DSpace: The Ukrainian theatre company bringing community to the fore
DSpace members span a wide range of ages - from primary school children to adults - and all are Ukrainians.Ms Klymenko had previously taught drama workshops to children, and decided to launch a similar venture in York, teaching classes in her native language.She said she was "amazed" by the uptake and by the amount of Ukrainian nationals living around her, but struggled to find a suitable venue to host the classes.Around the same time, she was invited to take part in Working Title, a project which united actors from national theatre companies in Ukraine with UK artistThrough this, she was introduced to David Richmond, senior lecturer of drama and theatre at York St John University, who offered a free space to rehearse at the city centre campus.Mr Richmond said: "The university has a policy of social justice and the creative arts have led on that for many years."We want to the support the Ukrainian community's creativity and expression and feeling of security and belonging."Dara is doing such good work in her community and in theatre so it seemed [providing space was] the ideal thing we could do to help, the ideal thing they need which is space and time to tell their stories in the way they want to tell them."
The group rehearses for three hours each Monday evening and members travel from York, Selby and the surrounding area to attend.While some members are beginners, others have previous acting experience, often from their life in Ukraine before the war.Sergi, 25, had completed his theatre degree at university and had started to secure some jobs before he moved to the UK. He explained that finding a theatre company that spoke his native language was important as it helped him find common interest in shared experiences."Because we are all people from one country, we have the same traditions, the same culture so it's easy to communicate so I'm happy to do this with Ukrainian people," he said."Sometimes it's difficult because of language. Most projects are looking for native speakers. But the York Shakespeare Festival was a new experience for me in theatre, and I was happy in the same way to act with Ukrainian and English people, and it was easy to connect."The play DSpace performed at the festival was called There's No Clock in The Forest, an original blend of Shakespeare texts and the Ukrainian play Mavka (the Forest Song).
"For us it was a huge success – we had lots of audience members, from Ukraine and also from England as well," Ms Klymenko explained."Some people from the audience told me they started crying during the performance. Not because of the show but because they heard Ukrainian language, Ukrainian songs and it was so sensitive for them."The theatre group will be tackling another deeply personal project next - a new play, partially inspired by the Hollywood film La La Land, written by Ms Klymenko herself.Her hope is that the theme can resonate, particularly with Ukrainian people, "to never give up" on their dreams."It was very important to me when I created [DSpace] that it was a safe space – it's about mental health as well, a place to express your feelings," she added."I realised I've got to keep doing this, because I need it, my team need it and the audience needs it."
Listen to highlights from North Yorkshire on BBC Sounds, catch up with the latest episode of Look North.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
2 hours ago
- The Guardian
Jeezus! review – queer musical's revelations about love with no limits
The image of Jesus has been used by some to shame and subjugate queer people across the Christian world, but Alpaqa theatre collective dare to ask: what if Jesus was queer himself? In this cheeky musical comedy, one of the winners of this year's Untapped award for rising theatrical talent, we meet young Jesús (Sergio Antonio Maggiolo), son of Maria and Jose, who is getting ready to make his first holy communion. It's not the only first heading his way; a sexual awakening is brewing. Guido Garcia Lueches plays the other characters – parents, priests and, most magnificently, Jesus himself. The pair bring the show to life with a musical number for each chapter, moving through acoustic ballads to high-octane pop, all with a Latin twist. The tale unfolds in the Peru of President Fujimori, a strongman leader later charged for ordering killings and kidnappings by his military-led government, in which Jesús's father is a rising star of the armed forces. The sycophancy of his supporters is explored with a sexy romp of a song: 'We will suck your massive dic … tatorship.' At home, Jose rules with religion and homophobia, leaving little Jesús fearing the feelings stirred when he sees presentations of semi-naked Jesus – on the crucifix and in his city's beloved Lord of Miracles painting – in a new light. The erotic overtones of religious imagery are explored in another song. He's been told to love Jesus, and he does – so why is he made to feel like it's the wrong kind of love? Whether he hides his sexuality or comes out, he considers himself condemned to suffer. Jeezus! lightly explores the grip of religious patriarchy and the potential salvation of embracing love with no limits, in a sweet and smutty hour of uplifting musical comedy. As the pair sing at the close: 'If love is a mortal sin, let's burn in hell.' At Underbelly, Cowgate, Edinburgh, until 24 August All our Edinburgh festival reviews
The Guardian
4 hours ago
- The Guardian
A moment that changed me: I slipped in the shower, realised I was exhausted – and transformed my life
For as long as I can remember, I have been ambitious and desperate to prove myself. It started with a competitive spirit at school sports days, then a determination to land parts in local theatre productions, then a place at drama school. I was between acting jobs when a friend suggested I try standup. One gig and I was hooked. I quickly decided comedy was my future and I would do whatever it took to make it work. The rest of my life went out of the window. I gigged constantly – often six nights a week – determined to hone my craft and establish myself as a comedian. I was always knackered, but I revelled in it, telling myself I loved the hustle. I trod the boards at comedy clubs, art centres, theatres … anywhere that would have me. I performed for six years at the Edinburgh festival fringe – the first two to very little fanfare (and audience numbers), but after that, things started to rev up. I was booked for bigger shows, sometimes abroad, sometimes on TV. I felt as if I was really hitting my stride. Then the pandemic happened. I had spent so long being obsessed with my job that, when it stopped, I didn't quite know who I was or what to do with myself. In the scheme of things, I was enormously lucky: I got to spend loads more time with my partner, Alice, and our wonderful daughter. All of a sudden, I was someone I never knew I had wanted to be: a homebody. I had my girls, my sofa and more banana bread than I care to remember – even my old pal anxiety seemed to have taken a holiday. It was glorious. Then, the world opened back up, my career kicked off again and my tour resumed after a two-year hiatus. The hustle was back! I could gig five times a week, alongside recording two podcasts and occasional TV and radio spots. I was working nonstop – just how I liked it. I got booked for the Just for Laughs comedy festival in Montreal in 2022, a feather in the cap of any standup comedian. I had visions of smashing my gig and coming home with an American agent (I am aware Montreal is in Canada, but it's where US agents go to look for international talent). I boarded the plane with a hope, a dream – and a ruptured disc in my spine (L4, if you're interested). But I stocked up on strong painkillers and decided that the opportunity was too good to miss. The shows went well but, when I got back to my hotel, I hopped in the shower, slipped and had a back spasm which, paired with the ruptured disc, rendered me pretty much immobile. I crawled back to the room, realising it was too late in the day to call my wife, my mum, or my agent, who were all in the UK. Instead, I cried – and I mean really sobbed – into the carpet, while watching videos of Alice and our daughter on my phone. That was the moment I realised I was exhausted. Over the following weeks I saw an osteopath, a GP and a therapist who all pretty much said the same thing: I was burning the candle at both ends and my body couldn't take it. If I kept going, I was told I could expect more injuries, more anxiety and potential burnout. Faced with the choice between a blinkered, unrelenting focus on my career, or spending time with my family, I knew that my family would win every time. Now, I make sure I am never away for more than three nights in a row. I never miss swimming on a Sunday or family dinner on Monday evening. I don't crave the hit I used to get from performing – instead, I am more than happy reciting bedtime stories for an enthusiastic audience of one. At 39, I am no longer obsessed with gaining other people's approval. I am relieved I have time to breathe; I enjoy my job, but I also make sure I have time to enjoy life outside work, too. I still have ambition, I still gig and tour – but currently my five-year-old thinks I am the coolest person on the planet, and I'm not deluded enough to believe that's going to last for ever. I've learned to slow down, savour the moment and, most importantly, let go of the hustle. Am I Having Fun Now? by Suzi Ruffell is published by Pan Macmillan (£18.99). To support the Guardian, order your copy at Delivery charges may apply. Her tour, The Juggle, runs from 10 September to 23 November.
BBC News
6 hours ago
- BBC News
Leeds Festival road closures and traffic warning to drivers
Drivers have been warned about road closures and heavy traffic around the Leeds Festival site during the Bank Holiday event, which takes place from Thursday to Sunday, will see performances from artists including Chappell Roan, Travis Scott and 90,000 festivalgoers are expected to make their way to the Bramham Park site over the Skupski, National Highways Operations Manager, warned that roadworks on routes to the site could cause further delays and urged drivers not to "underestimate how busy the roads will be". People have been warned that the M1, A1M and A64 are likely to be particularly busy, with the most traffic expected on Thursday and have been warned to plan ahead and leave extra time for their Skupski said National Highways would have extra traffic officers on duty and electronic signs would warn people of any incidents or congestion."Our control room operators will be closely monitoring motorway traffic using CCTV cameras," he said. Road closures The A64 will be closed to all traffic travelling eastbound between the former Fox and Grapes pub and the A1(M)/A64 roundabout for the duration of the festival - from 04:00 BST on Wednesday to 15:00 on routes travelling along the A64 eastbound may be diverted during this Lane, off the A64/York Road, and Potterton Lane will be closed from Wednesday to Monday. On site parking is included for all ticketholders going to the to the car park will be signposted from major routes to the travelling by train can take a dedicated festival bus from Sovereign Square Park, next to Leeds railway station, to Bramham Park from Wednesday to can also be booked online.A designated taxi rank will be based at Red Gate 1 at the festival music will be playing at the site from 19:00 to 03:00 on Thursday, and then 12:00 to 06:00 each day until have set up a dedicated phone line for residents who have questions or concerns during the event. Listen to highlights from West Yorkshire on BBC Sounds, catch up with the latest episode of Look North.
