The production of Kite, Boda Wennol, involving a cast of over 70 and 50 in the crew, charmed three audiences: two in the atmospheric setting of a church in Hay-on-Wye and a final one ambitiously put on in Theatr Brycheiniog in Brecon. How appropriate it was to choose the Red Kite as the vehicle for this portrayal of millennium reflections: the birds fate, like much of the natural world, was intimately linked to human activities during the last thousand years. And still is. Written by Margie Douglas the specially commissioned play used the artistically fertile community of all ages in Hay to deliver a colourful drama showing the historical vagaries of the Red Kite whilst weaving in other significant landmarks of local and national history from the 16th century to the present day.
Through an imaginative use of talented musicians, ambitious costumes, and atmospheric lighting we were led from mediaeval Hay, through to the world wars, recounting the status of the kite from free-ranging bird to one hunted for bounty and persecuted by gamekeepers and egg collectors. Each scene provided drama, colour and humour, with lively choreographed dancing, and singing.
When the numbers of Red Kites becomes critical the audience is introduced to the significant promoter of the Red Kite: Barmy Gilbert from Herefordshire. He is in stark contrast to Rhiannon, the kite girl, a mystical spirit who has protected the kite for thousands of years. It is Barmy's imaginative programme to introduce Spanish kites to Wales in the 1950's (as detailed in the article below) that provided the play with the humorous high-spot: a pair of shivering flamenco, fan- carrying kites! Their misery in the damp hills of Wales, accompanied by appropriate guitar music, is relieved at the idea of flying back to Spain..how would they know the route? ‘follow the sun‘ Problemo?‘ there is no sun in Wales to follow!!
The roller-blading, black costumed spirits which connote negativity in the countryside throughout the play, climax with the toll of contemporary environmental disasters: acid rain, global warming, toxic waste, organo-phosphate, ozone layer destroyed, Chernobyl‘. (This doomladen scene provided an appropriate warning for the Foot and Mouth Disease outbreak, about to strike in the Hay- on-Wye area in a few months time).
The farming family followed through the play illustrates the challenging social, economic and environmental issues faced by many farmers in rural Wales: from a farmer in the 19th century that persecutes kites whose son is transformed by Rhiannon, to a contemporary one also led by the inspiration of the mythical kite girl to respect the natural world.
The play ends on a hopeful note, literally, with a lyrical, rather haunting and beautifully orchestrated song: the words ask ‘Where are we going‘. how will it be?‘..think of the future, what will we see?Œ The chorus of ‘Kites are flying high for you and me‘. illustrates the power of this wonderful bird, to inspire people in the past and the present. It is through the commitment of many dedicated ornithologists in recent years (less stereotyped than those in the play), who have built on the foundations of the work of the few in the critical years of the mid twentieth century that we have the comparably prolific numbers of kites to-day. The play succeeded in symbolising the red kites significance for our own spirits and for the future of the wider countryside. Many congratulations to the cast and crew who infected the audience with their joy and enthusiasm not only for the drama but for the clear message they delivered in this excellent production.
Liz Fleming-Williams 25th May 2001
I was lucky enough to be able to attend the production in Brecon and thoroughly enjoyed the play. I too was wryly amused at the stereotypical, upper-class twit-ish, kite-watchers, rather different from the disparate group I am familiar with! I would like to thank Margie and the Hay Players for a very entertaining evening and also for the £141, from the sale of programmes, which they very kindly donated to the Trust. Ed.
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