Angharad trained as an actress at the Royal Welsh College of Music and Drama and then won a scholarship to train as a singer at the Royal Academy of Music in London specialising in Musical Theatre. Having worked as a performer for over 10 years, the directing bug took hold.
She turned her hand to directing with a short film; Know your Enemy, for Tornado Films. Since then other directing credits include: For WNO – The Magician’s Cat, The Calling of Maisy Day, The Journey, Nine Stories High (a multimedia & community project in Wrexham), Madam Butterfly. For Arad Goch – Read a Million Words, Cwrw Chips a Darlith Deg, SXTO/SEXTING (which was nominated for a Young Critics Award and has toured for almost 4 years), Al ac Ant a’r Cler Hudol. Other projects include – The Elixir Project (Acting Out/Sherman Cymru/WNO Max), Bang Project (Hijinx Theatre), The Little Sweep (Benjamin Britten Centenary Celebrations), Fun Palaces (WMC).
Angharad has recently directed her third short film, Plu Oen, for S4C/It’s My Shout. Her second short film, ABCDad for BBC Wales secured a best actor award for its lead actor. She has directed Panto for a number of years including Cinderella and Jack and the Beanstalk. Angharad left her role as Creative Learning Associate at Sherman Cymru and went on to write and directed Innocent as Strawberries for Arad Goch as part of the Dylan Thomas Centenary celebrations and directed Mefus for Trinity College. Angharad was privileged to direct WNO’s first ever Welsh Language Opera Gair ar Gnawd which was also broadcast by S4C.She is currently working with a bold new company Difficult Stage, on their rather uncomfortable adult only show, Alix in Wundergarten which delighted audiences at The Other Room over Xmas. This will now transfer to Edinburgh Fringe 2016 for a 4 week run. 2016 will also see Angharad creating a brand new piece of work based on Rapture, a T.S.Eliot Prize-winning selection of poetry written by Poet Laureate Carol Ann Duffy. She is also a recent recipient of a Creative Wales Award awarded by Arts Council of Wales. This award is amongst the most important and well regarded of the Arts Council of Wales’ funding programmes. Alongside her directing, she is a Creative Agent for Arts Council of Wales and a lecturer of voice and Shakespeare for the University of Wales Trinity St David, as well as a guest lecturer for University of South Wales, Abersystwyth and Coleg Cymraeg.
She is delighted to be at the helm of To Kill a Machine, and hope that you will be as inspired by the value of truth as she is having watched this production.
“To Kill a Machine is unique. To stumble upon such a well crafted piece of writing from a relatively unknown playwright is a joy and a privilege. Over a year ago, Scriptography Productions asked me to direct a new piece of writing. I didn’t think twice and accepted, always happy to support new writing and a passionate new company.
Having read the draft I was given, I realised I was now involved with something pretty inimitable.
Having developed and staged the piece a while back, the biggest thrill for me was seeing a new fangled audience setting foot into a space they wouldn’t normally have been enticed into. Scientists, mathematicians and theatre lovers, all crammed into a small studio space which we could have sold out 5 times over. To Kill a Machine is a wonderful leveller for an audience. Whether you are a scientist or a spiritualist, the piece will hold you because of its humanity. Through its humanity, a sense of curiosity is born and a drive to discover more about the man and his genius; Alan Turing.
It is of course a very timely piece, and with it’s questioning of science, humanity and society, will stimulate conversation way beyond the walls of our theatres. I have no doubt; especially now with the film released, that there will be an abundance of interest in his story.
The story and its topic are fascinating, with its crux born from Turing’s question, ‘can machines think?’ Some may argue, that the explosion of the internet and all things technological has by in large shaped a World far less empathetic to its fellow man, a World which is reactive and not proactive.
Yes he was brilliant. Yes he was the father of computer science and we should all celebrate him every time we touch a computer keyboard. Yet for me, the question which underpins his whole existence is did this man, unknowingly, make us all more or less human?”
“Y mae To Kill a Machine yn unigryw. Mae canfod sgript mor gelfydd gan ddramodydd newydd yn bleser a braint.
Dros flwyddyn yn ôl gofynodd Scriptography Productions i mi gyfarwyddo dan newydd. Ni feddyliais ddwywaith cyn derbyn, gan mod i wastad yn awyddus i gefnogi ysgrifennu newydd a chwmni brwdfrydig newydd.
Wedi i mi ddarllen y drafft, sylweddolais fy mod bellach yn rhan o rywbeth go arbennig.
Wedi datblygu a llwyfannu’r ddrama ychydig yn ôl, beth oedd yn wefreiddiol i mi oedd gweld cynulleidfa newydd yn mentro i mewn i ofod anghyfarwydd. Cafwyd gwyddonwyr, mathemategwyr a’r sawl sydd yn caru’r theatr mewn gofod stiwdio bychan y gallwn fod wedi gwerthu allan sawl gwaith. Y mae To Kill a Machine yn brofiad gynhwysol boed chi’n ysbrydol neu yn resymwr – y mae’n gynhwysol oherwydd ei ddynoldeb. Drwy ei ddynoldeb symbylir yr ysbrydoliaeth i ganfod mwy am Alan Turing, y dyn a’ r athrylith.
Wrth gwrs, mae’n amserol, ac chan iddo gwestiynu gwyddoniaeth, dynoldeb a chymdeithas, y mae’n ennyn trafodaeth y tu hwnt i furiau’r theatr. Nid oes unrhyw amheuaeth gennyf y bydd diddordeb sylweddol yn stori Alan Turing.
Y mae’r stori a’r pwnc yn gyffrous, gyda chwestiwn Turing ‘a all peiriannau feddwl?’ wrth galon y ddrama. Bydd rhai yn dadlau fod twf y we fyd eang a phopeth technolegol wedi creu byd sydd yn llai trugarog, byd sydd yn ymatebol nid yn arweiniol.
Oedd, yr oedd Alan Turing yn athrylith. Oedd yr oedd yn sail i gyfrifiadureg a dylwn ddathlu ei waith bob tro rydym yn cyffwrdd mewn chyfrifiadur. Ond i mi y cwestiwn sylfaenol yw a wnaeth y dyn hwn, drwy ei fywyd ai waith wneud i ni fod yn fwy neu yn llai dynol?