logo
Caerleon's Arts Festival celebrates its 23rd year in 2025

Caerleon's Arts Festival celebrates its 23rd year in 2025

The festival runs form July 3 to July 13.
Actor Joe Rooney, who played Father Damian in the priest parody, will present a Father Ted celebration at St Cadoc's Church on Monday, July 7.
William Byrne, one of the festival's organisers, says the festival can only grow and help boost culture in south Wales. The festival is now in its 23rd year.
Father Ted, a much-loved comedy show is famous for lampooning priests and the Catholic Church.
A callow youth, Fr Damian is something of a parody of the Catholic patron saint of Lepers. Rather than avoiding life outside of holy orders, Fr Damian is a fashion-obsessed, shallow and naïve young man who has delusions of coolness. Father Ted was one of the biggest sitcoms of the 1990s.
Other attractions at the festival include From Page to Stage, with various performers reprising musicals that were inspired by literature. The celebrations will include performances from Westside Story, My Fair Lady and Les Misérables and Phantom of the Opera. The musical tributes will also be held at St Cadoc's Church.
West Side Story is based on Shakespeare's Romeo and Juliet, Les Miserable is based on Victor Hugo's book of the same name, My Fair Lady is based on George Bernard Shaw's Pygmalion and Phantom of the Opera is based on Gaston Leroux's novel of the same name.
There will be all genres of music from jazz and rock to male voice choirs. There will also be comedy, musicals and chats with local authors. Male voice choir and Shakespeare performances will be held at the Amphitheatre. Other venues include local pubs such as The Hanbury Arms.
Events and ticketing information can be found at Caerleon Festival or From Page to Stage - Caerleon Festival

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

What happened to the Globe Theatre 412 years ago? Find out with Sun Bingo
What happened to the Globe Theatre 412 years ago? Find out with Sun Bingo

The Sun

time11 hours ago

  • The Sun

What happened to the Globe Theatre 412 years ago? Find out with Sun Bingo

DISCOVER the history of the Globe Theatre and how to be a Shakespearean player at Sun Bingo. Have you seen the imposing Globe Theatre in London? The icosagon (20-sided) building can hold 700 standing and 870 seated visitors. When you see it, you can't help but think of plays being performed there since the days of William Shakespeare himself. The only problem? This theatre didn't exist in Shakespeare's day. The Globe we know today is in fact the third Globe. The first was built by Shakespeare's acting company, the Lord Chamberlain's Men, in 1597. After a disagreement with the landlord, the building (known as 'The Theatre') was dismantled from its position on the north bank and rebuilt on the south bank. Changing sides of the river had the advantage of moving the theatre out of the jurisdiction of city officials, who were not thespian fans. Financial difficulties saw the builders use cheap materials, such as thatching the roof with reeds rather than expensive tile. Something that they would come to regret. Globe I opened in 1599 and was a great success… until it burned down. On 29th June 1613, disaster struck during a performance of Henry VIII. A piece of burning wadding from the small cannons fired during the play set the thatch roof on fire. The entire theatre was gone within an hour. Fortunately, no one was hurt. One man had his breeches catch fire but this is said to have been extinguished by a bystander throwing his beer over the flames. The company was doing well enough to be able to afford to rebuild so a new theatre was constructed on the brick foundations of its predecessor. It was the same size and shape but more extravagant in appearance, to reflect the growing wealth of the company. They also made sure to have a tiled roof this time. All was merry and Globe II thrived… until it was shut down. In 1642, at the start of the English Civil War, all theatres were closed by parliamentary decree. Globe II remained this way until its demolition in 1644 to make room for housing. The site of the great Globe Theatre was all but forgotten, bar a small plaque. That's until 1970 when American actor and director Sam Wanamaker dedicated himself to reconstructing Shakespeare's theatre as accurately as possible. It was a painstaking process, one that Wanamaker died before seeing completed. However, thanks to his determination, and that of his foundation the Shakespeare's Globe Trust, the newest Globe Theatre opened in 1997. Globe III has been entertaining audiences with plays, both Shakespearean and modern, for 28 years. The location is just one street from where Globe II sat. Its appearance is almost identical as well, bar a few modernisations. Namely, there are now abundant fire exits, numbered bench seats (rather than the previous free-for-all) and concealed sprinklers. If you have visited, you might have seen that it still has a thatched roof. Don't worry, history isn't doomed to repeat itself as part of the compromise with city authorities to be allowed a thatched roof (as thatched roofs have been banned in London since the Great Fire of 1666) was that the roof has been treated with flame-retardant chemicals. 1 Be a Shakespearean player at Sun Bingo Want to be a Shakespearean player but don't fancy learning all of those complicated lines? Check out the Sun Bingo slot games that are inspired by the same themes as the Bard's biggest hits. Romeo and Juliet The tale of two doomed lovers from Verona has an eponymous game. Step into the twilight air of a romantic villa setting as this 20-payline slot offers players the chance to win cash prizes in the base game after staking between 20p and £5. Gentle string music plays as you take your spin to see what you win. Even if you don't bag a base prize, any spin can trigger the Lovers Super Spin, where you have the chance to pick a heart and win Romeo Wilds, Juliet Wilds, Lovers WinSpin, Poison Bonus or 5 of a Kind. There's also the Star Crossed Lovers Free Spins, Juliet's Wheel of Fortune and Romeo's Mystery Win. As if the chance to win up to £250,000 wasn't enough, this is a Jackpot King game, meaning there's a jackpot worth over £2.1 million that could be triggered by any spin. Don't forget the Royal and Regal pots as well, which are currently worth over £916 and £10,700. Fairy Gathering Thundershots Many of Shakespeare's plays have elements of the supernatural. Perhaps one of the best, and most famous, examples is A Midsummer Night's Dream. The main action of the play takes place over the course of one night in an enchanted forest, where the king and queen of the fairies create mischief for the humans that enter their domain. For this game, we step into Sun Bingo's own enchanted forest setting and enjoy the cheery tones of ethereal music. The slot has 20-paylines to play across. Spinning in seven or more Fairy symbols will award free games. If you get 15 Fairy symbols, you unlock the Thundershots wheel game bonus that has cash prizes and free games to be won. Any base game can unlock the Mystery Gathering or Fairy Gathering features. In the former, all Mystery symbols will be turned into the same symbol. In the latter, Wild fairy symbols will be added to the play table. Age of the Gods: God of Storms The Tempest is just one of Shakespeare's many shipwreck plays. These productions generally start with a loud scene of a violent storm at sea. One theory is that starting with a loud scene was a great way to hush the audience and make them concentrate. What better way to honour this Shakespearean motif than with Sun Bingo's own stormy game. Select up to 25 paylines to play across then adjust your line bet to between 1p and 75p. When the Wilds occupy a whole reel, you trigger the Wild Wind Respins bonus. This is your chance to meet the divine keeper of the winds himself, Aeolus. He'll appear and start to blow the ship reel off course! With each mighty gust, the ship reel moves one reel to the left, collecting completed paylines as it goes. The god of storms keeps going until the ship is blown completely off the play table. At the same time, the win multiplier is increasing by one with each respin. This can reach up to x5. There are also four progressive jackpots in this game: Power, Extra Power, Super Power and Ultimate Power. The jackpot bonus can be randomly triggered by any spin on any size bet. However, the higher the bet size, the higher the chances of it being triggered. When it is triggered, you are guaranteed a jackpot win. *New customers only. Register, deposit £10 and spend £10 on bingo tickets to receive £40 bingo bonus (accept within 48 hours and wager 4x within seven days) and £20 side games bonus (accept within 48 hours and wager 20x within 30 days) on Rainbow Riches in the bingo lobby. Both bonuses must be accepted in the bingo lobby. Only completed games are credited. Debit cards only. Deposits made with Neteller/Skrill/PayPal are not valid for this promotion. 18+. T&Cs apply. Commercial content notice: Taking one of the offers featured in this article may result in a payment to The Sun. 18+. T&Cs apply. Remember to gamble responsibly A responsible gambler is someone who: to be excluded from all UK-regulated gambling websites.

Macbeth was gender fluid, claims academic
Macbeth was gender fluid, claims academic

Telegraph

time11 hours ago

  • Telegraph

Macbeth was gender fluid, claims academic

All the main characters in Macbeth were gender-fluid, an academic has claimed. Ruth Fernando, an English lecturer, claims William Shakespeare used the treacherous warrior king Macbeth and his scheming wife Lady Macbeth to 'disrupt and contrast the conventional ideas of masculinity and femininity, examining them in the form of androgyny'. Ms Fernando also claims the three witches – described as the 'Weird Sisters' in the Scottish play – may actually have identified as male because they had beards. The assistant lecturer at the University of Sri Jayewardenepura in Sri Lanka, has published a paper called Man, Woman Or Both? Shakespeare's Treatment of Androgyny and Lady Macbeth's Disempowerment. She notes that 'while some have evidently looked at Shakespeare's treatment of gender, the interest concerning androgyny or transverse nature has been limited.' The academic focuses on the famous line in which Lady Macbeth, who plots the murder of King Duncan, implores the spirit world to 'unsex me here, and fill me from the crown to the toe top-full of direst cruelty'. She believes Lady Macbeth 'is dissatisfied with her assigned gender roles' and feels displaced because she 'is unable to come to terms with her sexual orientation'. Referring to the 'unsex' me lines, she concludes: 'This would be interpreted as an act of verbal transgendering. 'Lady Macbeth is neither strictly masculine nor feminine. She is, in fact, both, evidenced by 'unsexing' herself. This gender ambiguity propels the theorisation that Lady Macbeth is androgynous. 'Lady Macbeth with her 'unsexing' symbolically castrates herself ... Her words align with the idea of her verbal castrating of her femininity in order to become a man.' Her husband is apparently also gender-fluid because he expresses doubts about killing Duncan, the King of Scotland, by famously hallucinating: 'Is this a dagger which I see before me?' Ms Fernando states: 'His masculine ambition desires the opportunity, yet his feminine integrity collides with his ambitions creating a psychological conflict. 'In this case, Macbeth strikes as an androgynous man. He is physically masculine but mentally he displays guilt and kindness which are typically associated with femininity.' She suggests that because Lady Macbeth accuses her husband of being 'too full o' th' milk of human kindness' he 'harbours feminine sympathies… It makes us question to what extent Macbeth is masculine.' Ms Fernando concludes that the hags on the blasted heath – who foretell Macbeth's rise and fall – cannot be assumed to be women. She says: ' Shakespeare begins his play with the three witches who are bearded, 'withered and so wild in their attire'. The androgynous positioning of the witches is biological as their physical difference is noted. 'Hence, Shakespeare's bearded witches not only signal at androgyny but counters the general perception of witches being solely women.' The academic suggests that the emergence of the theatre, as well as Queen Elizabeth I's ascension to the throne, triggered a 'subtle rebuttal of gender hierarchy', in part because initially 'female characters in plays were performed by men and young boys until the Restoration.' She claims that 16th century England saw 'the acceptance of predefined gender roles being questioned'. However, Lady Macbeth's suicide, Ms Fernando claims, is a result of the 'disempowerment' caused by her androgyny. 'The Renaissance oppressive gender paradigms have trapped her into spheres of femininity and masculinity to which she does not necessarily belong.' Shakespeare's play was based on historical Scottish figures. Nobleman Macbeth became King of Scotland in 1040 after his troops killed his predecessor Duncan on the battlefield. He ruled for 17 years before he, too, died as rival factions fought for the throne with the monarchy eventually passing back to Duncan's son Malcolm Canmore. But beyond these bare facts, the remainder of Shakespeare's tragedy is a fictional imagining of treason and intrigue intertwining with the supernatural. First performed around 400 years ago, its vivid, grotesque imagery and profound commentary on human weaknesses have seen it remain a classic piece of literature. It has given the English language common phrases such as 'the milk of human kindness', 'sound and fury', 'the be-all and end-all' and 'something wicked this way comes'.

The Shakespeare Ladies Club by Christine & Jonathan Hainsworth: The women who made Shakespeare great
The Shakespeare Ladies Club by Christine & Jonathan Hainsworth: The women who made Shakespeare great

Daily Mail​

time19 hours ago

  • Daily Mail​

The Shakespeare Ladies Club by Christine & Jonathan Hainsworth: The women who made Shakespeare great

The Shakespeare Ladies Club by Christine & Jonathan Hainsworth (Amberley £25, 288pp) William Shakespeare had to wait 124 years before he was thought worthy of a statue in Poets' Corner, the niche in Westminster Abbey dedicated to England's greatest literary stars. At the time of his death in 1616, the playwright's reputation was in free-fall. While fellow scribe Ben Jonson flatteringly dubbed his older friend 'the Swan of Avon', the brutal truth was that to most theatre-goers Shakespeare was a dusty relic. No London paper had mentioned the playwright's death at the age of 52. All this changed in 1736, thanks to four enterprising upper-class women who formed the Shakespeare Ladies Club. The club was the brainchild of Susanna, Countess of Shaftesbury. She was sickened that London theatres now showed only mutilated versions of Shakespeare's plays. These mutilations were the result of a new cultural puritanism which insisted that Shakespeare's plays were too bawdy and bloody for polite society. Susanna and three literary friends hated that Macbeth had been turned into an all-singing and dancing extravaganza, while Romeo And Juliet was no longer a tragedy, since the lovestruck teens took sleeping drafts rather than deadly poison. Susanna – along with Mary, Duchess of Montagu, Elizabeth Boyd, a brilliant writer, and feisty feminist Mary, Baroness Walsingham – set about campaigning for Shakespeare to be returned to his former glory. Specifically, they wanted his liveliness and even vulgarity to be reinstated. In particular, the ladies were angry that Shakespeare's strong, complex women had been turned into silly dolls. The Shakespeare Ladies Club existed for only a handful of years and didn't leave any records. Nonetheless, authors Christine and Jonathan Hainsworth have done an excellent job of tracking down evidence of its pioneering work. They have found playbills that refer to the plays being performed 'At the Particular Desire of Several Ladies of Quality'. The ladies petitioned theatres to mount plays that had disappeared from the repertoire, including Twelfth Night, The Winter's Tale and All's Well That Ends Well. Thanks to these efforts, by the late 1730s, roughly a quarter of performances in London were of a Shakespeare play. A leading newspaper published a spoof letter from Shakespeare thanking the Ladies Club from beyond the grave for reviving 'the memory of the forsaken Shakespear'. The ladies' greatest triumph was fundraising for a commemorative statue of Shakespeare to stand in Poets' Corner alongside such literary luminaries as Geoffrey Chaucer and John Milton. They arranged two benefit performances of Julius Caeser and Hamlet at the Drury Lane and Covent Garden theatres respectively. However, since it wasn't legal for women to campaign openly, they had to rely on men to front the work on their behalf. Their choice of poster-boy was David Garrick, the country's leading actor and theatre manager. Garrick was a colossal egoist who took all the credit for getting Shakespeare installed in Poets' Corner. By the Victorian period, this elevation of William Shakespeare to the status of Britain's secular patron saint – what George Bernard Shaw wittily dubbed 'Bardolatry' – was routinely laid at Garrick's door. How gratifying to learn that the Hainsworths have lobbied Westminster Abbey on the ladies' behalf. The official record now states that it was thanks to four feisty women that Shakespeare was rescued from the cultural dustbin and restored to his rightful position at the heart and soul of British culture.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store