Hi I am Guy the project coordinator for Get The Chance. I am a trained secondary teacher of Art and Design and have taught at all Key Stages in England and Wales. I am also an experienced theatre designer and have designed for many of the theatre companies in Wales.
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!
An orchestra must play as an act of defiance. Few would deny this upon seeing the Ukrainian Freedom Orchestra after their invasion from Russa back in 2022. The Songs for Ukraine Chorus are also made up one hundred and sixty singers, of those effected by the conflict. Prior to this all consuming concert at St Paul’s, a few speakers told of the importance of these musicians. Most telling, was General Valeriy Zaluzhny, UK Ambassador to Ukraine, who spoke of the utmost urgency of the events occurring in their home country. Having also followed other conflicts since, it really hit me hard just how impactful this has been to the world.
A fine opening with Bucha, Lacrimosa by Victoria Vita Polevá, which detailed the massacre Russia commit in spring of the year of invasion. With violinist Marko Komonko, this was deeply impactful…I was lost in the emotion the whole thing. Not dissimilar to Arvo Pärt and John Tavener, a feeling of the sacred minimalist took over the massive space. Terrifying metallic percussion stood out and possible electronics were a softer fiber in the overall orchestration. Komonko played stupendously. A gentle handling of the strings and their harmonics was another compelling element. Polevá took a bow at the end and proves she is a composer to watch out for.
Two hundred years have passed since the advent of Beethoven’s 9th Symphony, sometimes dubbed the ‘Choral’. Often used as a marker during times of conflict, this was particularly hefty with these players. Conductor Keri-Lynn Wilson graciously led all through the epic piece: its primordial opening, melodic pixelations, piercing melodic bite and earthy ruminations. The acoustics of the cathedral did frequently blur the focus, yet other times its vapours were highly rewarding. I’d say the last three movement had passages were the sound worked but other bars were like mush. We can leave that aside thanks to the context of the evening.
Also sung in Ukrainian, adding extra layers and personal touches. The four soloists Olga Bezsmertna, Natalia Kukhar, Valentyn Dytiuk and Andrii Kymach wowed with their respective sung momentum. Kymach in his baritone, may have been at the mercy of acoustics, though often delighted with a burr, you’d expect from the range. Olga Bezsmertna had a frequent smile on her face, lost in the music, soaring notes she fared very well in and constantly engaged with the audience. Natalia Kukhar as mezzo added to the pot, her time with Olga some sweet, touching remembrances. Tenor Valentyn Dytiuk, got a famous, cheery solo with an almost ommpa band styling, towards the end, a voice that you want to hear again. Of course, the recognisable Ode to Joy, left me highly moved and this crowd loved what they heard. The lady sat behind me also remarked about the acoustic, though stated the concert was “symbolic”.
An encore by Yuri Shevchenko: WE DO EXIST! was a paraphrase to the melody by M. Verbytskyi (National Anthem of Ukraine) for violin and strings. All stood for what we assumed was a more traditional take in the anthem, though this version was eerie and chilling. A concert for the history books.
Hi Sophie, great to meet you. You are currently studying Music Performance (Flute) at RWCMD, Cardiff, can you give our readers some background information on your career to date?
Hi Guy, it’s lovely to meet you too! I have been playing the flute for 13 years, previously studying with Berkshire Music Trust, (a registered charity who support everyone to have access to music education regardless of their background) …or Berkshire Maestros as it was known back then! Throughout my time with them I played in numerous ensembles, the most senior being Berkshire Youth Symphony Orchestra, Newbury Concert Band and Newbury Flute Choir.
Since joining the RWCMD in 2020, I have been part of the RWCMD Symphony Orchestra and also formed the Eira Quintet and the Corriera Trio with other members of the college.
So, what got you interested in the arts?
I have always been interested in the arts as a whole, singing was one of my hobbies from the moment I could get words out of my mouth! It was actually my mum who got me interested in playing the flute, as she had her old one in the house and let me have a try when I was 8 years old. I fell in love with it straight away and have never looked back since.
What importance does music have in your life and how have you combined the life of a student musician and opportunities to perform live in your professional career?
Music is at the heart of who I am. There is not much I do without having music of some description either playing in the background, or playing it myself. It is something that I use to help regulate my mental health, as I believe music can be so empowering regardless of whether you are the listener or performer. The college provide us with many opportunities to sign up to perform, both inside the college and out in the community, so it is all about finding a balance and being disciplined and realistic with how much you can take on alongside the mandatory work that comes with the degree. Alongside this, I often go to schools or learning centres with my ensembles to do community workshops, which is something I hope to continue doing throughout my professional career.
The Royal Welsh College of Music & Drama is a Conservatoire, some of our readers may be unfamiliar with this term, how does this differ to study at a University?
That is a great question! Studying at a conservatoire is a lot more performance based than studying Music at a university. We have two solo performance recitals per year (one short, one long), a technical exam specific to our instrument, an orchestral excerpts exam and an ensemble recital. There is still some written assignments each year, however these aren’t as heavily weighted.
Along with the members of The Eira Quintet you are part of one of the RWCMD, Woolcott Residencies, these provide students with the tools, support and mentoring needed to set themselves up as creative businesses working in a collaborative, entrepreneurial manner. They are an innovative training programme designed to support RWCMD students working within the community, and to give local people a sense of ownership of the arts. Your Residency is based at St Johns Church adjacent to The Hayes, Cardiff. How did you come to be involved in this project and what are your ambitions for its delivery?
The opportunity to become the artists in residence at the church was advertised to the students at college, so we applied and were lucky enough to be offered the position! We have a few different plans for concerts to deliver at the church, including one hopefully collaborating with the choir, as well as workshop ideas for local schools and members of the community. We were also honoured to perform as part of the St David’s Day service and hope to be involved in more of the church’s events across the residency.
As part of the Woolcott Residency, each ensemble will be encouraged to curate and nurture their own relationship with a venue, delivering regular educational workshops, concerts and participatory sessions for at least a year. You will be performing in the Church in the near future, how do you approach performing in a church and what has the response been so far?
Yes, we are really looking forward to this performing, we have some really fun music lined up! Performing in a church definitely brings some challenges due to the boomy acoustic, so we have to make sure we over do any detail in the music for it to come across. Also, as the venue is a sacred place, we always make sure to have conversations with the church clergy to make sure they are happy with the music we perform and the way we use the space. So far we have had a very positive response from both the clergy and the members of the community towards our performances, as well as from the Mayor of Cardiff and staff from the Cardiff and Vale Music Service.
You also recently performed in The Old Library as part of Pamela Howards, Welcome to Wales Exhibition. The exhibition had a theme of retracing the stories of immigrants who’ve travelled through and to Cardiff. As young musicians how can you reflect contemporary society?
I think our work at the exhibition reflects the positive direction that society is going in in recognising the struggles that have happened in our history and working on preventing them from happening again. We are very fortunate to have the luxury of studying at RWCMD, so I think it is fantastic that these stories are being given the setting to be shared both with us as students and the wider community. We always strive to include a diverse range of composers in our repertoire to reflect how society is moving in this direction.
If you were able to fund an area of the arts what would this be and why?
If you had asked me this question a couple of years ago then I would have said music education without a doubt, as I believe that it is so important both for a child’s development but also for the future of the arts as a whole. However, in light of recent events I would now choose to fund professional orchestras and venues as they are now the organisations that are struggling with a lack of funding.
What currently inspires you about the arts in the Wales?
I find the Welsh Government’s attitude to music education very inspiring! They see the importance of music in schools and have put a plan in place to allow children of all ages to participate in musical activities and/or learn an instrument without any limitations of cost. I think this is exactly what the future of the arts needs and it brings a lot of hope into the sector.
What was the last really great arts event that you experienced that you would like to share with our readers?
I may be biased, but I recently went to the “Opera Double Bill” at the Sherman Theatre. This was a performance of Puccini’s Gianni Schicchi and Resphigi’s La Bella Dormente Nel Bosco by RWCMD’s David Seligman Opera School. As far as I know, everything from the set design to the musicians on and off stage was done by college students, and it was all to such a high standard. I enjoyed it so much that I went every night!
If you are interested in study at RWCMD you can find out more about future Open Days here
In this short article Priscilla Addey-Blankson, Race Council Cymru, Windrush Cymru Elders, Project Officer gives an overview of the collaborative work of Race Council Cymru and Royal Welsh College of Music and Drama to connect communities through the arts.
Hi I am Priscilla, I work for Race Council Cymru and hold the role of Windrush Cymru Elders Project Officer. I am originally from Ghana and I have dedicated the past year and a half to working closely with the Windrush Elders community.
In my capacity, I act as the primary point of contact for the RCC, Windrush Elders and their associated projects. My responsibilities extend to planning and coordinating various events and activities for the Elders, actively collaborating with them to develop, promote, and implement enriching projects. I am deeply committed to supporting and enhancing the well-being of the Windrush Elders community through my role.
The Race Council Windrush, Cymru Elders meet every Thursday at RWCMD, the group often have speakers and share information about activity in their community. The group recently had a visit from Anna Mudeka who played the role of of legendary South African singer and activist Miriam Makeba in Mama Afrika which was performed in College recently.
Anna shared the compelling narrative of her life journey, delving into her musical pursuits and cultural heritage. She captivated everyone with the introduction of the Nyunga-nyunga, a traditional musical instrument, explaining its details and how it works, gladly fielding the Elders’ inquiries.
https://youtu.be/pE9HtMGr2Qg?si=7QmB9sP1vqIsXiAg
Ms. Mudeka shared her personal challenges, drawing inspiration from her icon, Miriam Makeba, and emphasizing the profound impact Makeba had on her own musical journey.
https://youtu.be/AyA4tytL9pg?si=BLw7h-7hCKXHEoOl
The session unfolded with Anna Mudeka’s enchanting Swahili music, actively involving the elders in the Hakuna Matata song. The interactive nature of the performance allowed The Elders to proudly shout out their countries of origin.
In a delightful moment, Anna Mudeka introduced The Elders to the distinctive click sounds used in her songs, offering a brief tutorial and incorporating it into her performance. The session further featured a recitation of poignant poems by Nelson Mandela and Miriam Makeba, concluding with the lively Dance Pata-Pata music that had The Elders joyfully swaying.
Anna said of the activity “I really enjoyed meeting The Elders and I knew straight away that this would be a learning experience for me too. I loved listening to them talk about their love for Wales. It was a joy to share some time with them all.”
Anna Mudeka centre and the RCC, Windrush Cymru Elders
The entire experience evoked nostalgic reflections, with Elders sharing amusing childhood stories. A particularly resonant quote emerged from the session: “It’s not the reports that are going to change the world; it’s taking a plate of food to your neighbour and listening to music together.”
You can find out more about the Race Council Cymru, Windrush Cymru Elders here
You can find out more about the work of the Communities Engagement Partner at RWCMD here
Cyn i ymarferion ddechrau ar gyfer Y Fenyw Mewn Du yn yr Hydref, gofynnon ni cwpl o gwestiynau i’r actor Tom Blumberg am straeon ysbryd, ei ofnau a’i fywyd newydd yn Toronto.
Pam ddylai cynulleidfaoedd ddod i weld Y Fenyw Mewn Du?
Os ydych chi’n hoffi arswyd ac yn mwynhau cael dipyn o fraw (fel fi), mae’r stori yma’n wych, ac yn llawn eiliadau iasol pur. Ond y prif reswm yw bod prinder straeon arswyd ac ysbryd yn y Gymraeg – wedyn mae hyn yn teimlo fel rhywbeth gwahanol, ac yn gyfle eitha’ unigryw….yn enwedig dros gyfnod Calan Gaeaf!
Ai hon yw’r stori ysbryd gyntaf i chi actio/cyfarwyddo/addasu? Beth sy’n ei gwneud yn arbennig/wahanol?
Ie. ‘Dw i wrth fy modd gyda straeon ysbryd ac felly ‘dw i wedi gweld lot ohonyn nhw, ac mae’n hynod o gyffrous i fod ar yr ochr arall, yn perfformio un am unwaith. Be sy’n ei wneud yn arbennig dw i’n meddwl yw bod y stori’n cael ei pherfformio yn Gymraeg, mae rhywbeth barddonol am yr iaith Gymraeg sy’n gwneud y stori hyd yn oed yn fwy effeithiol yn fy marn i – mae’r delweddau yn fyw ac yn effeithiol iawn.
Rydych wedi symud i Ganada yn ddiweddar, beth ysgogodd y mudo yma, a beth wnaeth i chi gytuno i ddychwelyd i Gymru ar gyfer YFMD?
Do ! Ar ôl 2 flynedd o aros yn yr unfan dros y pandemig, o’dd hi’n teimlo fel amser am antur ! ‘Dw i wastad wedi bod eisiau byw dramor, ac mae Canada yn wlad mor brydferth roedd o’n teimlo fel y lle delfrydol – yn enwedig gyda rhai cyfleoedd actio ar gael yno hefyd, yn golygu gallwn i ddod o hyd i waith yno. Dw i wrth fy modd yno hyd yma. Roedd YFMD ar y gweill cyn i mi allu cadarnhau fy fisa, ond mae wastad wedi bod yn freuddwyd i fi chwarae’r rhan ers i mi fynd i weld y ddrama yn Saesneg yn y West End pan o’n i’n ysgol ddrama. Mae’n fraint cael chwarae rhan yn ‘premiere y byd’ o’r stori yn y Gymraeg, felly ‘doedd dim rhaid i fi feddwl ddwywaith am ddychwelyd o Ganada i fod yn rhan o’r cynhyrchiad gyda chwmni sydd wedi ‘nghefnogi i ers blynyddoedd lawer, cwmni sydd yn agos iawn at fy nghalon – a gyda thîm delfrydol o artistiad a chriw cynhyrchu. Dw i wedi siomi braidd y byddai’n colli fy nhymor Calan Gaeaf cyntaf yng Ngogledd America, achos dwi’n gwybod ei fod yn gallu bod yn eitha’ gwyllt yno ac maen nhw’n mynd i gymaint o ymdrech – ond mi fyddai’n perfformio’n fyw mewn stori ysbryd ar lwyfan, wedyn mae’n fargen digon teg dw i’n meddwl.
Beth sy’n gwneud i chi grynu?
Yr eiliadau mwyaf brawychus i fi mewn unrhyw straeon arswyd yw’r awgrymiadau bach yna o arswyd – fel pan gewch chi gip ar rywbeth sy’n gwneud i chi gwestiynu a wnaethoch chi ei weld mewn gwirionedd, neu ai’ch meddwl oedd yn chwarae triciau arnoch chi, yn dychmygu pethau. Yr eiliadau bach hynny o ddirgelwch, cipolwg o ffigwr tu ôl i chi mewn drych, siapiau rhyfedd yn y cysgodion – pan mae’r dychymyg yn rasio yn wyllt … dyna’r eiliadau mwyaf cyffrous dw i’n meddwl.
Pam fod gwneud theatr yn Gymraeg yn bwysig i chi?
Mae theatr Gymraeg yn hollbwysig : mae’n hybu’r defnydd o’n hiaith fendigedig o fewn profiad hwyliog a difyr. Mae’n cynnig cyfle hefyd i ddysgwyr gael ymdrwytho yn y Gymraeg y tu allan i’r ystafell ddosbarth, sydd yn allweddol dw i’n meddwl. Dw i hefyd yn meddwl bod y math yma o straeon ysbryd yn cael eu perfformio mor anaml yn y Gymraeg, mae’n grêt gallu rhoi’r cyfle i Gymry Cymraeg brofi stori ysbryd fyw yn ein hiaith hyfryd ein hunain – a dw i ddim yn siwr iawn pam, ond mae’n teimlo’n fwy real yn y Gymraeg !
Oes gennych chi unrhyw straeon ysbryd eich hun yr hoffech chi eu rhannu?
Ddwlen i allu neud hynny ! Dw i wrth fy modd gyda straeon ysbryd, a chlywed profiadau pobl eraill o’r oruwchnaturiol, ond dydw i byth wedi cael profiad ysbrydion fy hun ! Ond dwi’n un o’r bobl od yna fyddai’n falch iawn o gael y fath profiad – mae’n rhywbeth cyfareddol dw i’n meddwl, yn hytrach nag yn frawychus. Mae’r byd go iawn yn llawer mwy brawychus i mi – mae’n gysur i mi rhywsut meddwl bod yna eneidiau o’r gorffennol yn symud yn ein plith … cyn belled bod nhw ddim yn dod ag unrhyw felltithion erchyll fel mae’r fenyw mewn du.
Mae’r tîm a oedd yn gyfrifol am Shirley Valentine y llynedd yn troi o chwerthin i iasau yn yr hydref gyda premiere y byd o Y Fenyw Mewn Du, cyfieithiad Cymraeg newydd o’r ddrama ysgubol o’r West End, The Woman In Black.
Mi fydd siaradwyr a dysgwyr Cymraeg wrth eu bodd i glywed y bydd cynhyrchiad arall at ddant pawb gan y Consortiwm Cymraeg yn cael ei lwyfannu ar draws de Cymru yn yr hydref eleni. Wedi cyfareddu cynulleidfaoedd yn 2022 gyda dogn reit dda o chwerthin, eleni mae’r tîm yn gobeithio clywed mwy o sgrechian na chwerthin gan gynulleidfaoedd wrth gyflwyno llwyfaniad newydd sbon danlli o gynhyrchiad sydd wedi bod yn arswydo cynulleidfaoedd yn Llundain ers 30 o flynyddoedd.
Dywed Geinor Styles :
“Rwy’ wrth fy modd yn cael fy nychryn. Ers i mi fod yn ifanc iawn, rydw i wastad wedi caru straeon ysbrydion a bwganod. Pan ddarllenais i The Woman in Black gan Susan Hill fe ddychrynodd fi gymaint roedd yn rhaid i mi osod y llyfr gyda’r clawr yn wynebu am i lawr, fel ‘mod i byth yn ei gweld hi – Y Fenyw. Weles i addasiad llwyfan Stephen Mallatrat yn y nawdegau cynnar. Roedd yr addasiad o’r stori nid yn unig yn glyfar iawn, ond mi lwyddodd i f’arswydo, ynghyd â phawb arall o’m cwmpas yn y theatr.
Mae’r storio syml yn y sioe yn dyrchafu nerth theatr a’r gair llafar. Mae’r atgof wedi aros gyda fi, a dyma un o fy hoff ddramâu. Blynyddoedd wedyn, yn dilyn sesiwn adborth gyda chynulleidfaoedd cynhyrchiad y Consortiwm o Shirley Valentine, awgrymodd dysgwyr Cymraeg i ni fod gweld stori neu ddrama gyfarwydd wedi codi eu hyder i fynychu theatr yn y Gymraeg. Hefyd, dywedodd y canolfannau mai straeon arswyd sydd yn gwerthu orau.”
Mae Y Fenyw Mewn Du yn adrodd hanes Arthur Kipps, cyfreithiwr sydd wedi cyrraedd i roi trefn gyfreithiol ar faterion Mrs Alice Drablow. Tra’n gweithio ar ben ei hun ar ei hystâd anghysbell, mae’n tystio aflonyddiad hunllefus ac yn syrthio ar drugaredd melltith y fenyw mewn du. Wrth geisio rhyddhau ei hun o’r dioddefaint yma a bwrw allan yr ysbryd am unwaith ac am byth, mae’n cyflogi actor i’w helpu i adrodd ei sori, ac wele, mae’r llwyfan wedi ei gosod ar gyfer un o straeon arswyd mwyaf bythwyrdd y theatr.
Wedi ei haddasu gan Stephen Malatratt o nofel gothig 1983 Dame Susan Hill, The Woman In Black yw un o’r dramâu mwyaf hirhoedlog ar y West End, ac mae wedi uno cynulleidfaoedd mewn ofn ers 30 o flynyddoedd. A nawr, dyma’r cyfle i gynulleidfaoedd Cymreig gwato y tu ôl i’w rhaglenni. Mae Y Fenyw Mewn Du wedi ei chyfieithu yn arbennig ar gyfer Y Consortiwm Cymraeg gan yr ysgrifennwr ac actor Gwawr Loader. Eglurodd Gwawr bwysigrwydd y cynhyrchiad iddi hi:
“Roeddwn wrth fy modd pan ofynnodd Geinor i mi ymuno â thîm Y Fenyw Mewn Du. Mae cael y cyfle i gyflwyno addasiad newydd o glasur y West End i siaradwyr a dysgwyr Cymraeg y cymoedd yn eu hiaith ei hunain, gyda naws Gymreig, yn gymaint o bleser. Gyda chostau yn codi drwyddi draw, mae’n hanfodol bod cynulleidfaoedd yn gallu mynychu theatr o’r safon uchaf yn eu trefi a’u pentrefi, ac mae Y Consortiwm Cymraeg yn rhagori ar gyflwyno gwaith i’r gymuned.”
Mae Y Consortiwm Cymraeg yn falch iawn i gyhoeddi mai Jonathan Nefydd (Pobol Y Cwm, The Way) a Tom Blumberg (Theatr na nÓg, Arad Goch) fydd yn chwarae yr Actor a Kipps.
Wedi ei gyfarwyddo gan Geinor Styles, cyfarwyddwr artistig Theatr na nÓg, mi fydd Y Fenyw Mewn Du yn cynnwys cerddoriaeth gan y cyfansoddwr Barnaby Southgate. Cynllunnir y cynhyrchiad gan Kitty Callister, y sain gan Ian Barnard, a goleuo a’r cynllun taflunio gan Andy Pike. Y cyfarwyddwr cynorthwyol fydd Llinos Daniel ac mi fydd y storïwr Owen Staton yn cynnal gweithdai adrodd straeon arswyd ym mhob lleoliad i gyd fynd â’r daith.
Sefydlwyd Y Consortiwm Cymraeg gan y cwmni theatr arobryn Theatr na nÓg, Ymddiriedolaeth Ddiwylliannol Awen, Theatr Soar a Neuadd Les Ystradgynlais, i gyflwyno theatr hygyrch o’r safon uchaf yn yr iaith Gymraeg. Mae’r Consortiwm hefyd yn bwriadu cyflwyno rhaglen o gyfranogiadau fydd yn galluogi cymunedau i wella eu sgiliau iaith a hefyd i ymwneud â chelfyddydau a diwylliant ar eu stepen drws. Daeth aelodau’r consortiwm at ei gilydd er mwyn ailgynnau egni a gwerth y canolfannau perfformio i gymunedau ar draws cymoedd De Cymru. Roedd cynlluniau’r Consortiwm eisoes ar y gweill cyn dyfodiad y pandemig Covid, ond wrth i’r canolfannau diwylliannol gau eu drysau, sylweddolodd aelodau’r Consortiwm bod yr angen am y fath ganolfannau hyd yn oed yn fwy difrifol – i sicrhau dyfodol yr iaith Gymraeg yn y cymoedd ac i i gynnal eu cymunedau bywiog tu hwnt i Bandemig Covid. Llwyddodd y cynhyrchiad cyntaf, Shirley Valentine gan Willy Russell, cyfieithwyd gan Manon Eames a pherfformiwyd gan Shelley Rees-Owen, BBC Radio Cymru, i wirioni yn ogystal â chynulleidfaoedd y gwanwyn diwethaf.
Mi fydd Y Fenyw Mewn Du yn agor ym Mhafiliwn Porthcawl nos Iau Hydref 26ain ac yn parhau yno tan nos Sadwrn 28ain cyn teithio i Theatr Soar, Merthyr Tydfil (2-4ydd Tachwedd, Theatr Borough Y Fenni (9-11eg Tachwedd) cyn dod i ben yn y Welfare, Ystradgynlais (16-18fed Tachwedd). Mi fydd tocynnau ar werth o ddydd Gwener Mai 26ain a cheir manylion llawn ar wefannau’r canolfannau, neu ar theatr-nanog.co.uk.
The team behind last year’s Shirley Valentine switches from laughs to chills this autumn with the world premiere of Y Fenyw Mewn Du, a new Welsh language translation of West End hit The Woman In Black.
Welsh speakers and learners will be pleased to hear there’s another crowd-pleaser from Y Consortiwm Cymraeg on stages across South Wales this autumn. Having delighted post-pandemic theatregoers in 2022 with a much-needed dose of laughter, this year the team is hoping for more screams than smiles from audiences as it presents a fresh new staging of a production that has been terrifying audiences in London for a full 30 years.
Director Geinor Styles explains:
“I love being scared. Since I was very young, I have always loved ghost stories. When I read Susan Hill’s The Woman in Black it scared me so much I had to have the book cover facing downwards so that I never saw her – The Woman.
I saw the Stephen Mallatrat adaptation for the stage in the early nineties. It was not only a very clever adaptation of the story but also terrified me and those who sat with me watching it in the theatre.
The simplicity of the storytelling in the show elevates the power of theatre and the spoken word. That memory has stayed with me and it remains one of my favourite plays. Years later, after a feedback session with audiences following the Consortiwm production of Shirley Valentine, Welsh learners suggested that a known story or play helped with their confidence in attending Welsh language theatre. Venues also said that their biggest sellers were thrillers.”
The Woman in Black tells the story of Arthur Kipps, a solicitor sent to settle the affairs of Mrs Alice Drablow. While working alone on her secluded estate he finds himself the subject of a terrifying haunting and at the mercy of the curse of the woman in black. In an attempt to rid himself of this misery and exorcise the ghost once and for all, he engages an actor to help him tell his tale, and thus the stage is set for one of theatre’s most enduring thrillers.
Adapted by Stephen Malatratt from the 1983 gothic novel by Dame Susan Hill, The Woman In Black is one of the longest-running West End plays ever, having united audiences in fear for 30 years. And now it’s the turn of Welsh audiences to hide behind their programmes. Y Fenyw Mewn Du has been especially translated for Y Consortiwm Cymraeg by writer and actor Gwawr Loader. She told us why she feels this production is important:
“I was thrilled when Geinor asked me to be a part of the team of Y Fenyw Mewn Du. Having the opportunity to present a new adaptation of a West End classic to the Welsh-speakers and learners of the valleys, in their own language and with a Welsh spin is such a pleasure. With costs rising across the board it’s vital that audiences have access to theatre of the highest standard in their towns and villages and Y Consortiwm Cymraeg excels at taking work to communities.”
Y Consortiwm Cymraeg are delighted to announce that Jonathan Nefydd (Pobol Y Cwm, The Way) and Tom Blumberg (Theatr na nÓg, Arad Goch) will play the Actor and Kipps.
Directed by Geinor Styles, artistic director of Theatr na nÓg, Y Fenyw Mewn Du will feature music by composer Barnaby Southgate. The production is designed by Kitty Callister with sound design by Ian Barnard, and lighting and projection design from Andy Pike. Llinos Daniel will assistant direct and storyteller Owen Staton will be running ghost story-telling workshops in each location to accompany the tour.
Y Consortiwm Cymraeg was established by the award-winning Theatr na nÓg, Awen Cultural Trust, Theatr Soar and The Welfare Ystradgynlais to present high-quality accessible Welsh language theatre. Y Consortiwm Cymraeg also aims to produce a programme of participation for communities to improve their language skills and also engage in arts and culture on their doorstep. The four organisations joined forces to rekindle the vitality and value of live theatre venues to communities across the South Wales valleys. Y Consortiwm’s wheels were already in motion pre the COVID pandemic, but as cultural centres locked down, they realised that the need for these creative hubs was even greater – to help safeguard the future of the Welsh language in the valleys, and to support thriving communities beyond the Covid Pandemic. Their first production, Willy Russell’s Shirley Valentine, translated by Manon Eames and performed by BBC Radio Cymru’s Shelley Rees-Owen delighted critics and audiences alike last spring.
Richard Hughes, Chief Executive of Awen Cultural Trust said:
“Awen is thrilled to host the 2023 Consortiwm Cymraeg production of Y Fenyw Mewn Du this autumn and to bring this chilling tale to Welsh-speaking audiences in Porthcawl and beyond. Last year’s Consortiwm production of Shirley Valentine was extremely well received and I have no doubt people will be eager to see this haunting translation of the West End classic at their local theatre”
Y Fenyw Mewn Du premieres at Porthcawl Pavillion on Thursday 26th October, where it runs until Saturday 28th before touring to Theatr Soar, Merthyr Tydfil (2-4th November), The Borough Theatre Abergavenny (9-11th November), ending in Ystradgynlais at The Welfare (16-18th November). Tickets will be on sale from Friday 26th May and full details can be found on venue websites or at theatr-nanog.co.uk.
Image: Marathon of Intimacies: Jo Fong & Anuishye Yarnell, courtesy the artists.
Chapter is thrilled to announce Reciprocal Gestures: A Season of Movement and Dance, this September to December. The curated programme will celebrate shared moments and explorations of masculinity, queerness, ageing, the after-lives of colonialism, intimacy and community with performances and events from Gareth Chambers, Seke Chimutengwende, Emilyn Claid, Lewys Holt, Good News from the Future, Anushiye Yarnell and Groundwork Collective.
Across this season, performances from some of the most exciting contemporary dance artists come together alongside talks, open classes, scratch nights, screenings and special events, to put artistic sharing at the centre.
Chapter’s performance programme is a space for experimental and interdisciplinary live art practices, where artists are supported to take risks and audiences can find exciting, original, and accessible works. Chapter’s commitment to this work speaks to the rich history of supporting radical live art practices, and it’s unique position in Cardiff as a multi-artform venue with the capacity to support artists to develop their practice and share their work in dynamic ways.
Performance Curator Kit Edwards, shares some of her thoughts on this exciting new programme:
“The dance ecology in Wales is at a particularly exciting moment where artists across disciplines are coming together for creative exchange. A strong community of artists working with dance have made Chapter their home and we’re keen to celebrate what they’ve built and bring it into conversation with some incredible international dance artists who are performing in Wales for the first time.”
We last interviewed Welsh Playwright and Artistic Director of Chippy Lane Productions Ltd, Rebecca Jade Hammond, in September 2022 just prior to her play Right Where We Left Us being performed at Chapter Arts Centre. We caught up with Rebecca again during rehearsals of Mad Margot which is one of four plays, forming RWCMD New 23 Season.
Hi Rebecca, great to catch up again, it’s been 8 months since we last spoke, with the cultural sector finding a way through the impact of Covid how has your professional career been impacted by this difficult period?
Lovely to speak with you again. To answer your question, I think most writers still feel a sense of ‘world on pause’. It seems that emerging writers making traction pre-pandemic are now picking up the pieces and having to go again at a slower pace. I have always written but it wasn’t until 2019 that I started to take it seriously and since then I have seen steady (if not fast enough) progress. I often feel frustrated that I didn’t take the plunge and start younger, but then I check in with myself and remember that you reap what you sow regardless of age. You have to keep going, apply for everything, have those coffees (with no agenda), meet people, network, write, write, write and get better. At some point something has to happen. I always say: “you have to keep going, you’re too far in to go back now” – I believe this 100%.
Mad Margot is described as a new play that “charts epic events in young bodies, caught between childhood and adulthood in Bute Park, Cardiff.” Can you tell us more about this work?
I originally had this idea in 2020 attending the National Theatre Writers Group. I banked it, knowing that a writer at my point would never be given the opportunity until I was profiled.I let it percolate, wrote bits of it – but kept it for future possibilities. It wasn’t until my play RIGHT WHERE WE LEFT US was on in September 2022 that I was approached by Sherman Theatre and RWCMD with the offer of a commission. The brief was for it to be with ten actors and thread in Welsh translations with the support of Branwen Davies. Of course I accepted and over the last year we have worked hard to bring it to fruition.
MAD MARGOT is a piece about the disintigration of mental health in young women (specifically Margot’s) in the midst of teenage pregnancy. At a time when she should be protected, safe and supported she is alone and trying hard not to drown. Charting the murky world youngsters occupy between childhood and adulthood in Bute Park, MAD MARGOT explores mob-mentality, power-structured relationships and sexuality in relation to the system of patriarchy. Personally it is a nod to my youth growing up as a young Cardiffian in North Cardiff. Always out, not wanting to go home and building an urban family of friends. In fact, several of the characters are based on real people I grew up with including myself.
I have realised as a writer I am obsessed with the rhythm and timbre of dialogue and ensuring it’s as authentic as possible. This piece is incredibly wordy and hard to speak without speaking fast, breathing between punctuation and of course, in a Cardiff accent. It’s exhausting for the actors but rewarding. It’s also incredible to see how they’ve committed to the material. They’ve taken it and run. We are sharing the responsibility to serve this story.
The play is at once epic and historical in its approach yet hyperlocal in its gaze, taking place a stone’s throw from RWCMD in Bute Park. How have you combined these elements in your work?
I have left these ideas and concepts with Llew (Designer) and Jac (Director) both Cardiffians and Welsh speakers. Being deeply aware of the confines of NEW and the play being in Rep the only thing I asked for was it to feel like a vast space with leaf’s. I left everything else up to them to put their stamp and vision on the piece. I am a firm believer in collaboration – it’s the ultimate form of making art. No one can really do it alone and so I have left them to figure out the world in that way. Without giving too much away there are artistic nods to Cardiff, Bute Park and my youth. Also, this piece is a loose reimagining of MEDEA and so, it was important that the words, the performances and the story sing out loud without too much fuss and spectacle. Peter Brook once said “all you need is bodies in space to be engaging” and I like to think we will deliver this in the final production.
The production uses a range of pop culture references and contemporary slang, how did you approach these elements and have you had any feedback from young people? Were you worried about getting any of this wrong?
I mean, I don’t think I’m old yet. I am in my 30’s so I don’t think I had to dig that deep to connect to the material. However, I am a different gen to that of 16+ in 2023 and so I researched a lot about young people in Cardiff. I also worked with the students to ensure the characters sat authentically in their bodies and that the words felt realistic to them. It is amazing how much ‘being young’ is still exactly the same as when I was a teenager. The rules, politics, banter, bullying, dynamics and struggles are all as was. There’s something comforting but also deeply worrying that not much changed.
With regards to other elements, music is always a big part of my writing process and the worlds I build in plays. I have always wanted to integrate rap music into one of my stories and this seemed like the perfect opportunity working on a young persons piece. We actually collaborated with another student Israel J. Fredericks (El Guapo) on creating a rap section for one of the characters who wants to be the next ArrDee / Central Cee. Israel wrote a rap and together we found a beat based on a detailed brief I gave him on the character. This process was enlightening and supportive. Giving our piece another opportunity to utilise the talented skill sets of the students. We are also utilising the ballet experience of one of the actors, singing and Welsh speaking. Continuously having a dialogue and making them part of the conversation. It’s been an organic / openly creative journey for us all getting to this point.
Mad Margot is one of four new plays which will premier at RWCMD at the end of May before transferring to The Yard Theatre, London in early June. The NEW season from RWCMD “showcases its commitment to empowering the next generation of actors, collaborating with the UK’s best writers and directors, and bringing new voices and diverse stories to the stage” Why is this work to support emerging actors and the UK’s best writers and directors important to you?
NEW is an important part of the college’s history and as a writer a gift to be able to explore work that has big casts, epic themes and enables you to experiment with form. It’s a tricky task, but I have seen so many NEW pieces over the years I knew exactly what should be done. Shout-out to Daf James’ FOR ALL I AM in 2016, which in my opinion is the benchmark for when the brief marries up perfectly. From the story, to the characters, to utilising the students and the execution of performance – it is a masterpiece. I am aiming for that… wish me luck.
MAD MARGOT is also significant because it’s the first time NEW has had a bilingual piece in English and Welsh and has several Welsh students in one piece. Platforming RWCMD commitment to Welsh talent and celebrating the Welsh language. For the student/actors, it is the last show they perform before going into the industry. It is an important marker for them leaving education and going into the professional world. I think it’s essential that these pieces are modern, edgy and use all the tools in their box. Make them proud of their work and a piece that they have had a hand in creating. I hope I have given them something they will always remember as a challenge and opportunity to excel but also put THE DIFF on the map.
The play is Directed by Jac Ifan Moore and has Welsh Language Adaptations and Dramaturgy by Branwen Davies. When we discussed this, you said you aimed to reflect contemporary Cardiff in its use of “Wenglish” by young people. How have rehearsals reflected this aim and do you think you have been successful?
What’s wonderful is that we have a mix of fluent-speakers, those learning and those with no Welsh experience at all. Everyone is supportive and encouraging to those who don’t speak the language and the rehearsal room is naturally moving from Welsh to English as it does in the play. Both our SM, DSM and Designer also speak Welsh too so that aids for the language being readily used. I am also learning, so it’s been wonderful to be part of a space where I can brush up on my Welsh.
From a writing perspective Branwen Davies and I have a lovely working relationship where she was very sensitive to my words still translating in Welsh in a Cardiff-style way. I think she’s captured it perfectly and I have been honoured to have her guidance and also my words turned into Cymraeg. Bi-lingual pieces are still rare even in Wales and I am a firm believer that there should be more and that in future work I will work more within that medium. It’s been a thoroughly enjoyable process.
And finally what culture have you been consuming recently that you would recommend our readers to catch up on?
I have favoured listening to music whilst walking and running this year. Also, as a form of mindfulness and to distract me from my forever racing head. It helps me write and figure out story plots, characters and possibilities.
I am listening to a lot of R&B and rap like; Central Cee, RKAYY (Cardiff Rapper), GoGo Morrow, SZA, Doja Cat, Jaish, Drake, El Guapo, Giggs, Jay Z, Little Sims, Mabel, Lauryn Hill, The Carters, Dr Dre, Eminem, Nicki Minaji, ArrDee, Aitch, 9lokknine and my Queen Beyoncé!
https://youtu.be/yrtWLyp5gLI
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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