created by / crËwyd gan rachel trezise, common …

CREATED BY / CRËWYD GAN

RACHEL TREZISE, COMMON WEALTH & THE COMPANY / Y CWMNI

@NTWTWEETS#NTWSTEEL

Photo / Llun: Jon Pountney / Elfen / National Theatre WalesSam Coombes

NATIONAL THEATRE WALES& COMMON WEALTH

WE’RE STILL HERE

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Photo/ Llun: Dimitris LegakisJason May

THIS STORY IS STILL UNFOLDING.Welcome to Port Talbot and to National Theatre Wales’ newest production – We’re Still Here, created with Common Wealth. In a time of signifi cant change and global turmoil, it is perhaps no surprise that we want to try and understand what is happening around us; to close ranks and fi ght for those things that have sustained our communities and our way of living. To try and hold on to what we know and to feel some sense of purpose and control. The battle for the survival of the steelworks in Port Talbot – the last bastion of heavy industry in Wales – is ongoing. The blast furnace is still lit, but the world of work is changing fast. This story is still unfolding. Like so much of our work, We’re Still Here developed through conversations. Through talking to the steelworkers, the unions and the people of Port Talbot. It is our response to a moment in time, a moment when questions about the nature of work, what it means to be working-class and the impact of globalisation on our daily lives feel very immediate and real.

As ever, we’d love to hear your thoughts on the show, so please share them with us:

FACEBOOK.COM/NATIONALTHEATREWALES@NTWTEETS #[email protected]

Without an audience, there is no theatre, so thank you for attending today and supporting National Theatre Wales.

KULLY THIARAIArtistic Director / Cyfarwyddwr ArtistigNational Theatre Wales

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NATIONALTHEATREWALES.ORG@NTWTWEETS #NTWSTEELFACEBOOK.COM/NATIONALTHEATREWALES

FACEBOOK.COM/NATIONALTHEATREWALES@NTWTEETS #[email protected]

Without an audience, there is no theatre, so thank you for

National Theatre Wales

Photo / Llun: Dimitris Legakis

Kully Thiarai Artistic Director /

Cyfarwyddwr Artistig

SOME PEOPLE MIGHT SAY “WELL, WHAT DO YOU EXPECT?” AND THE ANSWER IS WE

EXPECT A LOT. PEOPLE SAY, “WHAT ARE YOU,

A DREAMER?” AND THE ANSWER IS YES, WE’RE DREAMERS. WE WANT

IT ALL. WE WANT A PEACEFUL WORLD.

WE WANT AN EGALITARIAN WORLD.


WE’RE STILL HERE

Howard Zinn4

We’re Still Here for us is about pride,about fighting back, about how workingclass people can respond to the way thatcapitalism and greed operates.We wanted to make a play full of leaders, that would challengeand provoke debate about what being a working-class leadermeans; about how we need to respond to the attack on theworking-class that increases daily. In these times, it feelsnecessary to make theatre that brings us all together.

We’ve been inspired by how the Save Our Steel campaign has fought back and got organised. We’ve also been inspired by the people at the heart of it, who have kept their heads high and spoke more truth and sense to us than any politician ever has. They have taught us so much about the world, ourselves, and the future we could have if we stand up for it.

We were interested in ghosts, and how capitalism operates to create ghost towns, and how this is both a reminder and a warning to us to keep fighting. The past has shown us that it takes generations to recover from the obliteration of jobs, but it also shows us that people can make change.

People are dancing, talking, singing, coming together and fighting back. We’re Still Here is about all of that.

As Gary Keogh from Community Union says “We will not walk quietly into the night”.

To end on a quote from the incredible Howard Zinn:

“Where progress has been made, wherever any kind of injustice has been overturned, it’s been because people acted as citizens, and not as politicians. They didn’t just moan. They worked, they acted, they organized, they rioted if necessary to bring their situation to the attention of people in power. And that’s what we have to do today.”

RHIANNON WHITE & EVIE MANNINGCommon Wealth

COMMON WEALTH

Photos / Llun: Dimitris Legakis / National Theatre WalesAbove / Uchod: Rachel Trezise & Evie Manning

Left / Chwith: Rhiannon White & Evie Manning

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WE’RE STILL HERE

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“AS BOTH A WRITER AND

A HUMAN BEING, I AM A PRODUCT OF INDUSTRIAL SOUTH WALES”

Rachel Trezise6

My father grew up on the Sandfi elds Estate and worked in the Port Talbot Steelworks along with my grandfather and uncles on both sides of my family. I grew up in the 1980s on the other side of the Afan Forest in the Rhondda valley, surrounded by the remnants of the coal mining industry: slag heaps, the skeletal remains of the mines themselves, and lots of unemployed men. Everywhere I looked in my corner of Wales there was evidence of heavy industry. But by the time I left for university the coal mining hangover was healing, the slag heaps and mine shafts grown over. Steel was the only thing left. When Tata announced in January 2016 that 750 jobs were to go in the Port Talbot plant, and then later announced it was going to sell its entire UK business, I understood what a devastating blow it was for the community of Port Talbot, for all of the surrounding area, for the whole of Wales. The steelworks is the last major employer of highly skilled manual labourers in the country. Without it Wales’ industrial life is over. A situation that would be a lot easier to accept had those unemployed coal miners of the Rhondda not turned into unemployed sons and grandsons.

At around the same time as Tata’s announcement I’d just begun work on an exploratory project with Common Wealth and National Theatre Wales. We were trying to fi nd out where the Welsh working class leaders had gone, where the Dic Penderyns and Aneurin Bevans of the present day were hiding. We watched with much excitement as the Save Our Steel Campaign responded uproariously to Tata’s announcement; taking social media by storm, unfurling banners at Cardiff Blues and Ospreys fi xtures, marching on London and Brussels. And we realised that’s where our working class heroes were. For me the script is a tribute to the guts of the Save Our Steel campaigners and the working classes throughout the UK. Austerity measures mean that presently working people are dodging missiles from almost every direction. We are living through a social care crisis, a social housing crisis, a child poverty crisis, a mental health crisis. Zero-hour contracts have reached record levels and food bank usage continues to rise. It’s imperative, I think, a matter of urgency, in fact, that the voices of the people caught up in these desperate straights, are heard, loud and raw at this critical juncture; the beginning of the end of heavy industry in the UK.

Photo / Llun: Dimitris Legakis / National Theatre Wales

RACHEL TREZISEWRITER / AWDUR

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My father grew up on the Sandfi elds Estate and worked in the Port Talbot Steelworks along with my grandfather and uncles on both sides of my family. I grew up in the 1980s on the other side of the Afan Forest in the Rhondda valley, surrounded by the remnants of the coal mining industry: slag heaps, the skeletal remains of the mines themselves, and lots of unemployed men. Everywhere I looked in my corner of Wales there was evidence of heavy industry. But by the time I left for university the coal mining hangover was healing, the slag heaps and mine shafts grown over. Steel was the only thing left.

When Tata announced in January 2016 that 750 jobs were to go in the Port Talbot plant, and then later announced it was going to sell its entire UK business, I understood what a devastating blow it was for the community of Port Talbot, for all of the surrounding area, for the whole of Wales. The steelworks is the last major employer of highly skilled manual labourers in the country. Without it Wales’ industrial life is over. A situation that would be a lot easier to accept had those unemployed coal miners of the Rhondda not turned

At around the same time as Tata’s announcement I’d just begun work on an exploratory project with Common Wealth and National Theatre Wales. We were trying to fi nd out where the Welsh working class leaders had gone, where the Dic Penderyns and Aneurin Bevans of the present day were hiding. We watched with much excitement as the Save Our Steel Campaign responded uproariously to Tata’s announcement; taking social media by storm, unfurling banners at Cardiff Blues and Ospreys fi xtures, marching on London and Brussels. And we realised that’s where our working class heroes were.

For me the script is a tribute to the guts of the Save Our Steel campaigners and the working classes throughout the UK. Austerity measures mean that presently working people are dodging missiles from almost every direction. We are living through a social care crisis, a social housing crisis, a child poverty crisis, a mental health crisis. Zero-hour contracts have reached record levels and food bank usage continues to rise. It’s imperative, I think, a matter of urgency, in fact, that the voices of the people caught up in these desperate straights, are heard, loud and raw at this critical juncture; the beginning of the end of heavy industry in the UK.

At around the same time as Tata’s announcement I’d just begun work on an exploratory project with Common Wealth and National Theatre Wales. We were trying to fi nd out where the Welsh working class leaders had gone, where the Dic Penderyns and Aneurin Bevans of the present day were hiding. We watched with much excitement as the Save Our Steel Campaign responded uproariously to Tata’s announcement; taking social media by storm, unfurling banners at Cardiff Blues and Ospreys fi xtures, marching on London and Brussels. And we realised that’s where our working class heroes were.

For me the script is a tribute to the guts of the Save Our Steel campaigners and the working classes throughout the UK. Austerity measures mean that presently working people are dodging missiles from almost every direction. We are living through a social care crisis, a social housing crisis, a child poverty crisis, a mental health crisis. Zero-hour contracts have reached record levels and food bank usage continues to rise. It’s imperative, I think, a matter of urgency, in fact, that the voices of the people caught up in these desperate straights, are heard, loud and raw at this critical juncture; the beginning of

IT ALL BEGAN WITH ONE FARM: A BRIEF HISTORY OF THE PORT TALBOT STEELWORKSGraham RowlandSteelworker and local historian / Gweithiwr dur a hanesydd lleol

known as “Theodoric’s Grange”, it was the richest farm in Wales and was inhabited by monks. The farm came from a Cistercian order, and the workers were known as Lay Brothers. From artefacts discovered on the site, it is believed that the monks were using black band iron ore (which is only 40% iron) from the nearby rivers, and smelting it with charcoal to create implements like keys, cutlery and various other tools

Yn cael ei hadnabod fel “Maenor Dewdrig”, hon oedd fferm gyfoethocaf Cymru a mynachod oedd ei thrigolion. Roedd y fferm yn perthyn i Urdd Sistersaidd, a byddai’r gweithwyr yn cael eu hadnabod fel brodyr lleyg a roddodd i ni’r gair Saesneg ‘labourers’. O eitemau y daethpwyd o hyd iddynt ar y safl e, credid bod y mynachod yn defnyddio band du o fwyn haearn (gyda dim ond 40% ohono yn haearn) o’r afonydd cyfagos, a’i doddi gan ddefnyddio golosg er mwyn creu eitemau megis allweddi, cyllyll a ffyrc ac offer amrywiol.

The path of ironmaking in Port Talbot and the surrounding areas started in Pontrhydyfen, with the Oakwood Iron Works; who used locally mined ore. Production then moved down to Cwmavon, where the works were owned and run by the English Copper Company. When they went out of business, the works were taken over by the Bank of England, the only company of this kind to be taken over by a government.

Dechreuodd trywydd gwneud haearn ym Mhort Talbot a’r fro ym Mhontrhydyfen, gyda gwaith haearn Oakwood; a oedd yn defnyddio mwyn haearn wedi ei gloddio’n lleol. Symudwyd y broses gynhyrchu wedyn i Gwmafon lle’r oedd gwaith ym mherchnogaeth ac a oedd yn cael ei redeg gan yr English Copper Company. Pan aethant hwy yn fethdalwyr, prynwyd y gwaith gan Fanc Lloegr, yr unig gwmni o’r math hwn i gael ei fabwysiadu gan lywodraeth.

The First World War created massive opportunities for the steel industry in Wales, as low grade ore could be used to make steel for shells. There was also a German prisoner of war camp situated in Goytre which provided a source of cheap labour for the works at Port Talbot, supporting the war effort.

Bu’r rhyfel byd cyntaf yn gyfl e rhyfeddol i’r diwydiant dur yng Nghymru, gan y gellid defnyddio mwyn haearn o safon isel a’i droi’n ddur ar gyfer cynhyrchu sieliau. Yn ogystal roedd carchar rhyfel ar gyfer milwyr o’r Almaen yn y Goetre a oedd yn ffynhonnell llafur rhad ar gyfer y gweithfeydd ym Mhort Talbot, er budd yr ymdrech ryfel.

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WE’RE STILL HERE

Support for acting was even shown by local industrialists. The steel company Richard Thomas & Baldwins Ltd encouraged drama groups, and sent two of its most promising amateur students (Connie Longman and Beryl Stephens) to do a course at the British Drama League in London, and engaged Richard Blythe, a lecturer and coach who had been in the Donald Wolfi t Company, to run a class in poetry, prose and play-reading at their Byass and Wern Works.

(Actors’ Crucible, Angela V John)

Cefnogid actio gan rhai o’r diwydianwyr lleol. Roedd cwmni dur Richard Thomas & Baldwins Ltd yn annog creu grwpiau drama, ac fe anfonodd dau o’r myfyrwyr amatur lleol mwyaf addawol (Connie Longman a Beryl Stephens) i ddilyn cyrsiau gyda’r British Drama League yn Llundain, a chyfl ogi Richard Blythe, a oedd yn ddarlithydd ac yn hyfforddwr ac a oedd wedi bod yn aelod o Gwmni Donald Wolfi t i gynnal dosbarthiadau ar farddoniaeth, rhyddiaith a darllen dramâu yng ngweithiau’r Byass a’r Wern.

(Actors’ Crucible, Angela V John)

IT ALL BEGAN WITH ONE FARM: A BRIEF HISTORY OF THE PORT TALBOT STEELWORKS The Second World War saw further opportunities

and another rise in profi t for the steel Industry in Port Talbot. Morfa Beach was used to train the Americans for the D-Day landings, and the American GIs were camped out in Margam Park. The docks too, played a part in the war effort, being used to ship out tanks, guns and other military equipment that would be used during those landings.

Bu’r ail ryfel byd yn gyfl e pellach a chynydd arall yn elw’r diwydiant dur ym Mhort Talbot. Defnyddiwyd traeth y Morfa er mwyn hyfforddi milwyr o’r UDA ar gyfer glanio ar draethauD-Day, ac roedd y GIs Americanaidd yn gwersylla ym Mharc Margam. Bu’r dociau hwythau â rhan yn yr ymdrech er budd y rhyfel, gyda llongau yn cludo tanciau, gynnau ac offer milwrol oddi yno i’w defnyddio yn yr un ymgyrch.

At its peak in the 1960s, the Port Talbot steelworks was one of the largest in Europe, with a workforce of upwards of 18,000 people. Although that work force is much reduced today, it remains a vital part of the local economy and is intrinsically linked in with the spirt and unique character of Port Talbot.

Yn ei anterth yn y 1960au, gweithfeydd dur Port Talbot oedd y mwyaf yn Ewrop, gyda gweithlu o dros 18,000 o bobl. Er i’r gweithlu hwnnw grebachu erbyn heddiw, erys yn rhan hanfodol o’r economi lleol ac fe’i cysylltir yn annatod ag ysbryd a natur unigryw Port Talbot.

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WE’RE STILL HERE

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Photos / Llun: Dimitris Legakis / National Theatre WalesThe company in rehearsal / Y cwmni yn ymarfer

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RACHEL TREZISEWriter / Awdur

Rachel Trezise was born in Rhondda in south Wales, where she still lives. She studied at Glamorgan and Limerick Universities. Her novel In and Out of the Goldfish Bowl won a place on the Orange Futures List (2002). Harpers & Queen magazine voted her New Face of Literature, 2003. In 2006, her first short fiction collection Fresh Apples won the Dylan Thomas Prize. She was writer in residence at the University of Texas, Austin in 2007. Her most recent novel is Sixteen Shades of Crazy. Her second collection of stories, Cosmic Latte, won the Edge Hill Readers’ Award in 2014. Her debut play, Tonypandemonium, was produced by National Theatre Wales in 2013 & performed at Treorchy’s Park & Dare Theatre.

Ganed Rachel Trezise yn y Rhondda yn ne Cymru, ac mae’n dal i fyw yno. Astudiodd ym Mhrifysgolion Morgannwg a Limerick. Enillodd ei nofel In and Out of the Goldfish Bowl le ar yr Orange Futures List (2002). Hi oedd y New Face of Literature, 2003 cylchgrawn Harpers & Queen. Yn 2006, enillodd ei chasgliad cyntaf o ffuglen fer Fresh Apples wobr Dylan Thomas. Roedd yn awdur preswyl ym Mhrifysgol Texas, Austin yn 2007. Ei nofel ddiweddaraf yw Sixteen Shades of Crazy. Enillodd ei hail gasgliad o straeon, Cosmic Latte, yr Edge Hill Readers’ Award yn 2014. Cynhyrchwyd ei drama gyntaf, Tonypandemonium, gan National Theatre Wales yn 2013 ac fe’i perfformiwyd yn Theatr y Parc a Dâr yn Nhreorci.

EVIE MANNINGCo-Director / Cyd-Gyfarwyddwr

Evie is Co-Artistic Director of Common Wealth. For Common Wealth, her directing credits include: The Deal Versus The People (West Yorkshire Playhouse), No Guts, No Heart, No Glory (Scotsman Fringe First Award / Live From TVC with BBC4), Our Glass House (Amnesty International Freedom of Expression Award). As a freelancer, Evie has collaborated and made work with Manchester International Festival, The Royal Exchange, Battersea Arts Centre, Tamasha, Chris Goode and Company, Transform Festival and Southbank Centre. Evie was the recipient of the BBC Performing Arts Fellowship in 2015 and programmed WOW Bradford in 2016. Evie is a founding member of Speakers’ Corner Collective.

Mae Evie yn Gyd-Gyfarwyddwr Artistig Common Wealth. Ar gyfer Common Wealth, mae ei gwaith cyfarwyddo wedi cynnwys: The Deal Versus The People (West Yorkshire Playhouse), No Guts, No Heart, No Glory (Scotsman Fringe First Award / Live From TVC with BBC4), Our Glass House (Gwobr Mynegiant Dilyffethair Amnest Rhyngwladol). Fel gweithiwr llaw-rydd mae Evie wedi cyd-weithio a chreu gwaith gyda Gwyl Ryngwladol Manceinion, The Royal Exchange, Canolfan Gelfyddydol Battersea, Tamasha, Chris Goode and Company, Gwyl Transform a Chanolfan y Southbank. Derbyniodd Evie Gymrodoriaeth Celfyddydau Perfformio’r BBC yn 2015 a bu’n rhaglennu WOW Bradford yn 2016. Mae Evie yn un o sylfaenwyr y Speakers Corner Collective.

RHIANNON WHITE Co-Director / Cyd-Gyfarwyddwr

Rhiannon is Co-Artistic Director of Common Wealth. For Common Wealth her directing credits include The Deal Versus The People (West Yorkshire Playhouse) & Our Glass House (Amnesty International Freedom of Expression Award). Associate director credits for Common Wealth include; No Guts, No Heart, No Glory (Scotsman Fringe First Award / Live From TVC with BBC4.)

As a freelancer Rhiannon had collaborated and made work with National Theatre Wales, the National Theatre (UK), Experimentica Festival, Sherman Cymru, Being a Man Festival (Southbank Centre) & Circus 2 Palestine. Rhiannon was the recipient of a Cultural CloreFellowship in 2016 and a Creative WalesAward 2017. She is currently a panel member for the Inquiry Into the Future of Civil Society.

Mae Rhiannon yn Gyd-Gyfarwyddwr Artistig Common Wealth. Ar gyfer Common Wealth mae ei gwaith cyfarwyddo yn cynnwys The Deal Versus The People (West Yorkshire Playhouse), Our Glass House (Gwobr Mynegiant Dilyffethair Amnest Rhyngwladol) a’i gweithiau o gyfarwyddo fel cydymaith yn cynnwys ar gyfer Common Wealth; No Guts, No Heart, No Glory (Scotsman Fringe First Award / Live From TVC with BBC4).

Fel gweithiwr llaw-rydd mae Rhiannon wedi cyd-weithio a chreu gwaith gyda National Theatre Wales, National Theatre (UK), Gwyl Experimentica, Sherman Cymru, Gwyl Being a Man (Canolfan y Southbank) & Circus 2 Palestine. Dyfarnwyd Cymrodoriaeth Ddiwylliannol Clore i Rhiannon yn 2016 a Gwobr Creative Wales yn 2017. Ar hyn o bryd mae’n aelod o’r panel ar gyfer yr Ymchwiliad i Ddyfodol Cymdeithas Wladol.

CREATIVE TEAM / TÎM CREADIGOL


WE’RE STILL HERE

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WOJCIECH RUSINComposer/ Sound Designer / Cyfansoddwr/ Cynllunydd SainWojciech Rusin composes music for theatre and film. He invents instruments which often become part of the show. His radio play The Garden was broadcast on BBC 6 Music in September 2016.

He wrote music for Common Wealth’s award winning show No Guts, No Heart, No Glory, which was filmed and available to watch on BBC Four and iPlayer in November 2015. He works with digital and analogue sound sources, contact mics, guitar amps, synthesisers and anything which can be used as an unique sound source. As Katapulto, he recently released an LP Powerflex on the New York label Olde English Spelling Bee.

Mae Wojciech Rusin yn cyfansoddi cerddoriaeth ar gyfer theatr a ffilm. Mae’n dyfeisio offerynnau sy’n aml yn dod yn rhan o’r sioe. Cafodd ei ddrama radio The Garden ei darlledu ar BBC 6 Music ym mis Medi 2016. Ysgrifennodd y gerddoriaeth ar gyfer sioe arobryn Common Wealth No Guts, No Heart, No Glory, a gafodd ei ffilmio ac yr oedd ar gael i’w gwylio ar BBC Four a iPlayer ym mis Tachwedd 2015. Mae’n gweithio gyda ffynonellau sain digidol ac analog, mics cyswllt, ampiau gitârs, syntheseisyddion ac unrhyw beth a ellir ei ddefnyddio fel ffynhonnell sain unigryw. Fel Katapulto, rhyddhaodd record hir Powerflex ar y label Efrog Newydd Olde English Spelling Bee.

RUSS HENRYDesigner / DylunyddRuss Henry is the Managing Director of a creative, design and build agency HotSoup House. Russ has worked on a number of high profile events, creating bespokeset designs for festivals and theatre productions, and tailored furniture and fittings for offices, restaurants and bars. With commissions ranging from large scale, main stage designing and building to intricate, one-off furniture for architects, Russ is never short of a creative idea to help turn the ordinary into something extraordinary. He has also been involved in a number of

community projects, engaging with and teaching carpentry and design skills to those whom it will really benefit.

Russ Henry yw Rheolwr Gyfarwyddwr asiantaeth greadigol, dylunio ac adeiladu yr Hot Soup House. Mae Russ wedi gweithio ar nifer o ddigwyddiadau proffil uchel, gan greu dyluniadau set at y diben ar gyfer gwyliau a chynyrchiadau theatr, a dodrefn a ffitiadau wedi’u teilwra ar gyfer swyddfeydd, bwytai a bariau. Gyda’i gomisiynau yn amrywio o ddylunio ac adeiladu ar raddfa fawr ar brif lwyfannau i ddodrefn unigryw manwl i benseiri, mae Russ yn llawn syniadau creadigol i droi’r arferol yn rhywbeth anhygoel. Mae hefyd wedi bod yn rhan o nifer o brosiectau cymunedol, gan ymgysylltu ac addysgu sgiliau saer a dylunio i’r rheini y bydd o fudd gwirioneddol iddynt.

ANDY PURVESLighting Designer / Dylunydd GoleuoAndy is a lighting designer working in theatre, circus and educational projects / Mae Andy yn ddylunydd goleuo sy’n gweithio ar brosiectau theatr, syrcas ac addysgol. Lighting designs for / Dyluniadau golau i’r Royal Academy of Music; Original Theatre; Theatre Royal (Plymouth); The Old Vic; Royal College of Music; Frantic Assembly; The Freedom Theatre (Palestine); The Nuffield (Southampton); The Unicorn; The National Centre for Circus Arts; Theatr y Sherman Theatre (Cardiff / Caerdydd); The Young Vic; Eastern Angles; New Perspectives; Inspector Sands; Spymonkey; The Barbican, London / Llundain; Sydney Theatre Company; Caroline Horton; Northampton Royal; Stan Won’t Dance; Tamasha; Brighton Festival; Tom Adams; Annie Siddons and National Theatre of Scotland. Andy won a Knight of Illumination Award for his work on / Enillodd Andy Wobr Knight of Illumination am ei waith ar gynhyrchiad Frantic Assembly’s The Believers (2014).

VICKI MANDERSONMovement Director / Cyfarwyddwr SymudiadVicki’s Movement Director credits include / Mae credydau Cyfarwyddwr Symud Vicki yn cynnwys: Jimmy’s Hall

(The Abbey Theatre), 306 Day (National Theatre of Scotland), A profoundly..... (Royal Court), See Me Now (Young Vic), Housed (Old Vic New Voices), A Serious Case Of The Fuckits, I Do Believe in Monsters (Central School of Speech and Drama). Her Associate Movement Director credits include / Mae ei chredydau Cyfarwyddwr Symud Cyswllt yn cynnwys: Let The Right One In, In Time o’ Strife, Black Watch (NTS), The Curious Incident of the Dog in the Night-Time (NT/West End). Performer credits include / Mae ei chredydau perfformio yn cynnwys: Watership Down (The Watermill Theatre), Aphrodite in Flippers (Bold and Saucy), Lightboxes (Grid Iron), No Way Back, Beautiful Burnout (Frantic Assembly), In Time o’ Strife, Knives in Hens, & Home Inverness (NTS).

LLINOS GRIFFITHSCostume Designer / Goruchwyliwr GwisgoeddLlinos graduated from Royal Welsh College of Music & Drama in 2006, with a BA (hons) in Theatre Design. She has specialised in costume designing, supervising and making on a wide variety of productions. In 2008 she relocated to Belfast, and worked primarily in dance, circus and physical theatre with companies such as Premier Circus, The Beat Initiative & Maiden Voyage Dance, although she has continued to design costume for National Youth Theatre Wales and National Youth Dance Wales annually. Her recent National Theatre Wales credits include Lifted by Beauty: Adventures in Dreaming, The Insatiable, Inflatable Candylion, We’re Here Because We’re Here & Roald Dahl’s City of the Unexpected.

Graddiodd Llinos o Goleg Brenhinol Cerdd a Drama Cymru yn 2006, gyda BA(Anrh) mewn Dylunio Theatr. Mae hi wedi arbenigo mewn dylunio, goruchwylio a gwneud gwisgoedd ar amrywiaeth eang o gynyrchiadau. Yn 2008 symudodd i Belfast, a gweithion bennaf mewn dawns, syrcas a theatr gorfforol gyda chwmnïau fel Premier Circus, The Beat Initiative & Maiden Voyage Dance, er ei bod wedi parhau i ddylunio gwisgoedd i Theatr Ieuenctid Genedlaethol Cymru a Dawns Ieuenctid Genedlaethol Cymru yn flynyddol. Mae ei chredydau diweddar i National Theatre

Wales yn cynnwys Lifted by Beauty: Adventures in Dreaming, The Insatiable, Inflatable Candylion, We’re Here Because We’re Here & Roald Dahl’s City of the Unexpected.

Sarah HughesCasting Director / Cyfarwyddwr Castio Sarah Hughes is Alan Ayckbourn’s casting director and has also freelanced extensively for the Entertainment Department of the BBC / yw cyfarwyddwr castio Alan Ayckbourn ac mae wedi gwneud llawer o waith llawrydd i Adran Adloniant y BBC. Theatre credits include plays for the / Mae ei chredydau theatr yn cynnwys dramâu ar gyfer y West Yorkshire Playhouse, Birmingham Rep & Theatre Royal Northampton, multiple projects for / a sawl prosiect ar gyfer Frantic Assembly, Stafford Shakespeare Festival & Graeae. Recent projects include / Mae ei phrosiectau diweddar yn cynnwys The Tempest (Stafford Shakespeare Festival), Jack Thorne’s The Solid Life Of Sugar Water (Graeae/National Theatre), The House Of Bernarda Alba (Graeae/Royal Exchange Manchester) & the 2017 Summer Season for the / Thymor Haf 2017 ar gyfer y Stephen Joseph Theatre, Scarborough. She was also a Senior Cast Co-ordinator for the London 2012 opening and closing ceremonies, leading on the Paralympic Opening / Roedd hefyd yn Uwch Gydlynydd Cast ar gyfer seremonïau agor a chloi Llundain 2012, gan arwain ar yr Agoriad Paralympaidd.

SIOBHAN LYNN BRENNANEmerging Director / Cyfarwyddwr Cynorthwyol Siobhan is an emerging director from Cardiff. She trained at the University of Warwick, where she specialised in Shakespeare in performance, and modern British drama. She is a co-founder of political theatre devising company Earful, and has worked with Fellswoop and The Wardrobe Theatre in Bristol / Mae Siobhan yn gyfarwyddwr newydd o Gaerdydd. Hyfforddodd ym Mhrifysgol Warwick, gan

arbenigo mewn perfformio Shakespeare a drama Brydeinig fodern. Mae’n gyd-sylfaenydd y cwmni dyfeisio theatr wleidyddol Earful, ac mae wedi gweithio gyda Fellswoop a The Wardrobe Theatre ym Mryste.

Her directing credits include / Mae ei chredydau cyfarwyddo yn cynnwys: Strange Rain (The Other Room, Young Artists Festival), Cognitive Dissidents (Earful, The Wardrobe Theatre), Guys and Dolls (Warwick Arts Centre), All’s Well That Ends Well (University of / Prifysgol Warwick). Assistant Directing credits include / Mae ei chredydau fel cyfarwyddwyr cynorthwyol yn cynnwys: Run The Beast Down (Finborough Theatre, Marlowe Theatre), BLINK (The Other Room, Volcano Theatre), Tiny Mad Animals (Chippy Lane, Canolfan Gelfyddydau Chapter Arts Centre).

NICOLE MORANCommunity Associate / Cyswllt Cymunedol Nicole is a recent drama graduate of Exeter University. She was born and raised in Port Talbot, where she still currently lives. She is co-Artistic Director of PARADOX Theatre Company, which originated at Exeter University, whose recent production of Firewater performed at this year’s Edinburgh Festival Fringe. Her other directing credits include: Undone (Thomas Moodey, Theatre With Teeth), Monster (Duncan Macmillan, Exeter University Theatre Company). Nicole has previously performed with National Theatre Wales in their production of The Passion by Owen Sheers (Wild Works with Michael Sheen).

Graddiodd Nicole yn ddiweddar mewn drama o Brifysgol Exe-ter. Cafodd ei geni a’i magu ym Mhort Talbot, lle mae hi’n dal i fyw. Hi yw Cyd-Gyfarwyddwr Artistig PARADOX Theatre Company, a ddechreuodd ym Mhrifysgol Exeter, y perfformi-wyd ei gynhyrchiad diwed-dar o Firewater yng Ngwyl Ymylol Caeredin eleni. Mae ei chredydau cyfarwyddo eraill yn cynnwys: Undone (Thomas Moodey,Theatre With Teeth), Monster (Duncan Macmil-lan, Exeter University Theatre Company). Mae Nicole wedi perfformio gyda National Theatre Wales yn y gorffennol yn eu cynhyrchiad o The Pas-sion gan Owen Sheers (Wild Works gyda Michael Sheen).

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Photos / Llun: Dimitris Legakis/ National Theatre WalesL-R Jason May, Sam Coombes, Siôn Tudor Owen, Ioan Hefin, Simon Nehan

@NTWTWEETS#NTWSTEEL

01Sam Coombes is a steelworker from Port Talbot, and has been employed by Tata Steel since 2007. He lives in Taibach, with his wife Joanne and their two sons Max and Evan. Sam has always supported local fundraising events by singing and acting, yet caught the bug for theatre through the Taibach RFC annual pantomime. Over the last 12 years, he has played various roles, most recently Robin Hood in the 2016 production. This will be Sam’s first professional role.

Mae Sam Coombes yn weithiwr dur o Bort Talbot, ac mae’n gweithio i Tata Steel er 2007. Mae’n byw yn Nhaibach, gyda’r wraig Joanne a’u meibion Max ac Evan. Mae Sam wedi cefnogi digwyddiadau codi arian lleol erioed trwy ganu a dawnsio, ond dechreuodd ei hoffter o’r theatr trwy bantomeim blynyddol clwb rygbi Taibach. Dros y 12 mlynedd diwethaf, mae wedi chwarae amrywiol rolau, yn fwyaf diweddar Robin Hood yng nghynhyrchiad 2016. Hon fydd rôl broffesiynol gyntaf Sam.

02Ioan Hefin’s theatre credits include / Mae credydau theatr Ioan Hefin yn cynnwys: You should ask Wallace (Theatr Na N’Og), The Woman In Black (Torch Theatre), Matthew’s Passion (Sherman Cymru), Aladdin (RCT), Y Storm (Theatr Genedlaethol Cymru) & Brassed Off (Clwyd Theatr Cymru). His television credits include / Mae ei gredydau teledu yn cynnwys: Hinterland, Belonging & Ordinary Lies 2 (BBC) & Parch (S4C). His film credits include / Mae ei gredydau ffilm yn cynnwys: Apostle (Severn Screen) & Miss Peregrine’s Home For Peculiar Children (20th Century Fox), The Watcher in the Woods (Heartbreak Films), Lost Viking (Tornado Films). His radio credits include / Mae ei gredydau radio yn cynnwys: T Llew Jones Short Story Adaptation (BBC Radio Cymru), Aiden Melberg (BBC Radio Cymru), The Tempest / Y Storm (BBC Radio 3), Bisgits A Balaclafas, Wythnos I’w Chofio, Blaentafod, Achos Tarw Scotch, Sgidie Bach Llandeilo & Rhydeglwys (BBC Radio Cymru).

03Jason May’s theatre credits include / Mae credydau theatr Jason May yn cynnwys: Spangled (Mercury Theatre Company) & The Get Together (Sherman Cymru). His television credits include / Mae ei gredydau teledu yn cynnwys: Britannia (Sky & Amazon), A Poet In New York (Modern TV, BBC Four), Da Vinci’s Demons (Starz), Stella (Tidy Productions, Sky), Caerdydd (S4C), Torchwood, Belonging, Holby City & The Bench (BBC). His film credits include / Mae ei gredydau ffilm yn cynnwys: The Watcher In The Woods (Heartbreak Films), The Lighthouse (Davy Jones Ltd), Petroleum Spirit (Mirror Entertainment), Berserkers & City Spirit (Tornado Films), One Chance (The Weinstein Company), The Darkest Day (Lindisfarne Films), Devil’s Bridge (Dogs Of Annwn), Made in Dagenham (Number 9 Films) & A Bit Of Tom Jones? (Tred Films).

04Simon Nehan trained at the Royal Welsh College of Music & Drama / Hyfforddodd Simon Nehan yng Ngholeg Brenhinol Cerdd a Drama Cymru. He was an Associate Artist at Terry Hands’ Clwyd Theatr Cymru where his credits include / Roedd yn Artist Cysylltiol yn Clwyd Theatr Cymru Terry Hands lle mae ei gredydau yn cynnwys: Under Milk Wood, Bruised, Macbeth & Memory. Recent theatre credits / Mae ei gredydau theatr diweddar yn cynnwys: include Blasted! (The Other Room) & This Incredible Life (Canoe Theatre Company). His television credits include / Mae ei gredydau teledu yn cynnwys: The Windsors (Channel 4), Ordinary Lies, Cuffs, Merlin, Atlantis & Doctors (BBC), Talking to the Dead (Sky Living) & Birdsong (Working Title/BBC). His film Credits include / Mae ei gredydau ffilm yn cynnwys: Me and Orson Welles (CinemaNX), Made in Dagenham (Number 9 Films), Svengali (Working Title) & The Cleansing (Tornado Films).

05Siôn Tudor Owen trained at Guildhall /Hyfforddodd Siôn Tudor Owen yn y Guildhall.Theatre credits include: five seasons with theRSC, Mozart in the first national tour of / Maeei gredydau theatr yn cynnwys: pum tymorgyda’r RSC, Mozart yn nhaith genedlaetholgyntaf Amadeus, Scweyk (Manchester LibraryTheatre), Carrie’s War (National tour and /taith genedlaethol a’r West End). Other stage credits include / Mae ei gredydau llwyfan eraill yn cynnwys On the Black Hill, Under Milk Wood and Accidental Death of an Anarchist (Clwyd Theatr Cymru / Made in Wales), West Side Story (World tour / taith fyd-eang), A Chorus of Disapproval, White Christmas (West Yorkshire Playhouse) and Little Voice (Scarborough). His television credits include / Mae ei gredydau teledu yn cynnwys: The Bill, Doctor Who, EastEnders, Emmerdale, Coronation Street, Casualty, Doctors and Holby City. His film credits include / Mae ei gredydau ffilm yn cynnwys: Highlander, Twin Town, & The Girl from the Song, Moose Limbs, Submarine & One Chance.

CASTNATIONAL THEATRE WALES& COMMON WEALTH

WE’RE STILL HERE

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08 Joseph Reynolds is currently a Yr10 student at Ysgol Bae Baglan in Port Talbot. He is studying GCSE drama and music and would love to be a professional actor in the future. He was part of the recent school production of Les Misérables where he played Jean Valjean. He is a member of the Class Act Theatre School (CATS) in Pontardawe and is hoping to take part in their upcoming productions. He also plays the clarinet and aims to take his Grade 6 exam soon. He loves musicals and will sing at any opportunity!

Mae Joseph Reynolds yn fyfyriwr blwyddyn 10 yn Ysgol Bae Baglan ym Mhort Talbot. Mae’n astudio drama a cherddoriaeth ar gyfer TGAU a byddai wrth ei fod yn cael bod yn actor proffesiynol yn y dyfodol. Roedd yn rhan o’r cynhyrchiad ysgol diweddar o Les Miserables lle chwaraeodd ran Jean Valjean. Mae’n aelod o Class Act Theatre School (CATS) ym Mhontardawe ac mae’n gobeithio cymryd rhan yn ei chynhyrchiad nesaf. Mae hefyd yn canu’r clarinét ac yn bwriadu gwneud ei arholiad Gradd 6 cyn hir. Mae wrth ei fodd â sioeau cerdd a bydd yn canu bob cyfle a gaiff!

06Isabelle Coombs is currently studying at Ysgol Ystalyfera. She enjoys taking part in all sport, especially netball and athletics. Her passion is dance, she has competed and been successful in dozens of competitions. Isabelle has appeared in several productions including The Passion (National Theatre Wales), Oyster Bay at Swansea Grand Theatre (Tan Dance), and performed with West Glamorgan Youth Dance Company. Isabelle’s dad is a union official in Port Talbot steelworks and she played an active part in the Save Our Steel campaign. This is Isabelle’s first experience of acting.

Mae Isabelle Coombs yn astudio ar hyn o bryd yn Ysgol Ystalyfera. Mae’n mwynhau cymryd rhan mewn chwaraeon, yn enwedig Pêl-rwyd ac Athletau. Dawns yw ei hoff beth, ac mae wedi cystadlu a llwyddo mewn dwsinau o gystadlaethau. Mae Isabelle wedi ymddangos mewn sawl cynhyrchiad yn cynnwys The Passion (National Theatre Wales), Oyster Bay yn Theatr y Grand Abertawe (Tan Dance), ac wedi perfformio gyda Chwmni Dawns Ieuenctid Gorllewin Morgannwg. Mae tad Isabelle yn swyddog undeb llafur yng ngwaith dur Port Talbot a chwaraeodd hi ran weithgar yn yr ymgyrch Save Our Steel. Dyma brofiad cyntaf Isabelle o actio.

07Dylan John is 15 years old and is an aspiring actor from Port Talbot. Dylan is a pupil at Dyffryn Comprehensive school and his favourite subjects are drama and music. He takes an active role in all stage shows held by the school and once played the lead role of Oliver in a school production of Oliver Twist. Dylan is also a member of Port Talbot operatic society which he attends on a weekly basis to help pursue his dream. Dylan’s hobbies are football and playing the guitar, and he enjoys spending time with friends and family.

Mae Dylan John yn 15 oed ac yn ddarpar actor o Bort Talbot. Mae Dylan yn ddisgybl yn ysgol gyfun Dyffryn a’i hoff bynciau yw drama a cherddoriaeth. Mae’n cymryd rôl weithgar ym mhob sioe lwyfan a gynhelir gan yr ysgol a chwaraeodd y brif rôl, sef Oliver mewn cynhyrchiad ysgol o Oliver Twist. Mae Dylan hefyd yn aelod o gymdeithas operatig Port Talbot ac mae’n mynychu’n wythnosol i’w helpu i ddilyn ei freuddwyd. Mae Dylan yn hoff o bêl-droed a chanu’r gitâr, ac mae’n mwynhau treulio amser gyda’i deulu a’i ffrindiau.

08 Callum Bailey is an outgoing and bubbly young man. He currently attends Ysgol Bae Baglan and thoroughly enjoys biology. His main passion has always been performing and he is a member of the school drama team, and has played the parts of the Scarecrow in the Wizard of Oz, Danny in Grease and Jean Valjean in Les Misérables.

Mae Callum Bailey yn fachgen ifanc allblyg a llawn hwyl. Mae’n ddisgybl yn Ysgol Bae Baglan ac mae wrth ei fodd â Bioleg. Ei brif ddiddordeb erioed yw perfformio ac mae’n aelod o dîm drama’r ysgol, ac mae wedi chwarae rhan y Bwgan Brain yn Wizard of Oz, Danny yn Grease a Jean Valjean yn Les Miserables.

VOLUNTEER COMMUNITY CAST /CAST CYMUNEDOL GWIRFODDOL

Sophie Elizabeth CowsillAllison GoughRoderick HughesSian JamesJohn JenkinsLee Ann OncuGary OwenGareth SleeJane SleeAnne ThomasNorman Worlock


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DONNA REEVESCompany Stage Manager / Rheolwr Llwyfan y Cwmni GEMMA THOMAS Deputy Stage Manager / Diprwy Reolwr Llwyfan

ANNA JENKINS Assistant Stage Manager / Rheolwr Llwyfan Cynorthwyol

HADLEY TAYLOR Assistant Production Manager / Rheolwr Cynhyrchu Cynorthwyol

GARETH HUGHESProduction Electrician / Trydanwr y Cynhyrchiad

LEWIS JONESProduction Sound / Sain y Cynhyrchiad

AMY BARRETTCostume Technician / Technegydd Gwisgoedd

GARETH BRIERLEYSound Technician / Technegydd Sain

RHYS PUGH EVANSLighting Technician / Technegydd Goleuo

FRED HARVEY LOVE, BUDDUG JAMES JONES, CADI LANE & ZEPUR AGOPYANSet Build and Design Assistants / Adeiladwyr y Set a Cynorthwywyr Cynllunio

LIAM JAMESSite Manager / Rheolwr y Safle

DYFAN RHYS Site Assistant / Cynorthwydd Safle BEN GRAYProduction and Stage Management Placement / Profiad Gwaith Cynhyrchu a Rheoli Llwyfan

PERLA PONCEStage Management Placement / Lleoliad Rheoli Llwyfan

EDWINA DAVIES, SIAN GRIFFITHS, ELAINE LLOYDChaperones / Hebryngwyr

AURIEL MARTINFront of House Manager / Rheolwr Blaen Ty

KIRSTY ALEXANDERBox Office Manager / Rheolwr Swyddfa Docynnau

YASMIN WILLIAMSLocal Promoter / Hyrwyddwr Lleol

THANKS / DIOLCH

PRODUCTION TEAM TÎM CYNHYRCHU

Community Union for leading the Save Our Steel campaign / Undeb Community am arwain Ymgyrch Save Our Steel, Birmingham Hippodrome, Blancos, Chapter Arts Centre, Lloyd, Jimmy & Cardiff Scaffolding, Lighttrap Films, Michael Hodges, Darlow Lloyd & Sons, Neath Port Talbot County Borough Council, Port Talbot & District Amateur Operatic Society, Rubicon, St Paul’s Centre, TATA Steel, Taibach Rugby Club Pantomime boys, Telgwen, Unison, Unite, Ysgol Bae Baglan, Nelson Abbey, Jason Balston, Cathy Boyce, Carol-Ann Brown, Ellie Byrne, Jackie Chambers, Sarah Cole, Jonny Cotsen, Alan Davies, Emma Davies, Jacqueline

Davies, Wendy Evans-John, Jane Fallowfield, Ruth Fettis, Mark Fisher, Kris Francies, Daniel Hawksford, Jenny Hughes, Aled Humphreys, Hussain Ismail, Liam James, Paul Johnson, Patrick Jones, Gary Keogh, Luke Keogh, Aina Khan, Kyle Lima, Dylan Llyr, Lisa Mallaghan, John McGrath, Hannah McPake, Abbie Miola, Gerri Moriarty, Jonathan Morris, Jon Pountney, Carol Powrie, Adam Redmore, Tom Reilly, Nicola Reynolds, Richard Owain Roberts, Graham Rowlands (aka The Wasp), Tim Rutter, Michael Sheen, Alastair Sill, Aled Singleton, Adele Thomas, Dafydd Llyr Thomas, Eiry Thomas, Wendy Townsend, John Williams, Roger Williams.


WE’RE STILL HERE

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Photos / Llun: Dimitris Legakis / National Theatre Wales

The company in rehearsal / Y cwmni yn ymarfer

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Photo / Llun: Christopher Nunn


WE’RE STILL HERE

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Common Wealth make site-specific theatre events that encompass electronic sound, new writing, visual design and verbatim. Our work is political and contemporary – based in the present day – the here and now. We make work that is relevant and addresses concerns of our times.

We seek out places to stage our work that are right in a community; a residential house, a boxing gym, places where people who might not go to the theatre might come to instead – we aim to make theatre for people who don’t usually think it’s for them, we’re bored of theatre being for the middle classes and those that can afford it – we genuinely believe in theatre as an art form and the power it has. We think this should belong to everyone – as audience, participants and as protagonists.

Common Wealth started working together in 2008 in a very DIY way with no funding and access to massive buildings and networks of great people to collaborate with. On every project we seek to make something that will engage audiences in an encounter that pushes what theatre can be. We’re not necessarily interested in traditional storytelling but in creating memorable, unexpected experiences.

Our ideas are rooted in socialist politics, working class backgrounds, a keen interest in contemporary music/theatre/art/design, the people that we meet and an idealistic ambition to shift things. We see our plays as campaigns, as a way of bringing people together and making change feel possible.

@Common_WealthHQ Common Wealth Theatre Co

www.commonwealththeatre.co.uk

Photos / Llun: 01 Kalpesh Lathigra 02 Christopher Nunn 03 Robert Omerod 04 Christopher Nunn

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For those who are not simply content to come and watch an NTW production, there is TEAM; a network of individuals spanning the length and breadth of Wales and across the globe. TEAM means different things to different people, but primarily it is the heart of NTW. It enables us to have conversations with our audiences and communities as collaborators, encouraging people to have both input and insight into the work we do. TEAM is driven by an ethos of generosity, diversity, and reciprocity. In short, our members tend to be nice, decent folk who are cool to work with. TEAM can be for anyone – not just people who want to further their creative career.

I’r rhai nad ydynt yn fodlon ar ddod i weld cynhyrchiad NTW yn unig, mae TEAM; sef rhwydwaith o unigolion ledled Cymru ac ar draws y byd. Mae TEAM yn golygu gwahanol bethau i wahanol bobl, ond yn bennaf dyma galon NTW. Mae’n ein galluogi i gael sgyrsiau gyda’n cynulleidfaoedd a’n cymunedau fel cydweithwyr, ac annog pobl i gael mewnbwn i’n gwaith a chael cipolwg arno. Mae TEAM yn cael ei lywio gan ethos o haelioni, amrywiaeth a dwyochredd. Yn gryno, mae ein haelodau yn bobl dda a charedig sy’n wych i weithio gyda hwy. Gall TEAM fod ar gyfer unrhyw un – nid dim ond pobl sydd am ddatblygu eu gyrfa greadigol.

TEAM

FIND OUT MORE…DARGANFYDDWCH MWY… +44 (0)29 2035 [email protected]#NTWTEAMCommunity.nationaltheatrewales.org

Image / Llun:01 Gavin Porter02 Jorge Lizalde03 Geraint Lewis


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TEAM Education is our way of reaching out to and engaging with young people throughout Wales and beyond.Two of our most iconic shows, The Radicalisation of Bradley Manning by Tim Price and Mametz by Owen Sheers, are now featured on the WJEC A Level Drama Syllabus. To support students studying the plays and in consultation with the WJEC, the creative teams involved in each production have shared their experiences with us. These videos are available on our website.

To coincide with this production, TEAM Education has been connecting with schools, colleges and youth groups in the Neath Port Talbot area and further afield. During the show’s run there will be a post-show discussion with the cast and creative team on Wednesday 27 September. This will be filmed and be made available to view via the NTW website, with discussion tasks for use in your own classrooms.

We’re also delighted that, by kind permission of Amnesty International UK, we are able to offer for download one of their brilliant resource packs for schools - The Power of Our Voices.

Strongly resonating with many of the themes of We’re Still Here, this plan has been specially created to inform students how artists have used their words and music to make a stand for human rights and fight for change. By working through the plan and using their skills in language and literacy, group presentation and critical thought, students will strengthen their knowledge and understanding of the struggle for human rights, and then take creative action by developing their own protest song.

We would love to hear from you and to share your pupils’ creative work via our website. Please go to nationaltheatrewales.org for more information.

THINGS TO DO…Visit nationaltheatrewales.org/team-education Join our online network through TEAM nationaltheatrewales.org/team (Ages 16+) COMMUNITY.NATIONALTHEATREWALES.ORG

If you would like to contact us with ideas about how we can continue to engage with young people, please join our online community group Rethinking Education. If you work with young people and you have a creative lesson plan or activity that you would like to share, please do so via our online community group Resources: A Creative Curriculum.

Mae Addysg TEAM yn fodd i ni estyn allan ac ymwneud â phobl ifanc yng Nghymru a thu hwnt. Mae dwy o’n sioeau eiconig, The Radicalisation of Bradley Manning gan Tim Price a Mametz gan Owen Sheers, bellach yn rhan o faes llafur Drama Lefel A y CBAC. Er mwyn cefnogi myfyrwyr sy’n astudio’r dramâu ac mewn ymgynghoriad â’r CBAC, mae’r timau creadigol a fu ynglyn â’r naill gynhyrchiad a’r llall wedi rhannu eu profiadau â ni. Mae’r fideo yma bellach ar gael ar ein gwefan.

I gyd-fynd â’r cynhyrchiad hwn, mae Addysg TEAM wedi bod yn cysylltu gydag ysgolion, colegau a grwpiau ieuenctid yn ardal Castell Nedd Port Talbot a thu hwnt. Yn ystod cyfnod llwyfannu’r sioe bydd trafodaeth wedi’r sioe gyda’r cast a’r tîm creadigol dydd Mercher 27 Medi. Bydd hwn yn cael ei ffilmio a’i ddarparu i eraill trwy wefan NTW, gyda thasgau trafod i chi eu defnyddio yn yr ystafell ddosbarth.

Rydym hefyd yn falch tu hwnt, trwy garedigrwydd Amnest Rhyngwladol y DU, o fedru cynnig - i’w lawr-lwytho – un o’i pecynnau adnoddau gwych ar gyfer ysgolion - The Power of Our Voices.

Yn adleisio’n gryf nifer o’r themâu o We’re Still Here, mae’r cynllun hwn wedi ei greu yn benodol er mwyn hysbysu myfyrwyr sut y mae artistiaid wedi defnyddio geiriau a cherddoriaeth er mwyn sefyll dros hawliau dynol ac ymladd er mwyn gwireddu newid. Trwy weithio trwy’r cynllun a thrwy ddefnyddio eu medrau mewn iaith a llythrennedd, cyflwyniadau grwp a meddwl yn feirniadol, bydd myfyrwyr yn atgyfnerthu eu gwybodaeth a dealltwriaeth o’r ymdrech dros hawliau dynol, ac yna weithredu’n greadigol trwy ddatblygu eu cân brotest eu hunain.

Byddem wrth ein bodd o glywed oddi wrthych a rhannu gwaith creadigol disgyblion trwy ein gwefan. Ewch os gwelwch yn dda ar nationaltheatrewales.org er mwyn cael rhagor o wybodaeth.

PETHAU I’W GWNEUD …Ewch i ymweld â nationaltheatrewales.org/team-education

Ymunwch â’n rhwydwaith ar-lein trwy TEAM nationaltheatrewales.org/team (Oed 16+)

COMMUNITY.NATIONALTHEATREWALES.ORG

Pe hoffech gysylltu â ni er mwyn rhannu eich syniadau am sut y medrem barhau i estyn allan at bobl ifanc, yna ymunwch â’n grwp cymunedol ar-lein Rethinking Education.

Os ydych chi’n gweithio gyda phobl ifanc ac mae gennych gynllun gwersi creadigol ynteu weithgaredd yr hoffech ei rannu, yna gwnewch hynny os gwelwch yn dda trwy ein grwp cymunedol ar-lein Resources: A Creative Curriculum.

TEAM EDUCATION ADDYSG TEAM

Naomi ChiffiTEAM Education Assistant / Cynorthwyydd Addysg [email protected]

Image / Llun:Top: Mark DouetBottom / Gwelod: Farrows Creative

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YOUR SUPPORT COULD HELP NTW GO EVEN FURTHER.

At National Theatre Wales (NTW), we believe amazing theatre should be available to everyone. That’s why we keep our ticket prices low and our door always open. In order to do this, we rely on generous support from individuals, businesses and grant making bodies. Here’s how you can support NTW:

BY DONATING No matter how big or small, donations of any size help us to create even more and remain accessible to everyone. You can donate online via our Invest in New Ideas campaign and support the development of new projects, or visit our Big Give page.biggive.org.uk/charity/view/7510 You can send a cheque to 30 Castle Arcade, Cardiff, CF10 1BW Or even pop in to see us and talk about how you can help. Remember that as a charity, NTW can also claim Gift Aid on donations from UK taxpayers. Donations to charities under the Gift Aid scheme are increased by around 25 pence per pound donated.

THROUGH BUSINESS SPONSORSHIP We love to foster exciting, original and mutually beneficial partnerships. Get in touch and let us know if you are interested in supporting NTW, and find out how we can help your business. Whether you want to work with NTW to help support your community, or want a way of thanking your staff or clients, we can build a partnership that’s tailored to us both.

THROUGH CHARITABLE TRUSTS AND FOUNDATIONS We have a strong track record of working with Trusts and Foundations to reach a shared goal.If you are interested in supporting NTW and think our work matches the ambitions and objectives of your trust please get in touch.

CONTACT US… For more information on how to support NTW or to arrange a meeting, please contact the Managing Director, Michelle Carwardine-Palmer on 029 2035 3070, or visitnationaltheatrewales.org.uk/support-us

GALLAI EICH CYMORTH HELPU NTW I ESTYN YMHELLACH.

Yn National Theatre Wales (NTW), rydym yn credu y dylai theatr anhygoel fod yn agored i bawb. Dyna pam rydym yn cadw prisiau ein tocynnau yn isel a’n drws ar agor o hyd. Er mwyn gwneud hyn, rydym yn dibynnu ar gymorth hael gan unigolion, busnesau a chyrff dyfarnu grantiau. Dyma sut y medrwch gefnogi NTW: TRWY ROI Waeth pa mor fawr neu fach, gall rhoddion o unrhyw faint ein helpu i greu mwy fyth a pharhau’n hygyrch i bawb. Gallwch roi ar-lein trwy ein hymgyrch Buddsoddi mewn Syniadau Newydd a chefnogi datblygu prosiectau newydd, neu ewch i’n tudalen Big Give.biggive.org.uk/charity/view/7510 Gallwch anfon siec i 30 Arcêd y Castell, Caerdydd, CF10 1BW

Neu galwch heibio i’n gweld ni a siarad am sut y gallwch helpu. Cofiwch gan ein bod yn elusen, gall NTW hefyd hawlio Cymorth Rhodd ar roddion gan drethdalwyr y DU. Mae rhoddion i elusennau o dan y cynllun Cymorth Rhodd yn cael eu cynyddu o tua 25 ceiniog ar gyfer pob punt a roddir. TRWY NAWDD BUSNES Rydym yn hoff o feithrin partneriaethau cyffrous, gwreiddiol sydd o fudd i’r ddau barti. Cysylltwch â ni a rhowch wybod os oes gennych ddiddordeb mewn cefnogi NTY, a chael gwybod sut y gallwn ni helpu eich busnes. P’un a ydych am weithio gyda NTW i helpu i gefnogi eich cymuned, neu am gael ffordd i ddiolch i’ch staff neu gleientiaid, gallwn adeiladu partneriaeth sydd wedi’i theilwra i’r ddau ohonom. TRWY YMDDIRIEDOLAETHAU A SEFYDLIADAU ELUSENNOL Mae gennym hanes cryf o weithio gydag Ymddiriedolaethau a Sefydliadau i gyrraedd nod a rennir. Os oes gennych ddiddordeb mewn cefnogi NTW ac yn credu bod ein gwaith yn cyfateb i uchelgeisiau ac amcanion eich ymddiriedolaeth, cysylltwch â ni. CYSYLLTWCH Â NI… Am ragor o wybodaeth ar sut i gefnogi NTW neu i drefnu cyfarfod cysylltwch â’r Rheolwr Gyfarwyddwr, Michelle Carwardine-Palmer ar 029 2035 3070, neu ewch i nationaltheatrewales.org.uk/support-us

SUPPORT US CEFNOGWCH NI

24

WE’RE STILL HERENATIONAL THEATRE WALES& COMMON WEALTH

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SUSTAINABILITYCYNALIADWYEDDNational Theatre Wales’ commitment to Wales extends beyond its venues, communities and talent, but also 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.

From 2017, National Theatre Wales is applying an event management system to all its productions. This standard helps organisations create a management system for producing sustainable events, and will help us put in place the framework to allow us to document and learn from our processes and outcomes. Port Talbot is the second production on which we are applying the system.

The management system helps us to create new objectives, and how to achieve them. Some of the commitments we have made so far are outlined in our procurement guidelines. These include not buying non-recyclable plastic, prioritising buying locally where possible, and ensuring timber is FSC sourced.

The standard interrogates sustainable production in its broadest sense and includes social and financial factors as well as environmental, rightfully recognising the intertwined nature of these areas. This means that Accessibility, H&S and Equality are incorporated in the heart of the management system resulting in a more robust and integrated process to our work and planning.

We’ve identified that this work in its inaugural year will be quite time-consuming, so we have designated a member of the production team to focus on the standard and its application, ensuring it is properly resourced. The core, creative and production teams have been part of the conversation for several months and will also feed into evaluation post-show.

We have three key phrases that we use in planning and executing our work:

PLAN MORE CAREFULLYSHARE MORE OFTENTALK TO MORE PEOPLE

Mae ymrwymiad National Theatre Wales i Gymru yn ymestyn y tu hwnt i’w leoliadau, cymunedau a doniau, ac yn cynnwys ei dyfodol. Mae pob penderfyniad a wnawn, naill ai o ran rhaglen, cynhyrchiad, cyfathrebu, ynteu weinyddu yn cael ei fesur yn erbyn prawf cynaladwyedd trylwyr. Rydym yn gweithio yn bennaf o swyddfa fechan yng Nghaerdydd, felly mae’n weddol hawdd rheoli ein heffaith o ddydd i ddydd; mae ein staff yn seiclo ynteu’n cerdded i’r gwaith, rydym yn ceisio defnyddio trafnidiaeth gyhoeddus wrth deithio o gwmpas y wlad, ac rydym yn cynllunio pob taith yn ofalus pan fydd rhaid i ni ddefnyddio cerbydau. Rydym yn ail-gylchu ac ail-ddefnyddio defnyddiau i’r graddau pennaf posib.

O 2017 ymlaen, mae National Theatre Wales am weithredu sustem reoli digwyddiadau o’r enw o ran ei holl gynyrchiadau. Bydd y safon hon yn cynorthwyo’r sefydliad i lunio sustem reoli ar gyfer cynhyrchu digwyddiadau cynaliadwy, ac yn ein cynorthwyo i sefydlu fframwaith er mwyn ein galluogi i gofnodi a dysgu o’n prosesau a’n casgliadau oll. Mhort Talbot yw’r ail gynhyrchiad i ni fod wedi defnyddio’r sustem.

Mae’r sustem reoli yn ein cynorthwyo i greu amcanion newydd, a’r ffordd o’i gwireddu. Mae rhai o’r ymrwymiadau yr ydym wedi ei gwneud hyd yma yn cael eu hamlinellu yn ein canllawiau caffael. Mae hyn yn cynnwys peidio â phrynu plastig na ellir ei ail-gylchu, blaenoriaethu prynu’n lleol lle bo hynny’n bosib, a sicrhau bod unrhyw bren yn cydymffurfio â safonau FSC.

Mae’r safon yn codi cwestiynau ynghylch cynhyrchu’n gynaliadwy yn ei ystyr ehangaf ac yn cynnwys ffactorau cymdeithasol ac ariannol yn ogystal â rhai amgylcheddol, gan roi cydnabyddiaeth ddyladwy i’r ffaith bod y meysydd hyn yn aml wedi eu cyd-blethu. Ystyr hyn yw Hygyrchedd, Iechyd a Diogelwch a Chydraddoldeb wedi eu hymgorffori’n ganolog i’r sustem reoli gan esgor ar broses braffach a mwy integreiddiedig o ran ein gwaith a’n cynllunio.

Rydym wedi cydnabod y bydd y gwaith hwn, yn ystod ei flwyddyn gyntaf, yn eithaf blinderus o ran amser, felly rydym wedi dynodi aelod o’r tîm cynhyrchu i ganolbwyntio ar y safon a’i wireddu, gan sicrhau ei fod yn cael yr adnoddau sydd eu hangen. Mae’r timau craidd, creadigol a chynhyrchu wedi bod yn rhan o’r sgwrs ers nifer o fisoedd a byddant hefyd yn bwydo eu hadborth i’r broses werthuso yn dilyn y sioe.

Mae gennym tri ymadrodd yr ydym yn eu defnyddio wrth i ni gynllunio a gwireddu ein gwaith:

CYNLLUNIWCH YN FWY GOFALUSRHANNWCH YN FWY AMLSIARADWCH Â MWY O BOBL

David EvansHead of Production / Pennaeth [email protected]

Image / Llun:Top: Joel FildesBottom / Gwelod: Farrows Creative

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NATIONAL THEATRE WALES


WE’RE STILL HERE

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The nation of Wales is our stage:From forests to beaches, from aircraft hangars to post-industrial towns, village halls to nightclubs. We bring together storytelling poets, visual visionaries and inventors of ideas. We collaborate with artists, audiences, communities and companies to create theatre in the English language, rooted in Wales, with an international reach. You’ll find us around the corner, across the mountain and in your digital backyard.

Cenedl Cymru yw ein llwyfan:O fforestydd i draethau, o awyrendai i drefi ôl-ddiwydiannol, o neuaddau pentref i glybiau nos. Rydym yn dwyn ynghyd beirdd sy’n adrodd straeon, gweledyddion gweledol a dyfeiswyr syniadau. Cydweithiwn gydag artistiaid, cynulleidfaoedd, cymunedau a chwmnïau i greu theatr Saesneg wedi’i gwreiddio yng Nghymru ag elfen ryngwladol.Cewch hyd i ni o gwmpas y gornel, ar draws y mynydd ac yn eich gardd gefn ddigidol.

GARETH BEEDIEHead of Communications / Pennaeth Cyfathrebu@gareth_ntw

MICHELLE CARWARDINE-PALMERManaging Director / Rheolwr Gyfarwyddwr@michelle_ntw

NAOMI CHIFFIEducation Team Assistant / Cynorthwyydd Addysg Team@naomi_ntw

SIMON COATESHead of Creative Development / Pennaeth Datblygu Creadigol@simon_ntw

FIONA CURTISProduction Coordinator / Cydlynydd Cynhyrchiad@fiona_ntw

DEVINDA DE SILVAHead of Collaboration / Pennaeth Cydweithredu@devinda_ntw

DAVID EVANSHead of Production / Pennaeth Cynhyrchu@david_ntw

JACOB GOUGHProduction Manager / Rheolwr Cynhyrchu@jacob_ntw

STEPHEN GRANTHead of Finance / Pennaeth Cyllid@stephen_ntw

GWENFAIR HAWKINSCreative Development Assistant / Cynorthwyydd Datblygu Creadigol@gwenfair_ntw

HANNAH JOHNCompany Coordinator / Cydlynydd Cwmni@hannah_ntw

SEAN KENNYCommunications Assistant / Cynorthwyydd Cyfathrebu@sean_ntw

RHIAN LEWISCommunications Coordinator / Cydlynydd Cyfathrebu@rhi_ntw

JENNY MCCARTHYFinance Coordinator / Cydlynydd Cyllid@jenny_ntw

LISA MAGUIREExecutive Producer / Cynhyrchydd Gweithredol@lisa_ntw

ALEX ROBERTSDonor Management and Events Officer / Swyddog Rheoli Rhoddwyr a Digwyddiadau @alex_ntw

CATRIN ROGERSPress and PR Manager / Rheolwr y Wasg a Chysylltiadau Cyhoeddus@catrin_ntw

MAWGAINE TARRANT-CORNISHExecutive Assistant / Cynorthwyydd Gweithredol@mawgaine_ntw

KULLY THIARAIArtistic Director / Cyfarwyddwr Artistig@kully_ntw

THE CORNER SHOPPR & Press / Cyswllt y Wasg

BOARD OF TRUSTEESBWRDD YMDDIRIEDOLWYR

Clive JonesChair / Cadeirydd

Sian EdeVice-Chair / Is-Gadeirydd

Bethan CousinsIan HargreavesRichard LynchRosaleen Moriarty-SimmondsClare PillmanDerry NewmanSimon PirotteBen TinniswoodBedwyr Williams

Image / Llun: Richard Hardcastle

Photos / Llun: Dimitris Legakis /

National Theatre Wales

BOX OFFICESWYDDFA DOCYNNAU

nationaltheatrewales.org029 2037 1689

National Theatre Wales30 Castle Arcade / Arcêd y CastellCardiff / CaerdyddCF10 1BW

nationaltheatrewales.orgcommunity.nationaltheatrewales.org029 2035 [email protected]

@NTWTweets @nationaltheatrewales facebook.com/nationaltheatrewales.org

Registered Company No. 6693227Charity Registration No. 127952

created by / crËwyd gan rachel trezise, common …

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