Royal Welsh College of Music & Drama, BA (Hons) Design for Performance, student, Bea Massey studied at Radyr Comprehensive School, Cardiff. She recently arranged with the school teaching staff, for Radyr pupils to attend the RWCMD workshops in Llanishen for an exciting hands on workshop to give an insight into the types of course of study at college. In this interview Bea gives us an overview of this activity.

Hi Bea, you are currently studying Foundation Scenic Construction on the Design for Performance degree at RWCMD — what first sparked your interest in scenic construction and working behind the scenes for live performance?

After leaving 6^th form at Radyr Comprehensive school I went straight into a Foundation Degree in Scenic Construction at Royal Welsh College of Music and Drama. I graduated that two-year course in the summer, and I am now completing the optional 3^rd year which allows me to graduate with a full BA degree qualification in Design for Performance

Credit Kirsten McTernan

I have always loved the theatre. Even from a young age, my mum and I would go to see plays, ballets, operas, and musicals whenever we could, which led me to take drama as a GCSE at Radyr Comp. I never really liked to be on stage though; I was more interested in what happened behind the scenes. At my first high school I joined the Drama club being a stagehand, and when I was doing the practical element of my drama GCSE, I opted to do the lighting for my group instead of acting. I was one of the only students to ever do this at Radyr, but I was so happy when they allowed it and encouraged me to explore this option more. 

When it came time to think about universities, I hated the thought of doing an academically centred course, I wanted to work with my hands with a more practical course. I had some thoughts of doing an apprenticeship with the construction company my dad worked for, but then Screen Alliance Wales (SAW) came to give a presentation, and they talked about all of the careers you could have in film, TV or theatre and this really appealed to me.

I started looking into courses that did theatre lighting, as that was the only thing I had any experience in, and I found an Open Day at RWCMD for stage management and scenic construction. I went and immediately fell in love with the vibe of the college. I saw the theatre spaces and the sets they had set up but then I went to the Llanishen workshop, and I knew I HAD to get onto the scenic construction course!

Credit Kirsten McTernan

You have arranged for students and teaching staff from your old school, Radyr Comprehensive to visit the RWCMD workshop. What inspired you to create this opportunity?

Inviting Radyr students to the workshop began as a way to include them in the making of the set for their Footloose production and giving them a better understanding of what goes into set building and painting. The College workshop has a relationship with the Drama Dept at school and this was a great way to develop it. I also wanted to give young people an opportunity to see what other career paths are available (like SAW did for me) and for them to see that these options are available to anyone. 

Many young people don’t realise how many career paths exist in the creative industries. What do you wish you had known about scenic construction or backstage careers when you were in school?

I wish I had known that these kind of university and career paths were available at an earlier age. When you are younger, and in schools, your perception of theatre and the arts is purely in the acting and performance side. Very rarely do schools push for opportunities to work on the production side of shows so it is hard to visualise these as a career opportunity. I was lucky at Radyr as they allowed me to go down the lighting route for my drama GCSE which eventually led me to my university course in scenic construction, but I feel like it was a rough path to get to this point. If I had known about stage management and scenery making, then I may have found myself here sooner with more experience under my belt. 

The Llanishen workshop is a huge, state-of-the-art space. For someone who hasn’t visited before, what’s it like to walk into that environment for the first time?

Walking into Llanishen workshop really is a breath-taking moment. For me it secured my decision to go to RWCMD for the Foundation Degree in Scenic Construction. I just knew that I wanted to learn in that environment and eventually work in similar environments! The workshop showcases so many previous students work that it feels very exciting that you could one day be making sets and props at that level for programmes like Dr Who or His Dark Materials

Credit Kirsten McTernan

How important is hands-on learning in your course? Can you share an example of a practical task or project that really changed the way you think about the craft?

The Foundation degree in Scenic Construction and the Foundation degree in Scenic Arts, are both almost entirely hands on work. This makes it ideal for kinaesthetic learners, and you tend to pick up skills quicker as it is a fair amount of repetition of skills. A key moment of both courses which really change your view of the craft is the first time you work on a production block – working on sets for college shows. You really understand the flow and pace a workshop requires and the speed and quality required of your skills.

Bea working on a set at the RWCMD Llanishen Workshop

What do you hope the visiting Radyr students take away from their time in the workshop? Are there any specific skills or “lightbulb moments” you’d love them to experience?

We hope that the students will walk away from their visit to our workshop with a realistic view on what a career in the creative arts could look like. That they can see that there is more to art courses and more to drama courses than is widely known, and that there are many more options for them after high school! Ideally, we hope that a few would take an interest into specifically the courses that our college provide, however a wider horizon for their futures is the main goal. 

A lot of 16–25 year olds worry that creative careers aren’t “real jobs.” As someone training for a specialist backstage role, how would you respond to that concern?

I think that as a society we have put a lot of pressure for young people to want so called “real jobs” but in actual fact all paid work is a real job! You do not have to be a doctor or a teacher to feel good about your career, if your work excites you and you are paid your worth, then any job is a valued one. I mean some people pay the rent by kicking a ball around! The path I am heading down may not always mean financial/job security, as I may need to work freelance, but this is a possibility I am willing to take on to do a job I enjoy and find fulfilling. Also, at RWCMD we have lectures about finance, being a freelancer, how to apply for grants, and other useful topics for entering the work force after college. 

Bea working on the get in for The Sweet Science of Bruising in the Bute Theatre at RWCMD.

If a young person reading this is curious about backstage work but isn’t sure where to start, what would you suggest they do next — any courses, experiences, or first steps you’d recommend?

I would recommend going to as many open days as possible and gain a good understanding on every niche backstage role you could work towards. I would also recommend looking at Screen Alliance Wales’s website as they provide tours, courses, and shadow placements for a wide variety of workplaces. 

The visit was supported by Mrs Power, Head of Music at Radyr, Comprehensive School, she kindly chatted with us about the workshop.

Mrs Power, what made you feel this was RWCMD Workshop was an important opportunity for your students?

An insight into options post A level will inspire our young people in the areas they could get involved with as a possible career. Its a great opportunity for our students from the Art Music and Drama Departments to mix and work with young people slightly older themselves who are training for careers in the Creative Industries, its gives them some ownership of their future career pathways.

For many young people, the backstage world feels hidden. Why do you think it’s valuable for students to experience hands-on creative work rather than just hearing about it?

Its real, authentic and engaging, our students will definitely remember today! We value the informal conversations between the groups of young people today. It great for them to speak to Bea who is so enthusiastic.

Why is it important for schools and creative institutions like RWCMD to work together when it comes to showing young people the full landscape of creative industries in Wales?

As a teacher you are there to deliver the curriculum every week, we very much value these types of opportunities today, it inspires and invigorates our students to achieve in school as they can see what’s possible as they develop and mature. We have been lucky enough o have music students and lecturing staff to come into school and share their knowledge with our staff and students. They provide life changing opportunities.

As schools across the UK — and Wales in particular — see a significant long-term decline in students taking A-level Drama, concerns are growing about the future of the performing arts pipeline. The number of A-level drama students across the UK has plummeted by over 50% since 2010

Organisations, such as the Campaign for the Arts, have expressed concern about this trend, highlighting the importance of creative skills for the growing creative industries sector in the UK. The Welsh Government has indicated an interest in redressing this balance through the new Curriculum for Wales, which places importance on creative and expressive arts, but the impact of this is still developing.

To explore what this means for young people, training providers, Welsh Actors and the wider creative sector, we spoke with Viv Goodman, lecturer on the AS and A Level Drama & Theatre Studies course across Coleg Gwent. Viv sheds light on she thinks might be driving the decline — and what might be done to reverse it

Hi Viv great to catch up again after our previous interview which focused on your work with Welsh Playwrights and your students on in your previous role as a lecturer on the Extended Diploma in Performing Arts course at Coleg Gwent. Why do you think fewer young people in Wales are choosing Drama at A-level, and what misconceptions do you hear most often?

I think that prioritising and promotion of STEM subjects has certainly become detrimental to the Arts, it feels as if we’re back to the days of defending our place in the curriculum, whereas that hasn’t always been the case. I find this frustrating as I have worked with so many incredible creatives at Coleg Gwent over the years and the difference they have made to learners in terms of their skills, aspirations and personal development is immeasurable.

We are very strong here across vocational and A Level creative subjects (I have been lucky to teach in both areas) and it’s left me with enormous admiration for tutors in the areas of Performing Arts ,Music, Art, Photography, Media and Film. I’m also uncomfortable with the feeling that we are in competition with STEM subjects, when really, the breadth of subjects and the opportunities they all bring is surely the ultimate aim for education and employability. I think in terms of Drama that it’s left many comprehensive school timetables or been reduced, and so it is possibly not perceived as an option going forward. The A level course can be taken without having studied GCSE Drama and this is perhaps the message that needs to get out there now. 

Is the decline in A-level Drama having a visible impact on who enters performing arts training — in terms of skills, confidence, or diversity of backgrounds?

I think if it isn’t already having an impact then it certainly will do; I feel that there are potential industry professionals who are not getting early access to theatre and Drama and this embedding of the arts is crucial to it becoming familiar and comfortable for pupils; from that early stage, they are more likely to see the arts as viable career options. Equality and Diversity are thankfully being promoted in lots of ways, but in terms of real opportunities, we’re not actually creating enough of them. Early experiences of theatre will also, crucially, create the audiences of the future and we should also be thinking about that. 

How do you see the Welsh context specifically shaping this issue? Are there barriers or opportunities unique to Wales?

There are opportunities that are unique to Wales in terms of our place in TV and Film production in particular: it’s a real string to our bow that courses in Media, for example, use Welsh crime drama Hinterland/y gwyll as a case study.

I make a lot of connections to the Welsh theatre industry in my teaching , not only going to see productions, but also discussing the international success of some of our theatre pieces. Grav, created by Owen Thomas, Peter Doran, and actor Gareth John Bale, and first performed by the Torch is an excellent example. I have worked with the Grav team so much and used the play/production in a number of lessons, its a brilliant example of Welsh Theatre.

I think that Welsh theatre is becoming more confident and ambitious with the recent launch of the Welsh National Theatre and Fran Goodridge’s, Sherman Theatre, Artistic Director plans to connect the Sherman Theatre, Cardiff with The Royal Court, for example. My hope is that opportunities for future industry professionals will  grow from the impact of these changes.

What risks does this long-term decline pose for the future of the performing arts workforce in Wales — both onstage and backstage?

I think that we need to address the issue in education quite quickly and promote the fact that the creative industries are essential to the economy; I feel there is still a misconception that the arts are a luxury. Without training and opportunities for young people in theatre, film and tv the industries will struggle further in  future and I don’t think this is taken seriously enough at the moment.

What would you say to a student, teacher, or parent who believes Drama is ‘less valuable’ than other subjects?

I would say that any accredited qualification will have had to jump through hoops to attain the accreditation in the first place, so they are all viable from that point of view. There are so many reasons to study Drama other than wanting to enter the performing arts professionally: the transferable skills of team work, problem solving, working to group deadlines, communicating meaning through creative decisions are all essential in other professions. Every year I have A Level Drama learners who study the subject alongside the sciences and the experience equips them with excellent interpersonal skills that become evident when they present themselves to universities. Also, we’re in a place where mental health and well being are a significant issue for young people and the experience of Drama is enormously helpful for processing emotions and fostering a sense of belonging. 

What actions from policymakers or education leaders would make the biggest difference in reversing the decline?

From a UK and Wales wide perspective, I think we need to present STEAM rather than STEM as the tagline and go back to reinforcing the ‘broad and balanced’ approach towards education. As I mentioned earlier, I have now worked with vocational and A level teams across three sites of Coleg Gwent and the experience has opened my eyes to the expertise and inspiration that teachers offer learners across the curriculum. I really think that education leaders and policymakers need to promote all opportunities with equality if we are to create a workforce that is fully prepared in terms of skills and well being; that’s what makes people fit for work.

Taking Flight Theatre Company is delighted to have been honoured with the inaugural Lifetime Impact Award at the Get the Chance Cultural Impact Awards 2025 last month, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff.

Taking Flight makes bold, unusual theatre productions with Deaf, disabled, neurodivergent and non-disabled performers. Their work tours Wales and beyond. Alongside touring work, they nurture the next generation of disabled talent, both on stage & behind the scenes. They do this through running inclusive professional training courses & mentoring schemes for people who identify as Deaf or disabled & are looking for the next step into a career in theatre, or to develop existing skills & build confidence.

With approaching 17 years’ experience in creating accessible theatre, they have become the “go to” organisation in Wales for advice, information or inspiration on integrating access & working with inclusive casts.

Artistic Director Elise Davison said:

“We are absolutely thrilled to have been given this lovely award. We were rather overwhelmed, and very happy to have our work of the past 17 years or so recognised in this way. We’d like to thank everyone who has made this journey possible and welcome the steps that the industry in Wales is making towards becoming more inclusive for audiences and professionals alike. Let’s keep shouting about access, eh? It really does make the work better for everyone.”

Guy O’Donnell, director of Get the Chance said:

“Taking Flight won the Get the Chance, Lifetime Impact Award because of the ongoing positive change they have led on for the cultural sector in Wales.

They featured strongly in many of the Categories for this year’s awards, demonstrating their reach amongst the arts sector and the public.”

Sara Beer, director of change at Craidd is also a longstanding member of Taking Flight’s board of trustees. Sara was invited to present the award to the company by Get the Chance, and said:

“Taking Flight creates excellent, accessible theatre and the impact they have had on Deaf, disabled and neurodivergent creatives has been huge, providing brilliant opportunities and raising awareness of the talent that for so long has been overlooked.

The company also provides high quality training for theatre creatives across Wales. This means that there are now many more audio describers available to companies who work in both English and Welsh and a pool of creative enablers to support freelancers and companies to provide inclusive, accessible environments for everyone.

It is remarkable that the majority of their work has been created on project funding and their determination and belief in making important accessible theatre of the highest quality. Now that they are revenue-funded by Arts Council Wales I’m sure there are going to be many exciting times ahead”.

The award comes at an exciting time for Taking Flight as they enter the production phase of their latest show, a fully accessible BSL/English production entitled Martha that will open at Cardiff’s Sherman Theatre this May. Martha is set in the near future, in a world where sign language has been banned and Deaf culture driven underground – a cautionary cabaret about the dangers of oppression and totalitarianism. More information can be found here:

Martha

As the weather turns frosty, it feels like we too have stepped beyond the fur coats and into our own endless winter. But if that means joining the Pevensie children on an adventure, then this winter brings plenty of warmth!

The stage adaptation of C.S. Lewis’s “The Lion, the Witch and the Wardrobe” is a magical experience that brings Narnia to life. Directed by Michael Fentiman, this production blends music, puppetry, and energy, making it a treat for fans old and new.

The Wales Millennium Centre delivered an unforgettable experience. Marking the novel’s 75th anniversary, this adaptation enhances the beloved story’s magic. With breathtaking staging and a talented cast, it brings the wonder and adventure of Narnia to life.

From the moment the lights go down, the visuals are breathtaking. Tom Paris’s set and costumes transport the audience into the snowy forests and the White Witch’s icy castle. The puppetry, especially in bringing Aslan to life, is wonderful. Actor, Stanton Wright, along with a team of puppeteers, makes the lion feel both powerful and real.

The music by Benji Bower and Barnaby Race adds depth with folk-inspired melodies. A unique touch is the actors’ playing instruments live on stage, making the atmosphere even more immersive.

The cast shines, led by the four Pevensie children, who capture both the wonder and sibling squabbles of youth. Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy), and Bunmi Osadolor (Edmund) bring their characters to life, making Edmund’s transformation from selfish to redeemed very moving.

Katy Stephens is both chilling and captivating as the White Witch. Archie Pope’s Mr. Tumnus is warm and endearing, and his nostalgic song about spring is a show highlight. Ed Thorpe’s Mr. Beaver brings the perfect amount of humour, while Anya de Villiers as Mrs. Beaver is equally delightful.

 The audience reacted with gasps of wonder and enthusiastic applause, especially during the wardrobe’s magical transformation into Narnia. The mix of humour, adventure, and emotion made the show enjoyable for all ages.

Some special effects may not be as striking from seats farther away, and the first half’s pacing is uneven, with some scenes dragging while others felt rushed. At times, the music overpowers key dialogue. Aslan’s portrayal as both a puppet and an actor is creative, but some may find the transition a bit distracting. 

And of course, no matter how magical the show, it doesn’t come with a real portal to Narnia. Some audience members (myself included) might leave a little disappointed after checking the back of their wardrobes at home!

This adaptation is a brilliant retelling of a beloved story. With strong performances, stunning visuals, and immersive music, it captures the heart of C.S. Lewis’s classic. Despite minor flaws, the passion and creativity behind this production make it must-see. Whether revisiting a childhood favourite or discovering Narnia for the first time, this show is a magical and unforgettable experience.

Taking off my critic’s hat for a moment—this production completely swept me away. I could go on and on with praise, but I urge you to see it for yourself. I felt like a child again, lost in a magical world brought to life in the most fantastic way. It’s 317 days to Christmas, but in Narnia, every day could be Christmas. If I could exist in both the real world and Narnia like the Pevensies, it would be a dream come true!

The BBC sitcom ‘The Vicar of Dibley’ is a representation of British comedy at its finest. They just don’t make comedy like it anymore so what a treat it was to find that the well known show had been adapted from screen to stage.

The Vicar of Dibley follows the journey of a confident female vicar with a huge personality, as she becomes the vicar of the church in a small, conservative village where her presence is not, at first, welcomed.

Walking into ‘The Mix’ at Theatr Clwyd, we were met with a simple set that was effective in supporting the cast to tell the story. Scenes moved between the Dibley Parish Hall, the church vestry and the Vicar’s living room. Particular effort had been made to ensure that each set was instantly recognisable, and certain aspects could be likened to the locations seen on our screens. Lighting was used effectively to complement the set. For example, the stained glass church window that was lit from the back to highlight its beauty, and the light that changed as the door to Geraldine Granger’s (Nicola Simonds) living room opened and closed.

A particularly nice touch was the invitation given to the audience to join in with the hymn during one of the church service scenes – song words were included at the back of the programme. This provided audience members with a well received, immersive experience. Unfortunately, the decision was made not to use microphones during this performance which did, at some points, hinder the flow of the dialogue. The volume of the laughter after some of the comedic lines meant that the next line was missed by the audience.

The casting of this production was excellent and it was evident that each cast member had studied their character, and their characteristics. Alice (Sara Griffiths) and Hugo (Luke Crofts) were particularly convincing- their on stage double act was hilarious and they were extremely well received by the audience. Owen (Ben Wheelhouse) and Frank (Eric Jones) were also instantly recognisable as the much loved characters that once graced our screens.

A huge congratulations to the cast and crew of this production. The team is small, but evidently mighty. My first experience of watching a Phoenix Theatre Company production and, God willing, it won’t be my last!