Review Les Vepres Siciliennes, WNO by Becky Johnson

3 out of 5 stars (3 / 5)

Produced by the Welsh National Opera, Les Vepres Siciliennes, stands as one part of the trilogy released this spring term. This was my first experience of an opera, only previously dabbling my toes in with WNO’s collaboration with National Dance Company Wales in Parade. I felt like something which utilised dance in which I’m more familiar would act as a great entry to the world of opera. And in that, I was correct.

Before the performance began, both at the very beginning and after the interval, the orchestra gave an instrumental opening. This transcended us into the themes of the piece, providing context and a gateway for what we were being propelled into. These were incredible and whisked you in and out of your own thoughts, trying to make sense and pre-empt what was to come.

As the curtains raised, a simple, stripped back set emerged. A rectangular frame which was lit with a box light, formed a storyboard backdrop in which the piece would take place. The set remained as one of my favourite components within the piece, it really made the performance more modern and with the constant re-arranging of various frames, kept the audience’s attention focussed. The frames allowed the audience to see difference upon the stage and engage in different perspectives, that of memories of the past and the difference of location in the present. However, one concern from the set is that due to its’ abstract nature, it reduces the accessibility of the piece. For those with hearing difficulties, the lack of a definitive nature within the background provides no context and makes the plot hard to follow. Also due to the thickness of the frames, your view is restricted regardless of positioning of seat which means at times you can’t see key moments of what’s occurring on stage.

Also, along the terms of accessibility, the placement and structuring with the subtitles was problematic. It was severely difficult to see the stage and read the subtitles at the same time so often important moments of the plot were missed (both in context from the subtitles and in performance on the stage). It also became confusing when two characters were holding a conversation as there was no way to see difference within the text as to who was stating what and whether the text was in time with the vocals or not. I would propose maybe matching a colour to a performer and from there more of an understanding could be built.

The imagery throughout the piece was beautiful in its simplicity. It played with shadows and outlines and how people fell into and out of the light using silhouettes to make powerful, thought provoking statements. The use of darkness created the ambience for the work but was broken by bright coloured costumes which created contrast from the otherwise black costumes.

A piece of imagery that still resonates with me now is that of a gold table being dragged around the stage with the dancers limp and naked, draped over the table like meat at a banquet dinner. This embodiment from the dancers really added depth to the performance throughout and I often found the moments in which the dancers were included provided the much-needed breath for the performance, often bringing a sense of lightness to what would be an otherwise dark stage. The involvement of such an abundance of dance within the opera was a brilliant decision as added the much needed movement and transitions onto the stage. This also provided light-heartedness and a more intense context for what was happening within the storyline.

I felt the performers, both ensemble and main cast, otherwise lacked the embodiment of their characters which was needed. They sang and performed beautifully but the small details such as the realism of touch and emotion seemed absent. For example, at times of compassion, hands were resistant from those whom they were compassionate towards. These moments were both when the performers were acting and responding to what was being sang. This intention would normally provide clarity into the storyline of the piece and without investment from the characters, the emotional plot of the story became difficult to follow.

In Summary Les Vepres Siciliennes provided a perfect gateway for me into the world of opera. The mixture of dance, choreographed by Caroline Finn, and opera made it a lot more accessible for me and with such beautiful imagery throughout I was enchanted and engaged.

A spotlight On Technical Theatre by Connor Strange

South Wales came alive to the sound of Panto in Winter 2019 with Jermin Productions’ dazzling production of Cinderella, seeing performances across Carmarthenshire & Neath Port Talbot. Performances were held in Port Talbot’s Princess Royal Theatre operated by NPT Theatres, Carmarthen’s Lyric Theatre and Llanelli’s Ffwrnes Theatre operated by Theatrau Sir Gar.

And that is where I come in!

In this article, I will be giving you an in depth look into the roles that I worked on through the course of the production, and how important technical theatre is in the world of pantomimes and theatrical productions.

But first, let me introduce myself. My name is Connor Strange, I’m from Ammanford in Carmarthenshire, and I was very fortunate to work on Jermin Productions’ Cinderella South Wales Tour as a Follow Spot Operator & Lighting Technician. I’ll go on to explain more about those roles later.

My journey into the world of technical theatre all started last year. I volunteered during Swansea Pride back in 2019. During this event, I met Mark & Nia Jermin for the first time which gave me an insight into the world of entertainment. This made me think about my future aspirations and made me eventually decide to want to pursue a career in technical theatre & drama. So, I made contact with Jermin Productions and expressed interest in working on their 2019 pantomime – Cinderella.

As someone who is relatively new to the world of technical theatre & drama, I was very excited to receive an email in August from Jermin Productions offering me a position on Cinderella. This was such an exciting moment for me as I had never worked on a professional production before. This gave me an opportunity to develop new skills and create connections in the entertainment industry.

Fast forward to November 2019 and it was time to start work on the most ambitious production that I have ever worked on – Cinderella. As with all major productions, first comes the get in. This involves bringing set pieces, costumes, lighting etc – everything that is paramount to a successful production. Then comes assembling sets, rigging lights, preparing costumes for cast & dancers.

As with any production, you need a team & I was very fortunate to have worked with an amazing team of people throughout my time working on Cinderella. This included Mark Jones who was Production Manager, he has overarching responsibility for the safety & security of cast, crew & equipment on site as well as ensuring that the pantomime runs successfully.

Other colleagues included Grace – Deputy Stage Manager who has similar responsibilities to Mark. Alice, Bryn and Jordan were Assistant Stage Managers. ASM’s are tasked with ensuring props are in their correct positions, costumes changes happen when they should and overall operation of the show.

Now earlier on, I mentioned a very important role that I held during the production – Follow Spot Operator.

For those that do not know, a follow spot operator operates a specialised stage lighting instrument known as a followspot. A followspot is any lighting instrument manually controlled by an operator during a performance. I worked alongside a second follow spot operator, Luke, where we both had to follow a professionally orchestrated cue sheet and following commands issued by stage management and lighting operations. All in all, the role of a follow spot was something that I had never done before but was a fascinating insight into lighting.

Technical theatre has such an important part to play in the running of a pantomime. There are so many elements involved behind the scenes to ensure a pantomime can run successfully & efficiently. These include the Lighting department, Stage Management, Sound & our Musical team. Without these departments and the people working in them, a pantomime could not exist. All of those elements work hand in hand, very much like parts in a car. Without one of those elements, the production does not work as efficiently.

But we must also pay tribute to the Cast, without the cast a pantomime could not exist either. Technical theatre combined with a cast ensures that a production works successfully and delivers a fantastic performance to the general public.

This year’s cast thrilled audiences across South Wales and gave amazing performances time and time again.

The cast of Cinderella:

Nicole Seabright – Cinderella

Adam Byard – JJ Buttons

Lewis Brimfield – The Prince

Jordan Bateman – Bree

Ryan Edmunds – Tree

Bethan Searle – Fairy Godmother

Working with this amazing cast has been an absolute pleasure & has been a real eye opener to how much work goes on to make a pantomime happen.

I spoke to some of our cast & crew about what they got out of working on Cinderella and their experiences working on a Jermin Productions pantomime. I also asked them what they would say to people wanting to start out in performing arts.

Here’s what some of them had to say:

“I got lots out of Cinderella, experience and social were my main ones! I hadn’t worked on a touring theatre show like this before, and I was really lucky to be offered a job by Jermin Productions. I learnt new ways of doing things, tips and tricks to make things easier and even a few life lessons! Socially, I made so many great friends, people I’d work with for the rest of my life. It can get difficult when you’re working together, living together and sharing rooms, but with Cinderella I didn’t get any of that.

If someone asked me if they should go into Theatre tech, I’d definitely say Yes! It’s good fun and you learn a lot of stuff on the job, so if you have a lot of experience beforehand it doesn’t matter! There’s a lot of variety in this industry, which means you can try out different jobs if you’re not sure what to do.” (Ollie Gordon-Rump, Lighting Operations/LX1 – Cinderella 2019)

“What I got from it? I got a great sense of accomplishment from doing Panto with Mark. It’s my second year working for him and it was an amazing experience. It was personal for me as I got to perform in my hometown and even in the place I went to uni. It was a brilliant cast and they are like my second my family. To work with people who were so dedicated and talented was just exceptional. The script was hilarious and we were allowed to add our personalities in the characters and give it our touch.

I’d say to never give up because if you really want something then keep going. I’m a simple boy from Port Talbot whom acts for living. Anything is possible if you believe. (Ryan Edmunds, Tree – Cinderella 2019)

South Wales will come alive once more to the sound of Panto with Jermin Productions’ Beauty and the Beast coming this Winter 2020.

Tickets are on sale right now for Beauty and the Beast in  Port Talbot’s Princess Royal Theatre, Carmarthen’s Lyric Theatre & Llanelli’s Ffwrnes Theatre.

Tickets and show times are available on:

A big thank you to everyone who supported me in the creation of this article!

Review Winners, Nova, Sherman Theatre By Vic Mills

5 out of 5 stars (5 / 5)

‘Get It While It’s Hot’ is a good vehicle in various ways for Lowri Jenkin’s honed, clever and at times visceral comedy, ‘Winners’.  It tells the old tale of how difficult is it to keep it ‘hot’ – whether that is the vegan dishes or the sex, fuelled by the aphrodisiac of the aptly named Dan Biggar and the colossus of Alun Wyn Jones.  You should know though that they succeed, in this warm-hearted, life-affirming and love-affirming piece, they succeed in keeping it hot – though we had to learn to change our minds a little about what that comes to mean for Cassie and Dafydd.

The stage is stripped to two very ordinary chairs and the production to a very simple and stripped lighting and sound plot.  This works very sympathetically with the stripping of the two characters as they face a ‘couples counselling’ session, an anniversary present from Cassie to Dafydd.  The device of the counselling session works beautifully too, as it allows for audience interaction as we become the counsellors for these two engaging and deeply sympathetic figures.

Jenkins’ is very well served by Samantha Jones’ direction and Garrin Clarke’s design – less is certainly more in this case.  We are allowed access to characters and actors who have nowhere to hide.

And Cassie and Dayfydd do certainly attempt to hide.  There is wonderful humour in the writing and in the performances of both actors from the first moment of the play.  Timing is crafted and almost every mark is hit.  Dafydd is warm, garrulous and very engaging from the outset.  Cassie is initially more poised and sophisticated – looking for the process to solve Dafydd’s problems whilst she makes suitable noises of support.  The play works, as these things do, to peel way the layers of her social pretences as the increasingly complex roots of the problems in their long term relationship are exposed.

The piece could have felt very familiar, safe and predictable had it not been for the quality of the comic writing, the beautifully honed and pacey dialogue and the genuine charm of the characters and above all the actors.  This is not challenging, groundbreaking theatre in any sense but it is an extremely well-crafted, warm, clever and engaging play, done wonderful service by two compelling and lovely performances.

Lowri Jenkins understands comedy and dialogue.  There are moments when the interchanges are too rapid fire and when we feel the writer trying too hard, but they are few and fairly insignificant.  She understands lyrical cadence and silence as well as crowd-pleasing belly laughs.  She looks honestly and unflinchingly at contemporary relationship issues and familiar gender tropes and there is a warmth and affection for both her characters and the audience responds with the real affection and engagement that this piece requires to succeed.

This play is a winner; it is a crowd pleaser certainly but it deserves to be.  The performances are very, very good and that they are equally good is rare.  Genuine chemistry on stage is the Holy Grail of theatre and these two have the cup of Christ in their grip.  Get to see it if you possibly can on one of these wet and wintry nights – it’ll warm you right through – it is hot!

The production plays at Sherman Theatre, Cardiff from 11 – 15 Feb 2020; 6.30pm

Review Company Danza PUCP present Laberinto. Choreographed by Lea Anderson by Becky Johnson

A monochrome Zoetrope of cross- continental imagery.

“Created in collaboration with Peruvian artists and long- time collaborator, composer Steve Blake, ‘Laberinto’ continues Anderson’s work around misconstruction of reimagined lost dances, leading the audience on a serpentine journey into the labyrinth, into worlds beyond death.”

The piece was performed at Bristol’s Old Vic in their Weston studio, an enchanted yet cosy space which fit the themes of Laberinto perfectly. This meant the dancers were really amongst the audience, almost close enough to touch but certainly close enough hear and maybe even feel their breath.

The dancers begin the piece with grounded movement which seems heavily influenced by Capoeira, an afro-Brazilian martial art form. They create strong shapes, providing visual imagery for the audience which is almost like a caricature or cartoon. This makes characters for each performer within the monochrome zoetrope of cross- continental imagery that emerges on stage.

The dancers hold their own persona within the piece, each with their own personality and therefore, their own characteristics. This allows the audience to form a relationship with each, creating space for light- hearted comedic moments which feature regularly within the piece and to the very end (including the bow). These add to the theatrics of the performance and provide breaks from the intensity of the images throughout. Also making the piece accessible for those, who are not necessarily from an arts background.

I adored the stark contrast between the characters, whether that was being devilishly camp or oppositely, stern and unphased. The posture of these really played true to the role. They often carried a Parisian ‘laissez-faire’ attitude which occasionally indulged us in their inner flamboyance. However, that isn’t forgetting the shift in physicality when performing sections that deemed more heavily tribal influenced. The dancers would then adopt a curved and more grounded approach, contrasting the seemingly European personas they were previously carrying. Sadly, as the performers tired, it did seem as though the sparkle of what were such strong, captivating personalities had become more distant and less embodied by the dancers.

The costumes, all variations of monochrome catsuits, hold reference to French icons such as Marcus Marceau as well as to Incan or Native American masks. This fusion of European and Latin American aesthetics is constant throughout the piece, both in imagery and movement. The use of face paint on the face enhances the characters in which the dancers play. With strict monochrome and neutral expressions, it is their physicality which tells us of their individual stories. Only to be broken with exaggerated facial expressions or the use of the tongue which strikes contrast to the sullen monochrome otherwise. Imagery like the sticking out of the tongue and piercing stares relate to that often seen in tribal rituals. This is heightened in the penultimate section of the trio. The trio is made up of a solo and a duet. The soloist seems to be trapped within a shamanic ritual between the other two dancers. The two dancers appear to be chanting around the soloist but not verbally, physically. The shamanic chanting is created via the use of hands and gestural movements, almost like a text. Repeated, over and over, each time with more power and vigour, growing in strength and intensity.

Throughout the piece the dancers’ hands will never be seen in a fist, but always splayed or stylistically positioned. Often the hands and arms will make references to whacking or vogueing foundations, often crossing over with that of 1980s catwalk models or magazine covers. This shape of movement is always precise, with transitional movements from one shape to the other. These shapes provide the context for the audience, often presenting imagery from familiar historic images. Not only supermodels but mimes, jesters, court dancers and circus performers. I did question at times which images have been used to make the choreography, as although some were obvious in their links, others not so much. There seemed to be expressions that linked with that of ‘Uncle Tom’ propaganda from the 1950s but whether that was purposeful or solely my connections, I am unsure.

The choreography itself relies on a mixture of devised games (such as freezeframes or adding to the picture) as well as the use of strict patterns playing with timings, canons, shape and poise. The accents of the choreography tended to swap between ‘hits’ and breaks’, meaning sharp held movements and sharper movements that then blend into something softer. The pathways of the piece were most intriguing and formed a key role within the piece. The characters would glide past each other, whilst in strict canons but along unusual pathways meaning as the audience, your eyes were constantly drawn to different areas within the stage.

The set simply details a square of flooring which is matched by a dangling box light above. This cube of parameter provides ample space for the performers to move and with their grounded movement quality, they seem encased within the space and we the audience are peeking through the looking glass. The strict spacing provided by the set allows the structure of the piece to provide breath and more importantly to reset from scene to scene. Almost as though when the dancers aren’t within the set, they are offstage (although they continue to pursue their characters and to respond to what is emerging on stage).

I was fortunate to witness the Q&A at the end of the performance which added further insight into the process of creation and how such a project came about. I was happy to learn that photographic images had been one of the core ways in which the piece had been created and that the piece focussed on these shapes and imagery throughout. It’s wonderful to see such open ways of creating and these types partnerships taking place. I look forward to seeing more from such an emerging professional company and wish them the best of luck on the rest of their tour.

Review The Snowman at The National Museum Cardiff by Rhian Gregory

I love that the National Museum, Cardiff is starting to put on more and more special events. It makes it even more exciting to go along to a trip to the museum. Museum entry is free, with some additional events requiring to buy a ticket beforehand.

I volunteered for the Museum Late Space. It was in evening after official closing time, with multiple entertainment, bar and drinks, DJ and music, lots of different acts on around the building and more! Great night! I noticed there is Museum Late Dippy Dino theme in January, early 2020. I may see if I can volunteer for that too.

Leading up to this Christmas, a weekend in December, the museum has been putting on the classic The Snowman screenings in the Reardon Smith Theatre, located on the side of the museum.

Walking down the side of the museum, I was a bit miffed at first as I saw steps and wasn’t sure how to get to the side door, eventually with some more st’roll’ing around the back of the museum, there was area with no steps to the Reardon Smith lecture theatre entrance. Maybe a sign would have made it more clearer.

We were greeted by cheery helpful staff, pretty lights and trees, and given a popcorn each. They also offered help to carry them to our seats which was very thoughtful. We were given white fluffy snowballs too, which they said to keep for a surprise at the end.

We went into a door that avoided the steps, that led to the very top of the lecture theatre which had an area for a few wheelchair users.

They made the atmosphere so cosy, blue lights to have that cool cold effect, and projected falling snow on the sides, Christmas music playing, on the stage they had it set up with a few Christmas trees and presents, with the big back screen where The Snowman would be shown.

I’m sure everyone enjoyed digging into their popcorn, a lovely space to watch the snowman, some giggles from children when the cat is scared of the snowman and when the snowman makes fruit faces. My children stood up and put their arms out for the ‘Walking in the Air’ song and scene, pretending to fly.

At the end they had a snowman come on stage for a snowball fight and photos.

Definitely a hit with the children and adults alike!

I look forward to more special events at the National Museum of Wales Cardiff.

Thank you for the complimentary tickets.

Review Les Misérables, Cameron Mackintosh, Wales Millenium Centre By Becky Johnson

An eclectic evening of wonder, passion and skill.

What an incredible first experience of the infamous Les Misérables. So much thought and care had been given to each and every part of the evenings’ performance. It was this specific attention to detail that really drew the audience into the world of pre-revolutionary France.

Firstly, the set, Wow! The set used a mixture of visual effects alongside moving structures to create an immersive experience for the audience. The onstage set, predominantly wooden, was etched with details. From small engraved phrases to the layering of different components. The visual effects truly brought the set to life by adding intricacies to things that would otherwise be forgotten. Such as the water rippling and the stars twinkling. But only ever so slightly, just enough for you to question whether it’s really there at all or just your mind playing tricks on you.

The lighting played such a crucial role within the piece. Alongside the projected visual effects, it would bring a sense of realism to what was occurring on stage. An image of the meeting of the revolutionaries comes to mind. The light seeping through the barred windows, reflecting off the faces of the Males whilst they walked through the shadows making small talk with one and another. It was also with moments like the gunshots, where a bright light would suddenly glare, making the plot more accessible to the audience.

Even in the way the actors spoke it was evident the clarity and precision in which they gave out their words. Those deemed more common were usually paired with a Northern accent and those of a higher class with a more queens English. The use of different accents and dialects allowed clarification for the audience but also context as to the stereotypes and opportunities in that era.

The use of detail was also not only evident in the voices of the performers but most predominantly in the ensemble. Each performer held their own character, with their own physicality and own storyline. One could easily get lost watching the ensemble, with so many options to engage with. It was often the more hidden moments happening in the background which would cause me to smile or question things more deeply.

It wasn’t usually the way in which the text was presented as to how your emotions were driven. The text tended to set the pace, which kept a high engagement for the audience throughout the piece. Instead, the orchestra were key to how you responded to what was occurring on stage. At the moments I received goose bumps, I realised it wasn’t from the solos. Instead, from the accompaniment and the resonant quality that it echoed around the theatre creating an atmosphere unlike no other.

Each member of the cast was incredibly talented and without one, the piece wouldn’t be the same. It is truly the fine details which make this piece so magnificent and I predict it’s one of those where regardless of the amount of times you watch the performance, you would be drawn to different characters and their own tales each time. There are limited tickets available for the remainder of the performances but if you do get the chance to go, you are certainly in for a treat.

Review The Storm, James Wilton Dance By Becky Johnson

A storm of the mind as well as in temperament.

The piece opens with the dancers rooted to the floor, in what seems like the foundations of a tree. As tensions build, the tree begins to sway by the wind which causes a ripple through each performer. The storm builds taking hold of the dancers swirling them through the space like leaves drifting through the wind. Thus creating, an autumnal flurry of movement and immersive sound. It’s imagery like this, that forms the development of the storm throughout the piece. The dancers utilise this as well as breath to create the effect of the ever-growing storm around us. It’s their skill and power as performers that really drives the audience with them through the storm that’s created.

The movement used was often self-indulgent allowing us to see the performers not as performers but as people, with their own desires and limitations. Even when taken by the wind and shifted through the space, the performers remained as themselves, not characters. Their own emotions drove them to move and create, with the ensemble often echoing the soloists state of mind in the backdrop of the stage. At times, swirling and spiralling across the space whilst the soloists remained still, reflecting their inner turmoil although their own appearance remained static and unphased. The first half of the piece focuses on simpler values to portray the story of the storm, imagery via use of line and shape within the movement and allowing the knock-on effect from dancer to dancer which creates this ever-building tension.

However, the second half, relies heavily on theatrics and storytelling to get this point across. The timing of movements and the beginning of phrases becomes predictable, which with such fascinating, detailed music (composed by Amarok / Michal Wojtas which I shall be purchasing once released) becomes frustrating. There seems a loss of detail in the realness of these people, which was previously so enchanting. Facial expressions become forced and lose their authenticity, with an absence of realism in their hands and reaches.

Although, with this being said, the theatrical elements really did provide food for thought. Especially the initial solo by Norikazu Aoki. It approached the theme of mental health with self – destructiveness and the desire from those around him to help fight this addiction. These things are extremely important to be visualised in work on stage and such a difficult topic to explore well. By leaving the solo so simple, it allowed the audience to resolve their own interpretation of what was happening. It sparked a real understanding of these issues from the point of those witnessing someone deteriorate and how we can and should assist in those moments of self-harm. This sharing of help was continued throughout the piece with simple, gestural motifs such as that as the unfolding of hands.

The role of the observer stands as its own motif throughout the piece. This played by the choreographer James Wilton. He is present in almost all the scenes providing stillness to the continuing motion on stage. This leads me to question, is this piece the story of one man? Are the performers on stage sharing his own personal experiences to the audience? And was this his journey to self help and how he overcame his own demons?

A Response to Écrit, Choreographed by Nikita Goile, NDCWales Roots Tour by Sean Bates

I feel this track captures the ebbs and flows of Roots, NDCWales specifically Écrit by Nikita Goile. The performance started with a lone female dancer moving fluidly, almost like a crisp packet in a melancholic wind.  A muscular male was positioned behind a white screen, mirroring her movements. To me this suggested he may be out of reach in some way; another women perhaps, even though the synchronisation implied an obvious connection.  I feel the performance brilliantly portrayed the struggle that every human being must go through: a quest for true love. The company made brilliant use of the space, and the eerie lighting provided an excellent back drop to the performance. The dancers used sweeping movements and emotive body language to visually represent  their potential romance, although love must always be reciprocated and sometimes we have to cut off a part of us and let go in order to reach the highest peak.


Yn Ei Blodau” yw cynhyrchiad cyntaf Criw Brwd a drama gyntaf Elin Phillips. Cwmni newydd mentrus Elin a Gwawr Loader yw’r cwmni ifanc yma ac maent yn awyddus i leisio barn merched sy’n goroesi bywydau anodd yng nghymoedd y De. Mae’r ddrama’n olrhain hanes Fflur, athrawes ifanc sy’n rhy barod i blesio ei mam a’i chariad Scott. Mae’n ceisio byw y bywyd traddodiadol benywaidd – swydd barchus, perthynas, priodas a phlant – ond yn dawel fach, mae’n dyheu i wrthryfela a thorri’n rhydd. Mae ei mam yn dyheu i weld ei merch yn setlo a chael plant, ond yn dawel fach, mae Fflur yn dymuno byw bywyd heb gyfyngiadau, cyfrifoldebau na disgwyliadau. 

Mae’r ddrama ar adegau yn llawn hiwmor deifiol a sefyllfaoedd doniol, ond ar y cyfan, mae caethiwed a rhwystredigaeth Fflur yn ein sobri. Mae’r wên deg sydd ar ei hwyneb yn fwgwd i’r tristwch oddi tano. Daw hyn yn amlwg wrth iddi geisio ufuddhau i reolau ei phartner Scott yn ogystal â’r euogrwydd mae’n wynebu wrth iddi wrthryfela.  

Portreadodd yr actores Kate Elis y cymhlethdodau hyn yn effeithiol drwy arwain y gynulleidfa drwy amrywiol sefyllfaoedd ac argyfngau ym mywyd Fflur.  Roedd ei gwaith corfforol (dan ofal medrus Eddie Ladd) yn dda, ond hwyrach byddai deunydd ehangach o’r llwyfan a’r gwagle wedi ategu at y perfformiad. Defnyddiodd yr actores rhywfaint o’r offer llwyfan mewn modd symbolaidd, er enghraifft, y bêl, ond nid oeddwn yn teimlo bod angen cymaint o’r offer hyn ar hyd y llwyfan. Serch hynny, hoffais y deunydd o olau a sain a oedd yn ychwanegu tipyn at awyrgylch y ddrama. 

Er bod cymeriad Fflur yn teimlo ar goll ac yn fregus, yr hyn sy’n rhoi gobaith iddi yw y plentyn mae ar fin geni. Dyma fydd ei ffocws, ei dyfodol newydd gwell mewn byd sydd weithiau’n greulon a ffug. 

Llwyddodd y dramodydd i ddefnyddio hanes Blodeuwedd – un o ferched mwyaf arwyddocaol ein chwedloniaeth – fel is-destun i’r ddrama, ac roedd hyn yn gorwedd yn gyfforddus o fewn sgript sy’n trafod yr un themâu, sef  nwyd, caethiwed, disgwyliadau ac wrth gwrs rôl merch mewn byd sydd wedi’i reoli gan ddynion.  Roedd hon yn noson lwyddiannus arall yn y gyfres “Get it while it’s Hot” ac edrychwn ymlaen at weld cynhyrchiad nesa’r cwmni, ‘Pan Ddaw’r Haf’ ym misoedd cyntaf 2020.