Tickets

The Winter’s Tale – Tour Dates 2015

Posted by | Tickets, Tour 2015 | No Comments

Thompson’s Park, Canton, Cardiff, CF5

Thurs 11th June   6.30 pm

Fri 12th June   6.30 pm

Sat 13th June 2pm and 6.30 pm

Sun 14th June 2pm and 6.30 pm

Weds 17th June 6.30pm

Thurs 18th June 12.00 and 6.30 pm

 

Park Cwm Darran, Caerphilly Borough, CF81 9NR

Sat 20th June 4pm

 

Hilton Court and Gardens, Haverfordwest SA62 6AE

Sun 21st June 7pm

Tues 23rd June 12.30 and 7pm

 

Denbigh Castle, LL16 3NB

Thurs 25th June 7pm

Fri 26th June 12.00 and 7pm

Sat 27th June 2pm and 7pm

Sun 28th June 2pm

 

Cyfarthfa Caslte, Merthyr Tydfil, CF47 8RE

Weds 1st July 12.30 and 7pm

 

Hijinx Unity Festival, Cardiff

Fri 3rd and Sat 4th July

 

National Botanic Gardens of Wales, Llanarthne, SA32 8HN

Sun 5th July 2pm NO BOOKING NECESSARY PAY ONLY GARDEN ENTRY

 

Rhuddlan Castle, LL18 5AD

Weds 8th July 7pm

Thurs 9th July 12.30 and 7pm

 

Caernarfon Castle, LL55 2AY

Fri 10th July 7pm

 

Loggerheads Country Park near Mold CH7 5LH

Sat 11th July 2 and 7pm

Sun 12th July 2 and 7pm

 

Stackpole, Near Pembroke SA71 5DQ

Thurs 16th July 7pm

Fri 17th July 12.30 and 7pm

Sat 18th July 2 and 7pm

 

Kidwelly Castle SA17 5BQ

Sun 19th July 7pm

 

Tintern Abbey NP16 6SE

Tues 21st July 7pm

Weds 22nd July 7pm

 

Valle Crucis Abbey Llangollen, LL20 8DD (Llangollen Fringe Festival)

Thurs 23rd July 7pm

Fri 24th July 7pm

 

Blaise Castle Estate Dairy Farm, Bristol (Bristol Shakespeare Festival)

Sat 25thand Sun 26th July 7pm

 

All bookings at www.chapter.org or 02920 304400

EXCEPT- Parc Cwm Darran 01495 227206 www.blackwoodminersinstitute.com

Unity Festival- contact Hijinx Theatre on 029 20 300 331 info@hijinx.org.uk

National Botanic Gardens- no booking just pay garden entry on day

Bristol Shakespeare Festival

 

 

A lovely Review of As You Like It

Posted by | Tickets, Tour 2014 | No Comments

A lovely few words about our current tour As You Like It when it performed in Thompson’s Park – Cardiff:

Taking Flight Theatre’s production of As You Like It is consistently strong and in every way superb.  The company of actors is wonderfully talented, with a professional attitude to their art, and skills to match, bearing fair comparison with actors of long experience in classical theatre companies.  This band of players, Taking Flight, has everything going for them.  Consider, then, their astonishing strengths.  They have magical and subtly evocative music specially composed by Dan Lawrence and played and sung with sensitivity and great aplomb by Sam Bees, Chloe Clarke and the whole cast.  They have brilliant costumes, too, and wear them with style and panache.  They have a designer and a stage management team to rival the best in the country.  And, as if all that were not enough, they have an excellent director in Elise Davison, an adaptable stage in the open air provided by Nature herself, a script by the greatest writer the world has ever known, and scenery by God.
Into that setting they have brought Shakespeare’s comedy of youth, fleeting the time as in the golden world.  As You Like It is a play of love at first sight.  Spontaneity is at its heart and drives it along.  “When I think, I must speak!” says the heroine, and that goes for many around her in the forest where five-sixths of the play happens.  Swift speaking without gabbling is what this play requires, and then the pauses, when they come, are twice as effective as they could ever have been if the speaking had been ponderous.
But there is no danger of ponderousness with this company, whose voices are clear and audible, whether speaking softly and confidentially or ringing out like evening bells across the treetops.  They use no microphones because they need none, and in this they are fully and authentically Shakespearian, successors of the painted player-men of old, unravelling their rhetoric to the wind.  As You Like It was intended for performance in the open-air playhouses of the Elizabethans, and now the stage is an outdoor one again, a wooded park with views of distant glades, through which the characters of the Forest of Arden wend their way, approach and disappear.
This company are taking their production to many outdoor venues on their ambitious tour, with the result that everywhere they go, they have to present the same play in a different set, and that makes extraordinary demands upon the participants’ theatrical imagination, as well as upon their ability to adapt their performances to ever changing circumstances and conditions.  Professional actors who tour with man-made scenery to indoor theatres do not face that challenge.  Taking Flight Theatre overcomes it with ease.
Did I mention that the cast are disabled?  You would scarcely know.  None, however, has any impairment of spirit.  Their work is a revelation of theatrical truth, vividly understood and portrayed; and their outreach programme encouraged other young people with special needs, from a wide range of schools and drama groups, to present an energetic prologue that captured the carnival spirit of the forest in the play and the life of the villages around it.
I noticed that passers-by in the street beyond the park gates were pausing to watch and hear the marvel that was taking place under the greenwood trees.  At the conclusion they joined their voices to the roar of acclaim that arose from the audience in the park and with them applauded with gusto.  The production serves the cast, of course, but it is clear to those who saw the whole play, and to all who peered at a portion of it through the park railings, that the cast serves the whole community in every town they visit with their tremendous performance.  What they bring to us all is, in fact, a priceless source of inspiration for our worried world.
Michael Read