| A Look-back and Guide |
At Sgript Cymru |
| Sgript Cymru , Theatre of Wales , May 6, 2024 |
Sgript Cymru was a company tasked with developing, producing and touring new writing in theatre. Led by artistic director Simon Harris and literary manager Bill Hopkinson it was the successor company to Made in Wales. The company toured Wales and also visited London and New York City. On closure the new writing brief was passed passed too the Sherman Theatre. Workshops proliferated. Mike Bradwell of Hull Truck and the Bush Theatre: “Theatres frequently give a rehearsed reading of a play or workshop in order to get rid of it.” Meic Povey is remembered “In Memory” 29th December 2017. Productions by Sgript Cymru can be read below: "Acqua Nero" by Meredydd Barker' : 06 March 2007: 06 March 2007: 03 March 2007: 28 February 2007: 27 February 2007 “Seven years is a long time for a company to survive in the constantly changing environment of the Welsh theatre scene. Although this isn’t the end for Sgript Cymru, as the company designated to promote new writing in Wales it will continue as part of the newly formed Sherman Theatre Company once the refurbishments have been completed. “Acqua Nero is thankfully a much stronger development in playwriting than their last production, Orange and gives us the opportunity to welcome artistic director Simon Harris back into the director’s chair. He has now completed his sojourn as the first Welsh Fellow on the Clore Leadership Programme, where under the guidance of Lord Kinnock of Islwyn he is now equipped to play an even more significant part in the development of Welsh theatre! “The play tells a fascinating story with its beginnings in wartime followed by a look at life in present day Italy. Whilst it is a very human story, it is described as a thriller and it is very difficult to comment on any part of the action without giving away details of the intriguing plot .” "Amdani" by Gary Owen: 28 September 2003: 19 September 2003: 18 September 2003 “The story, under the conscientious direction of Elen Bowman tells of a group of young women who decide to show the men what they’re made of and take to the rugby pitch. All the while, their personal experiences bring the story to life and help to create a believable, interesting exploration of life in the Tre-Ddôll women’s rugby team as well as life in the rugby crazed nation of Wales itself! “The heartfelt performance of Llinos (Ffion Dafis) leads the story as she re-discovers herself and realises that her selfish husband Wayne (Huw Garmon) is inconsiderate and rude, especially in comparison to the handsome Gareth, played by Dafydd Emyr. Garmon performed exceedingly well in this role, as for the first half of the play we are feeling no sympathy with such a insensitive character – By the second half of the play however, he proves himself to be the better man and our sympathy and respect for him grows considerably – a difficult task for any actor. The other women all demonstrate strong individual characters and their differences and individual experiences all contribute to making a convincing, poignant piece of theatre.” "An Enemy for the People" by Gary Owen: 15 September 2006: 10 September 2006: 02 August 2006: 23rd July 2006: 07 July 2006 “Gary Owen’s new play “Enemy For The People”, performed at Chapter Arts Centre from 11th to 15th July, is another huge step forward for one of Wales’ foremost playwrights. Set in the office of the First Minister of a small, semi-independent nation, this play is a call to arms that throws down an unashamed challenge to politicians and public alike. Packed with biting satire and pin-point comic dialogue, it is a must see for anybody that cares about how their country is governed or just enjoys new writing at its best. “Skilfully directed by Ruth is Stranger than Richard’s Adele Thomas, the cast of four were all impressive. Steffan Rhodri’s First Minister shone with the charm and sharpness of the modern politician, while Ifan Huw Dafydd’s Glyn was delightfully loathsome in his misogyny, arrogance and duplicity. Particular mention goes to Clare Cage, the First Minister’s assistant who arguably has the furthest to travel as a character. Cage’s understated yet powerful performance helped to deliver this play’s political message with aplomb.” "Art and Guff" by Catherine Tregenna. : 07 March 2001 : 13 March 2001: 12 March 2001: 09 March 200 : 14 March 2001: 15 March 2001: 13 April 2001: 04 April 2001 “Art and Guff, two gauche Welsh boys from Kidwelly, arrive in London with hopes of becoming famous writers. Instead, they are ripped off by their neighbours, Nicky and Sues, a pair of streetwise hippies. “The strength of Tregenna's writing lies in the fully imagined world of Art and Guff, two losers who only dimly realise that they are out of their depth. Details of their childhood friendship, their dependence on their parents, and their previous attempts to leave home all emerge in an unforced and revealing way. “The relationship of the two men is a tangle of petty deceptions, small rivalries and empty dreams - yet they are also genuinely fond of each other. Compared to the nasty coolness of Nicky and Sues, Art and Guff have warmth, innocence and low-level fear of life. Jointly produced by Soho Theatre and Sgript Cymru, this piece is set in a bedsit, designed by Sean Crowley, that is so squalid you can almost smell the rancid milk stains.” "Crazy Gary's Mobile Disco" by Gary Owen: 01 March 2001: 05 March 2001 : 15 March 2001 “Gary Owen’s first play, premiered in Cardiff though developed by London-based new writing company Paines Plough, consists of three monologues delivered one after the other by a man who runs a disco, a man who wants to be a cabaret singer and a man who wants to escape his life. All three are unreliable narrators but we do actually believe the last - because his story is the one that enables us to make sense of the other two (indeed, all three) and the one which, crucially, gives meaning to the play. “The first, confusingly called Gary (David Rees Talbot), presents himself as hard man, a smooth operator, irresistible to women, with a good line in wit, and the champion of Welsh working-class common sense. We realise in no time that he is a violent repulsive insensitive sexist bully as he tells us how he is about to fuck the fittest chick in the whole wide bastard world (I quote, because the programme is also the play text) and that is how the play will end. “The second, Matthew Melody (Steven Meo), tells us about his beloved Candy, about his troubles at the dole office and the neighbour’s cat, and about how he wins the karaoke competition. With no little discomfort we recognise him as someone mentally ill, with a tenuous grasp on reality, living in sheltered accommodation, whose precious Candy wants him only for his drug prescription. "Drws Arall I’r Coed": 05 March 2005: 02 March 2005: 05 February 2005 “The resulting plays range from a mercifully short encounter between an older man and a teenage girl enticed to the rendezvous via the internet to the best of the evening, Priodas Alwminiwm by Gwyneth Glyn, which does at least suggest that the writer could develop some dramatic sensibilities; admittedly with all the technical problems described, I found only Caryl Lewis’s Dail Ar Y Lawnt from among the others to show any promise.” "Franco's Bastard" by Dic Edwards: 19 April 2002: 18 April 2002 :16 April 2002: 13 April 2002 “Cardiff isn't really Wales - it's a place all to itself." It's precisely this attitude - casually aired by the cab driver taking me to the city's Chapter Arts Centre - that enrages Carlo, the fascistic Welsh nation-builder at the heart of Dic Evans's coarsely enjoyable, controversy-stirring satire Franco's Bastard” “Posing as an illegitimate son of the Spanish dictator, Carlo is disgusted as much by the political apathy of his fellow Welshmen as he is by the imperialist English, whose accursed influence he wishes to scrub out by military means. Imagine his joy, then, when he is introduced to a young man called Ben, who, he is told, has fled his job in a Cardiff fish suppliers' after decapitating his English boss with a three-foot frozen salmon. "I love this boy!" he exclaims. “Carlo is modelled quite openly on Julian Cayo Evans, the self-styled leader of the Free Wales Army, whose minor-league terrorist activities resulted in an 18-month prison sentence in 1969, timed, so it was said, to coincide with Prince Charles's investiture.” "Ghost City" by Gary Owen: 24 June 2004: 06 June 2004: 04 June 2004: 15 April 2004: 11 March 2004:10 March 2004: 09 March 2004: 05 March 2004: 05 March 2004 “Next to Thomas, Gary Owen, whose Ghost City is playing in New York for two weeks as part of the Brits Off Broadway theater festival, is probably the most recognized name in contemporary Welsh theater. Judging from this play, it's a pity that he is so little known on this side of the pond. Owen has a preternatural talent for creating memorable characters and crafting beautifully poetic language. He also has his finger on the pulse of popular culture in a way that makes his work accessible and relevant to American audiences; this play sets out to prove that the Welsh capital, Cardiff, is not dissimilar to any other major city of the world. “Ghost City, presented by the National New Writing Company of Wales, Sgript Cymru, is a series of monologues and duologues for assorted city dwellers played by four actors. The opening monologue features a Welsh radio shock jock who stirs controversy by saying the word "sod" on the air...As written by Owen, the Welsh DJ is familiar yet unique, abrasive yet likeable.” "Indian Country" by Meic Povey: 04 June 2001: 04 June 2003: 09 May 2003: 05 May 2003: 05 May 2003: 01 May 2003: 17 June 2003 “Another compelling theatre experience from the ever-strengthening Sgript Cymru! Another occasion to celebrate Welsh Theatre! ‘Old Mos’, actor Rhys Richards stands gently contemplating his mother’s funeral. The almost poetic clarity of leading Welsh dramatist Meic Povey’s words echoing the water coloured slopes of designer John Howes’ silhouette of the Snowdon range, where in a small patch of the world beneath it, the story plays out. We are back in 1958 the year of the making of the film ‘Inn of the Sixth Happiness’ When Old Mos was Young Mos, a bright eyed fourteen-year-old, played with great charm and no lack of authority by Royal Welsh College student actor Sion Pritchard.” "Life of Ryan ...and Ronnie" by Meic Povey : 24 October 2005: 20 October 2005: 15 October 2005: :14 October 2005 “For most of the play there seems to be a sharp and bitter atmosphere between them but what writer Meic Povey succeeds in doing so well is to bring out the underlying respect and fondness they had for one another which in the play is never actually articulated. Much of their banter takes place in seedy night-club dressing rooms; simply realised by Max Jones’ clean cut single unit set that gives us the stage on which the duo go through their comedy paces, back-stage and the low lit tables of Caerphilly’s Double Diamond Club. At one of the tables Ronnie reflects on his problem with alcohol, the heavy demands of their frantic comedy schedule and, it seems, whether it’s all worth it. Ryan relishes the taste of success and possesses an overwhelming drive to develop his art.” "Orange" by Alan Harris : 22 September 2006 “Chippie just leaves Viv to guard their hostage, unaware that his younger brother is forming a relationship with Saleem, a far more intelligent man, albeit one that will be seen to be meaningless. It sounds almost like a Samuel Becket script, a tale of existential absurdity, a nihilistic view of the current world situation. Except that this is just about one of the most offensive, facile, clumsy new plays to have got on to the stage in Cardiff, even by Sgript Cymru’s uneven standards.” "Past Away" by Tracy Harris : 26 February 2002 : 11 October 2002: 03 October 2002: 13 September 2002: 13 September 2002: 12 September 2002 “Struggling chemistry and gritty poetry in words and movement pervade this brooding partnership between emerging and exciting new writer, twenty-two year old Tracy Harris and director of the same surname Simon (No relation). Relationships, or the lack of the ability to make them, are at the core of this compelling work. The ninety-minute performance has the feel of a sonata, Harris's presence wielding a baton, guiding the actors through their rhythms and movements with a light unobtrusive touch. “The set, designed by Max Jones, is also a sophisticated and elegantly constructed piece of sculpture or angular landscape on which these sad and frustrated relationships are revealed. Tracey Harris has her own new and distinctive language that speaks equally well through each of her very different characters.” Picture: Aqua Nero |
Reviewed by: Adam Somerset |
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