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!

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 26^th October, where it runs until Saturday 28^th before touring to Theatr Soar, Merthyr Tydfil (2-4^th November), The Borough Theatre Abergavenny (9-11^th November), ending in Ystradgynlais at The Welfare (16-18^th November). Tickets will be on sale from Friday 26^th May and full details can be found on venue websites or at theatr-nanog.co.uk.