Theatre Soffa: Lockdown Tales - Creating theatre from personal experience 

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“With one in five adults experiencing some form of depression during the pandemic, it is more important than ever to keep the conversation flowing around mental health. Whilst I am excited to be back creating art and finding new ways to tell stories as theatres remain closed, it is with a heavy heart that we still find ourselves in this dystopian situation. When we originally planned the project earlier this year, we expected to be reflecting on the pandemic and not still living through it.” - Ceri Ashe, Theatrenews.com

This is an exciting virtual collaboration between Span Arts and Popty Ping Productions. Through collaborative writing & storytelling workshops led by Ceri Ashe via video calls, participants were be invited to share their experiences, anecdotes and stories from lockdown. Ceri wove those stories together to create two exciting new pieces of theatre, one in English: Making Bread & Babies and one in Welsh: Bara a Babanod. These pieces were performed over zoom using live performance and pre-recorded film.The plays were performed over zoom using live performance and pre-recorded film.

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 Reviews

“This moving yet humorous show shines a light on the stress, worry and absurdity that lockdown restrictions place on family bonds. Including pre-recorded footage of the mystical Preseli hills, music from Pembrokeshire artist Paul Best, and live-streamed improvised theatre” London Theatre 1

“This project has given participants the opportunity to work with a writer and theatre facilitator who has direct experience of a mental health condition. This has encouraged our volunteers to openly share their experiences in a safe creative space where they felt heard and supported at a time when access to mental health support is limited.” - Anna Sherratt, distance digital programme manager from Span Arts Theatrenews.com

“it’s well-acted and very, very convincing” London Theatre 1

“everyone is just hanging in there, taking each day as it comes, and this is paradoxically reassuring.” London Theatre 1