol Cymru, talks to Lisa Lewis about the newly established national Welsh theatre company

Lisa Lewis:

There have been many debates about the notion of a Welsh-language National Theatre of Wales. Some have argued that a National Theatre couldn’t possibly exist in Wales in the same way that it does in other countries, and that the very concept of a national theatre would not combine well with the infrastructure of small-scale, touring companies that we have in Wales. Others have argued that the venture has been tried and tested, and that it has to some extent failed, for various reasons. What is different about this latest bid to create a national theatre for Wales – Theatr Genedlaethol Cymru?


Lyn T. Jones:

A ‘national’ theatre will exist in Wales in its own guise and its own form, and any attempt to make it a clone of any other ‘national’ theatre would be to commit it to abject failure. It should certainly look at all the different models and take from them the elements that suit Wales best. In essence, it has to be a ‘national’ theatre of and for its people. If it does not serve this purpose it becomes an artistic irrelevance, an exercise in one art form purely for its own pleasure. The formation of a Welsh-language ‘national’ theatre will create for the very first time a theatrical structure that will allow practitioners to develop their craft on a larger scale than before. For the first time in years it will allow writers to create plays with considerably more than three characters, and it will provide directors with the opportunity to create visual pieces from these works using a broader brush and a wider canvas. Most important of all, it will allow audiences throughout Wales to experience a far wider range of theatre, from Welsh-language drama to adaptations from other languages and new writing.

Theatr Genedlaethol Cymru will always be dependent on the existing small-scale touring companies, as it is from this grassroots base that the Company will find the source of new talent, not by creaming off that talent, but by ensuring that performers, designers, directors, stage managers, administrators and directors are given the opportunity to work on a different scale for both short and long periods.

Previous attempts to set up a national theatre have only partially succeeded because, in the early days, it was a concept imposed on a purely amateur theatre electorate, in a theatre scene devoid of small-scale touring companies. When the early version of these companies came into existence, not enough money was available to fund them, and more than one of those companies went under as a result. Later attempts at creating a healthy middle-scale theatre were also hamstrung by limited funding. 2004 can give a better start to a Welsh national theatre, partly because the existence of the National Assembly has given confidence and encouragement to the people of Wales to seek and find their own ‘voice’ in all areas. In addition, the recent restructuring and refocusing which has taken place within the Arts Council of Wales has encouraged groups to approach theatre in a far more holistic way. The general public have welcomed the establishment of a Welsh-language national theatre with great anticipation.


Lisa Lewis:

Theatr Genedlaethol Cymru is a theatre company created primarily to serve the Welsh-speaking audiences of Wales. What might its appeal be to those who do not speak the Welsh language? If it is to be a theatre for all the people of Wales, then surely it has a responsibility to develop a special relationship with those who do not speak Welsh but who might be interested in the artistic venture. Are there any strategies in place to develop such an audience?

Lyn T. Jones:

I believe that extending a warm welcome to a new audience is absolutely essential. Theatr Genedlaethol Cymru cannot exist with the support of its core audience alone (which is perceived to be in the older age bracket). A high percentage of that audience will almost certainly be there, but in contemporary twentyfirst century Wales, there has to be a conscious targeting of that fast-growing group – Welsh-language learners. It is our intention and our duty to prepare adequate programme notes that will assist the learner in following what happens on stage. The theatre-loving non-Welsh speaker is similarly included in our target audience. Each one of us, I am sure, has at some point watched – and enjoyed – a film performed in a language we do not understand, with the assistance of subtitling. We have taken pleasure from experiencing the story, from the acting talent shown, and the directorial skills involved. With the new technology available, it is practical to offer subtitling as an option in the theatre context, and Theatr Genedlaethol Cymru will certainly take advantage of any and every technological development that will help audiences derive greater pleasure from our performances. Use will also be made of the internet to give background information on the work of the company.



Lisa Lewis:

Terry Hands, director of Clwyd Theatr Cymru, last year posed the question: ‘What was, or could be a national theatre in a country with neither a mainstream tradition or a producing house infrastructure?’ (The Western Mail, 4 July 2003). His definition, based on the theatre of other countries, is that a nation needs ‘flagships for quality’ and ‘homes for audience development’. He also states that ‘touring as a raison d’être is largely a management concept and like most management concepts... leads to less art and more management.’ He is talking, of course, about the development of Clwyd Theatr Cymru. But what will the role of Theatr Genedlaethol Cymru be? Will it be a flagship company? Will ithow does it hope to develop its audience?


Lyn T. Jones:

Terry Hands is offering us his definition of a National Theatre based on his experience internationally and with national companies in England. I have no problems with his definition in that area of experience. However, from the Welsh-language standpoint, his concept is not only unsustainable, but also impractical, since the core audience for Welsh-language drama is spread around the country. There is no specific region that can be regarded as a potentially permanent venue for ‘audience development’. In fact, all the main stages around Wales become the permanent venues in Welsh-language terms. They will become our ‘homes’ for each production, and for each production, the stages in Theatr Gwynedd, Theatr Clwyd, Theatr y Sherman, Theatr y Grand, Theatr y Werin, and Theatr y Torch become our ‘national’ theatre. We will work tirelessly with these venues in the area of developing audiences not only for our productions, but all Welsh-language productions, and will strive to encourage audiences to enjoy every available kind of theatre. It is possible that in English-language terms ‘touring as a raison d’êtreis largely a management concept’, but in a Welsh language context, touring theatre is the only possible national solution in the early twenty-first century. Our national theatre belongs to all the people of Wales, and we owe it to each other to ensure that our productions are seen in venues within reasonable travelling distances. This we aim to achieve.

Lisa Lewis:

The company is to be based in Carmarthenshire. This came as a shock to some people, who expected the company to be based in the capital. Others expected the venture to be based in North Wales. Why Carmarthenshire?


Lyn T. Jones:

Why not Carmarthenshire? It is a county with a high percentage of Welsh speakers – an important factor in the decision-making process of finding a home for Theatr Genedlaethol Cymru. The capital was not an essential option, since it was not going to be a buildingbased company. The brief is to take high quality productions mainstream theatres throughout Wales, and to that extent, the location became a secondary factor. As we were seeking partnerships for the future, Local Authorities were approached by the Board and invited to consider helping the Company to ‘set up home’. A number of Local Authorities showed an interest, and after a series of presentations and considerable discussion, Carmarthenshire was chosen, and it was decided that the former Millennium Coastal Path building in the North Dock area of Llanelli would become its temporary home. Its permanent home will be developed in partnership with the Local Authority and others over the coming three or four years.

Lisa Lewis is Senior Lecturer in Theatre and Media Drama at the Universi ty of Glamorgan.

author:Lisa Lewis

original source: New Welsh Review theatre supplement (Issue 63)
01 April 2004