Last night saw a celebratory evening for Disability Arts Cymru as they reached their 30th Birthday.
 
The evening launched the company’s new website and also featured performances by the Unusual Stage School and the musician Dai Sharkey.
 
Held at Chapter Arts Centre, the evening began with the performance of ‘Remote Exit’, a play by Welsh writer Meredydd Barker. The Unusual Stage School was developed in 2006, when 12 disabled actors undertook a residential training course. Since its beginning, the USS has provided unique acting opportunities for talented disabled actors throughout Wales. With a small cast of six, the play explores themes of illness and dependency within the confines of the family unit. Despite having serious undertones, the script was punctuated by natural, often dialectical humour, with plenty of opportunities to insert comical scenes.
 
The cast (Kate Hampton, Andria Doherty, Richard Newnham, Laura Morgan, Lindsay Foster, Michael Karampelis) were a strong ensemble, especially when specific actors needed to slip in and out of multiple roles. There was good use of a split scene, and the simple set proved helpful for swift scene changes.
 
The accessibility of the piece was extremely impressive; in many ways, it was more accessible than any other kind of theatre. There was use of a sign language interpreter along with a captioning screen. The whole performance was well produced and directed.
 
Disability Arts Cymru’s new website looks great, and you can find it here.  http://www.disabilityartscymru.co.uk/
 
Happy Birthday to the company!
 

Y Bont, Theatr Genedlaethol Cymru., Aberystwyth, February 6, 2013
Roedd awyrgylch trydanol yn llenwi cyntedd Canolfan y Celfyddydau yn Aberystwyth ar brynhawn Sul cyn dechrau perfformiad unigryw Theatr Genedlaethol Cymru o’r Bont. Ac nid yw’n syndod ychwaith ; roedd 500 ohonom yn aros yn eiddgar i’r hyn a ddisgrifiwyd cynt fel perfformiad a fyddai’n ‘plethu theatr byw gyda ffilm, technoleg ddigidol, a chyfryngau cymdeithasol i greu un digwyddiad bythgofiadwy’. *
Heb os, roeddem yn aros i fod yn rhan o berfformiad a fyddai’n garreg filltir bwysig yn hanes y Theatr Cymraeg yng Nghymru, ac o’m rhan fi fy hun, ni chefais fy siomi.
Protest cyntaf Cymdeithas yr Iaith Gymraeg, hanner can mlynedd ynghynt, ar bont Trefechan a ysgogodd y ddrama a cheisio ail greu digwyddiadau’r diwrnod pwysig hwnnw a’i phlethu â’r presennol oedd amcan uchelgeisiol y perfformiad.
Ar ôl cael ein tywys i ganol y dre ar fysiau o gyfnod y 60au cerddon yn un dorf fawr i wylio’r myfyrwyr ifainc yn gosod posteri y tu allan i Swyddfa Bost Aberystwyth yn hawlio statws swyddogol i’r Gymraeg.Aethom o’r fan honno i gaffis gwahanol y dre i fwyta pice ar y maen ac i yfed te o gwpanau a soseri, (rhaid canmol pwy bynnag penderfynodd defnyddio soseri a chwpanau)!
Er i ni gael eistedd a chynhesu mewn caffis nid toriad hanner amser oedd hwn, serch hynny, oherwydd i’r perfformiad parhau ar ffurf fideo wrth inni wylio protestwyr 1963 yn hel atgofion am y brotest wreiddiol. Roedd defnyddio geiriau’r protestwyr gwreiddiol, nid yn unig yn wers hanes diddorol ac addysgiadol i’r gynulleidfa, ond yn dechneg effeithiol i gynnal momentwm y presennol. Llwyddodd ei geiriau nhw, ochr yn ochr â deialog yr actorion oedd i glywed yn uchel yn y caffi creu ymdeimlad o gyffro wrth inni sylwi ein bod yn agosáu at uchafbwynt y perfformiad ; cerdded at y Bont.
Dyma oedd fy hoff ran i o’r ddrama. Yn ffodus, llwyddais i gyrraedd blaen y dorf ac roedd troi o amgylch a gweld 500 o bobl yn dilyn ôl traed y protestwyr gwreiddiol mewn tawelwch wrth wrando ar ddeialog y ddrama yn datblygu trwy eu clustffonau, yn olygfa hynod o bwerus a thrawiadol.
Ar y bont perfformiwyd golygfa olaf Kye a Dwynwen. Cychwynnodd stori Kye, cerddor o Ferthyr a Dwynwen myfyrwraig PhD ym Mhrifysgol Caerdydd a chyflwynydd teledu rhaglen ddogfen am hanes pont Trefechan, ar ddechrau’r perfformiad yng Nghanolfan y Celfyddydau wrth inni wylio fideo o hanes y ddau yn cwrdd, yn symud mewn gyda’i gilydd, ac yna yn gwahanu oherwydd, yn bennaf, agweddau gwahanol y ddau at y Gymraeg. Ochr yn ochr â hanes protest 1963 dilynwn stori garu’r ddau wrth i’w hamgylchiadau dod â nhw at ei gilydd yn Aberystwyth y Sul hwnnw am y tro cyntaf ers iddynt wahanu. Roeddwn i wir yn hoff o’r modd y llwyddodd stori Kye a Dwynwen cael ei gwau o amgylch y gynulleidfa a hanes y brotest, a rhaid canmol yn bennaf perfformiad yr actor a oedd yn chwarae rhan Kye.
Er hyn, credaf y byddai’r ddrama gyfan ar ei hennill petai fwy o ddyfnder yn y ddeialog rhwng y ddau gymeriad. Byddai clywed mwy am hanes Kye wedi cryfhau’r stori, yn yr un modd y byddai cael gwybod mwy am benderfyniad Dwynwen i adael ei swydd yn ychwanegu at uchafbwynt diweddglo’r ddrama. Ai penderfyniad gwleidyddol oedd y tu ôl i’w hymddiswyddiad? Yn y sgwrs rhyngddi hi a’i chynhyrchydd yn y Cabin a welwyd ar fideo daeth i’r amlwg nad oedd ‘peidio â bod yn wleidyddol’ fel y cynghorodd ei chynhyrchydd iddi fod yn ei phlesio. Ai safiad yn erbyn ei hawl i fynegi ei barn am bwysigrwydd y brotest oedd un o’r rhesymau y tu ôl i’w phenderfyniad i roi gorau i’w swydd, neu ei chariad at Kye yn unig a’i hysgogodd? Credaf y byddai ehangu ar hanes y ddau a diwygio ychydig ar y ddeialog a geir rhyngddynt yn rhoi cyfle gwych i greu diweddglo hyd yn oed fwy pwerus i gloi’r ddrama anhygoel hon.
Yr oedd hi, heb os, yn brofiad ac yn perfformiad bendigedig ac yn dyst i’r ffaith fod y Theatr Genedlaethol Cymraeg yn fentrus ac yn weledigaethol. Gobeithio hefyd yr oedd hi’n deyrnged a oedd wrth fodd protestwyr dewr 1963.
* Gwelir erthygl ’50 Diwrnod i fynd tan Y Bont’ ar wefan Theatr Genedlaethol Cymru

With the TCWA coming up we thought now would be a good opportunity to add some information on this site on our Young Critics who form part of the panel for the TCWA.
The Scheme is open for young people from 5-25 and is free.
Rachel Morgan

 
 
Ar hyn o bryd dwi’n astudio ar gyfer MPhil yn yr Adran Gymraeg yn Aberystwyth, ond dwi’n dod o Aberdâr yn wreiddiol. Dwi newydd ymuno â’r Beirniad Ifainc ac wrth fy modd yn adolygu digwyddiadau llenyddol, cerddorol a’r theatr yng Nghymru.
I’m from Aberdare but currently studying for an Mphil in the Welsh department in Aberystwyth. I’ve recently joined Young Critics and enjoy reviewing literature, music and theatre events in Wales.
 
Sarah Finch

I am currently studying my first year of a degree for Theatre And Drama at Glamorgan University.
My eventual goal is to become a theatre/performance critic enabling me to write for magazines and websites.
You’ll always find me with a notepad and pen while attending productions at Chapter, WMC, The New Theatre and other localised events.
I enjoy writing about others’ work and I find it encourages and influences my methods when I take to the stage to deliver a performance
Harriet Hopkins

I run a not-for-profit Writing Group, ‘Scribblers’ – we meet once a month to share all types of writing, give and gain feedback, and generally have a jolly nice time 🙂
I LOVE editing others’ writing, and am always open to submissions from budding screen or prose writers.
I’ve completed a BA(hons) in Creative Writing with Film Studies, and an MA in Creative and Critical Writing, which have given me the ability to critique creative work, as well as create it.
Most recently, I’ve been working behind the scenes on short and feature and films, which we hope will premiere in 2013.
TCWA Admin Officer.
Elin Williams

• English Literature graduate of Cardiff University.
• Love writing, directing and producing my own theatre.
• Young critic, reviewing in English and Welsh, writing for a personal blog and Wales Arts Review
• Theatre marketing assistant at a local theatre in the valleys

Rachel Williams

Stage Editor, Buzz | Young Critc | Part Time Civil Servant (to feed my theatrical and literary habits 😉 )
I have completed a BA in Media and Modern Literature and an MA Creative and Media writing.
Currently the Stage Editor for Buzz Magazine and juggling a job to pay the bills.
Always on the look out for new shows or new idea’s, let me know!
http://paradeisosgwynfor.blogspot.com
Fern Coslett

I am currently an A Level student at Stanwell School in the Vale of Glamorgan. I study media along with psychology and Product design. I hope to be going on to study media communications this September. I have my own personal blog in which I write about my favourite artists or songs in the music Industry. I enjoy deconstructing and analysing media texts; and being a part of young critics has allowed me to pursue this further.
http://myrosetintedeyes.blogspot.co.uk/ .
Bethan James

“Bethan is a writer and Young Critic currently focusing on scriptwriting projects. She works in the marketing team at a theatre.
Bethan is interested in theatre that incorporates innovative, participatory, and multi-media elements.”
Chelsey Gillard

 
Chelsey has been part of the Young Critic’s Scheme since it began in 2010 and is currently studying English and Drama at Cardiff Metropolitan University . She is one of the founding members of Hinge Productions – the university’s drama society and is directing their current production.
As well as writing for the Young Critics Chelsey also regularly contributes to Buzz Magazine and Wales Arts Review. She is passionate about all aspects of theatre and really enjoys innovative and original work, especially physical or circus theatre.
After her degree she hopes to pursue a career in theatre either in a practical sense or as an arts journalist.
 

The Young Critics are very proud to be helping support the Theatre Critics of Wales Awards.
For anyone who didn’t see the nomination shortlist for the inaugural Theatre Critics of Wales Awards in yesterdays Western Mail, the nominations are as follows:
*Please note an adjustment due to an error in the ‘Best Production in the English’ Language category.
 
Best production in the Welsh language:
Mae Bilin Bwrw’r Bronco – Theatr na n’Og/Wales Millennium Centre
Y Storm – Theatr Genedlaethol Cymru
Llwyth – Sherman Cymru/Theatr Genedaethol Cymru
Llanast! – Theatr Bara Caws
Sgint – Sherman Cymru/Theatr Genedlaethol Cymru in association with Galeri, Caernarfon
 
Best male performance in the Welsh language:
Danny Grehan – Llwyth (Sherman Cymru/Theatr Genedaethol Cymru)
Sion Ifan – Mae Bilin Bwrw’r Bronco
Llion Williams – Y Storm (Theatr Genedlaethol Cymru)
Simon Watts – Llwyth
Joshua Price – Llwyth
 
Best female performance in the Welsh language:
Rebecca Harries – Llanast! (Theatr Bara Caws)
Mofudd Hughes – Sgint (Sherman Cymru/Theatr Genedlaethol Cymru in association with Galeri, Caernarfon)
Lisa Marged – Y Storm (Theatr Genedlaethol Cymru)
Manon Wilkinson – Sgint
Sara Harris-Davies – Sgint
 
Best production in the English language:
Before It Rains – Sherman Cymru/Bristol Old Vic
The Radicalisation Of Bradley Manning – National Theatre Wales
Last Christmas – Dirty Protest/Clwyd Theatr Cymru
The Wizard, The Goat and The Man Who Won The War – Taliesin Arts Centre
Coriolan/us – National Theatre Wales
 
Best male performance in the English language:
Craig Gazey – Before It Rains (Sherman Cymru/Bristol Old Vic)
Richard Elfyn – The Wizard, The Goat And The Man Who Won The War (Taliesin Arts Centre)
David O’Toole – In Water I’m Weightless (National Theatre Wales)
Richard Lynch – Coriolan/us (National Theatre Wales)
Simon Nehan – Bruised (Clwyd Theatr Cymru)
 
Best female performance in the English language:
Sharon Morgan – The Utah Bride (1.618 Theatre)
Lisa Palfrey – Before It Rains (Sherman Cymru/Bristol Old Vic)
Helen Griffin – Who’s Afraid Of Rachel Roberts? (Torch Theatre)
Mari Phillips – A Clockwork Orange (Volcano)
Teifi Emerald – Wild
 
Best ensemble:
The Radicalisation Of Bradley Manning – National Theatre Wales
A Midsummer Night’s Dream – Mappa Mundi/Torch Theatre/Theatr Mwldan
Coriolan/us – National Theatre Wales
Llwyth – Sherman Cymru/Theatr Genedlaethol
Little Dogs (National Theatre Wales)
 
Best director:
Terry Hands – As You Like It (Clwyd Theatr Cymru)
Mike Pearson/Mike Brookes – Coriolan/us (National Theatre Wales)
Arwel Gruffydd – Llwyth (Sherman Cymru/Theatr Genedlaethol Cymru)
John McGrath – The Radicalisation Of Bradley Manning (National Theatre Wales)
Erica Eirian – The Maids (Theatr Pena)
 
Best design:
Paul Clay – In Water I’m Weightless National Theatre Wales)
Mike Brookes/Simon Banham – Coriolan/us (National Theatre Wales)
Tim Dickel – Little Dogs (National Theatre Wales)
Mark Bailey – God Of Carnage (Clwyd Theatr Cymru)
Tom Rogers – Llwyth (Sherman Cymru/Theatr Genedlaethol Cymru)
 
Best music and sound:
Simon Thorne – Clytemnestra (Sherman Cymru)
John Hardy/Mike Beer – Coriolan/us (National Theatre Wales)
Stitching (Company Of Sirens)
Simon Thorne – A Clockwork Orange (Volcano)
James Clarke – Llwyth (Sherman Cymru/Theatr Genedlaethol Cymru)
 
Best use of digital/online content:
Branches – National Theatre Wales
A Midsummer Night’s Dream – Mappa Mundi/Torch Theatre/Theatr Mwldan
The Radicalisation Of Bradley Manning – National Theatre Wales
Coriolan/us – National Theatre Wales
In Water I’m Weightless – National Theatre Wales
 
Best production for children/young people:
Sexting – Arad Goch
Mae Bilin Bwrw’r Bronco – Theatr na n’Og/Wales Millennium Centre
Yesterday – Clwyd Theatr Cymru
Click – Mess Up The Mess
Grimm Tales – Theatr Iolo
 
 
Best dance production:
The Grammar Of Silence – National Dance Company Wales
The Tempest – Ballet Cymru
Gaza Blaenannerch – De Oscuro/Wales Millennium Centre
Dream National Dance Company Wales
Tir – Ballet Cymru/Cerys Matthews
 
The Writer’s Guild playwright award:
Tim Price – The Radicalisation Of Bradley Manning (National Theatre Wales)
Matthew Trevannion – Bruised (Clwyd Theatr Cymru)
D J Britton – The Wizard, The Goat And The Man Who Won The War (Taliesin Arts Centre)
Dafydd James – Llwyth (Sherman Cymru/Theatr Genedlaethol Cymru)
Katherine Chandler – Before It Rains (Sherman Cymru/Bristol Old Vic)
 
Young critics award:
Re Live – Abandoned Brothers
Incubator – Wales Millennium Centre
Cwtch Cabaret – Pontardawe Arts Centre/Citrus Arts
My Life In CIA – Give It A Name Theatre Company
A Clockwork Orange – Volcano
 
Best opera production:
Don Giovanni – Welsh National Opera
In The Locked Room/Ghost Patrol – Scottish Opera/Music Theatre Wales
La boheme – Welsh National Opera
Macbeth – OpraCOR Cymru
La traviata – Welsh National Opera
 
 
Best male opera singer:
David Kempster – Don Giovanni (Welsh National Opera)
Gary Griffiths – La boheme (Welsh National Opera)
Philip Joll – Tristan And Isolde (Welsh National Opera)
Jason Howard – La traviata (Welsh National Opera)
Phil Gault – Macbeth (OpraCOR Cymru)
 
Best female opera singer:
Rebecca Evans – The Marriage Of Figaro (Welsh National Opera)
Fflur Wyn – Jephtha (Welsh National Opera)
Camilla Roberts – Cosi Fan Tutte (Welsh National Opera)
Eldrydd Cynan – Macbeth (OpraCOR Cymru)
Catrin Aur – Don Giovanni (Mid Wales Opera)

A selection of Wales theater critics met at Media Wales last week to begin the short listing process for the TCWA’s 12 which will be held at Sherman Cymru on Saturday 26^th January, 2013. The shortlisted nominees in each category will be announced mid December 2012.
We have aspired to truly reflect the range of work created this year and have endeavored to see as much work as possible, critics on the panel include,
Lowri Haf Cooke
Victor Hallet
Michael Kelligan
Dylan Moore
Jenny Longhurst
Karen Price
Gary Raymond
Mike Smith
Othniel Smith
Adam Somerset
Elin Williams
Rachel Williams
Nigel Jarret
Chelsey Gillard
Bethan James

 
Set in the heart of the Welsh Valleys in the early 1990s the Utah Bride is a production written by Carmen Medway-Stephens and produced by 1.168 Theater Company. The production focuses on the turbulent relationship between a mother  and a daughter named Alice, throughout the play family is explored to create a thought-provoking narrative.
16 year old Alice is back from Utah after escaping the valleys four years previously to live the American dream with her Mormon missionary, her mother questions her motives for returning which I thought added stimulating anxiety.
The show starts and ends with a classic artist and a beautiful song by Dolly Parton, “Little Sparrow”. Its relevance to the play is blurred; I would have expected a Welsh soundtrack that would have established the setting of the production and would have made it feel more authentic.
The bright lights focused on the living room which established the setting for characters, I felt that the characters in the play were not sufficiently developed enough and were hard to connect and sympathize with. They were also over stereotypicalised as moments that touched upon their Welsh culture were much exaggerated such as the entire Welsh neighbourhood coming around to watch the birth of Alice in the back window of the house.I don’t think the narrative of the play was incredibly exciting as it did not  take the audience on a climatic journey this could be due to it focusing too much on the relationship between mother and child.
However, for an hour and 30 minutes the play is intriguing and I was interested in the world created, I felt this was down to the brilliant and emotional acting of Sharon Morgan and Sara Lloyd-Gregory. When the actors were taking their bows you could see that they were both still emotional from the scenes, and it shows how deeply they entered their roles.
One very positive aspects of the show that I highly enjoyed was how the audience took on a voyeuristic stance; you felt intrigued to be watching a very personal moment between a mother and daughter.
The Utah Bride written by Carmen Medway Stephens produced by 1.168 Theater Company.
At Chapter Arts Center, Cardiff Fri the 16^th and 17^th December.