As part of MimeLondon, Companie le Fils du Grand Réseau bring us this hilarious “silent” comedy, Fish Bowl. While part of MimeLondon and, as highlighted by quotation marks over the silent, it is not wholly a silent mime example, it is a whole lot of fun and chaos.
Fish Bowl is about three apartments in the same building, each containing a very different resident. Their tiny living quarters are sliced in half to allow us to see within, for their daily lives spread across all seasons and events. While on a large stage that is the Peacock Theatre, this one set has the sense of its small areas enhanced by the performer’s over-exaggerated movements and clever positioning of the staging interiors. For example, the tiny hallway, in reality, opens across the whole stage, but the performers contort themselves around the boxes and keeping to this small slither to really show how tiny this little world is.
Each character is starkly different, and there is something cartoon-like in the stereotyped universes they inhabit. We have a suited moped man whose flat is all white and clean, helped by his habit of hoovering his shoes as he enters; the hippy type who is full to the brim of items from boxes to furniture, leading to his sleeping area to consist of a hammock which evokes laughter when we first see it; and lastly, a pretty female whose flat is all pink and girly yet full of comfort. Despite these differences, we see the group warm to one another, the men lusting after the woman, friendships begin and fade and rekindle, and these character’s stories go in directions you never would have thought.
The humour is brilliantly done – a lot is reliant on physicality and involves clambering the staging or clever prop trickery, with some of the hilarity coming from age old comedy such as toilet humour or a peak at someone in their pants. Others are a bit darker but no less hilarious and shocks us in the transition.
When I highlighted silent in air quotes, this was to mean that the production isn’t wholly silent. However, this doesn’t diminish from the great physicality and some which is shocking and surprising. Music accompanies parts, there are sound effects and the only vocal sources from the characters are almost “Mr Bean”-like, with exclamatory noises or one words chorused. We understand everything that happens and these sound bites only add to the great action on stage.
Fish Bowl is a highly engaging feat of physical comedy, pulling from ordinary and relatable characters and lives but heightening the action to create a hilarious and fun production.
It’s hard to categorise this show, but it’s essentially a piece of stand up combined with a lot of clowning. The clowning animates an hour-long monologue that circles the issues raised by an obsession, in this case getting married before your twenty-seventh birthday.
There are a number of sketches – narrative moments which take us to a ball, a lunatic asylum and the house of an aged aunt. Jane Austen is invoked along the way, of course, but so is Fleabag, the intention being to show the continuity of the central issue over two hundred years. Love Island is not referenced, probably due to copyright issues. Depth and range are added to the stories by the use of black and white film clips shown on the backdrop which are punctuated by ironic remarks. There are a lot of asides and a lot of audience participation, with one hapless individual being invited on stage to play a prospective suitor. (He told a good joke.)
The monologuer, comedian Rosaline Minnitt, is energetic and friendly. She has an appropriate repertoire of facial expressions, and she flips her tones of voice easily. She can sing and project and imitate accents. She is confident of her material, throwing everything bar the kitchen sink at her subject. There is no let-up, but she wins over her audience completely. I was pleased that in all the verbal torrent there is only one expletive which could have been deleted.
Personally, I was interested and amused rather than blown away. Still, credit where credit is due. Most members of a Saturday night audience at Theatr Clwyd are the ‘wrong’ side of 40 and you might have expected them to be staid and unresponsive but Minnitt got on the right side of them/us straightaway. Everyone sang a bit and we waved little electric lights in the air on cue One of the high points of the evening was an audience member’s rendition of a screech owl’s call.
Not being either overwhelmed or partisan, I was well placed to appreciate how much effort had been put into the show by ensuring the incomprehensible storylines stayed on a crazy track. The technical back up was efficient. Lighting and sound effects happened – apparently – on time and the film clips ran smoothly (things like that have a habit of going wrong on the night).
In the end, the stage was left in a mess, with Clementine’s dolly figures of her parents and 67 sisters mixed up with the scores of love/hate letters that fluttered down at one point, but despite everything she had been doing for an hour, Minnitt still looked fresh and up for her next performance. I’d be curious to see what she and Liebenspiel do get up to next. It would be nice to see her working with or off another performer or two and -tackling a subject a tiny bit more – demanding? Just a suggestion.
It’s a statement that makes sense once you stop asking it to behave. It’s also an excellent way into Meet Fred — a show that invites us to loosen our grip on certainty, definition and systems that insist on being right. Walking into the space to a David Bowie track immediately helps me feel settled. It’s a small act of care that signals this is a room where arrival matters, where bodies and minds are allowed to take their time.
https://youtu.be/J3mPIO-KD_k?si=corN-602V7JqY2-5
Meet Fred is a quietly assured piece of theatre that reflects Hijinx Theatre’s long-standing commitment to reimagining how learning disability is understood, represented, and lived with on stage.
Rather than negotiating with the disability models, the production rejects that school of thought entirely, exposing how institutional frameworks repeatedly fail the very people they claim to support.
At its heart, the show is about identity — how we find out who we are, and how others decide who we should be. Fred reminds us that we can be more than one thing simultaneously.
He is a puppet, (who f*****g loathes the Muppets and don’t get him started about children) He is also sensitive and kind (his attempts to compliment are legendary), foul-mouthed and funny, fearful of change and incandescent with anger at systems that do not work for him. His fury, particularly when directed at the DWP — reimagined as the Department of Work and Puppets — lands with sharp humour while pointing clearly to institutional failure rather than individual deficit.
Structure becomes a form of care. The board outlining each plot point serves as a reminder of what is to come — reassuring, steady, and revealing how much comfort there can be in knowing what happens next. Routine here is not mocked or overcome; it is respected. Access is not added on but fully integrated. The interpreter is woven into the show, moving through the space and responding to the cast in real time.
Responding to subtitles is strange at first — a productive strangeness — reminding us that genuine integration requires adjustment from everyone, to feel at home having 3 languages available simultaneously, not just those most often asked to adapt.
The use of music carry cases is remarkably simple and yet transformative. As they move, the space reshapes itself, demonstrating how environments are continually constructed — and how small shifts can radically change experience.
Each performer is given moments of focus, paying homage to the collective labour and care that animates the piece. I found myself noticing how white the room and the stage were.
It didn’t undo the care or intelligence of the work, but it did linger — a reminder that access and representation are not the same thing, and that some stories are still easier to tell than others. Those moments on stage hold humour, tenderness, and fury — particularly the anger that comes when a support system is removed or withdrawn. This rage is not softened or made palatable; it is held as a justified response to systemic neglect. Silence is one of the production’s most powerful tools. Here, silence feels safe, not abandoning. It slows time, holds the space, and allows us to root for Fred without explanation. Even as a faceless bunraku-style puppet, he feels profoundly human — shaped by attention, care and collective effort.
For those familiar with Housemates, Meet Fred feels like a continuation of Hijinx Theatre’s essential work. It does not ask for a better world — it demonstrates one, and trusts the audience to recognise it.
Meet Fred left me thinking about how often we celebrate access without interrogating who that access is currently working for.
The production models care, patience and integration with clarity and confidence, yet the lingering whiteness of the space suggests that inclusion is never a finished task — even within work that resists dominant systems. This doesn’t diminish the power of the piece. If anything, it sharpens its relevance.
By rejecting institutional logic around disability, Meet Fred opens the door to further questions about race, visibility and whose bodies are most often permitted to take up space — gently, slowly, and without having to explain themselves. Like the show itself, this reflection isn’t a demand. It’s an invitation: to notice, to stay with the discomfort, and to imagine how care might expand if we keep asking who is still missing.
You can find our more about the production and book tickets for the current tour at the link here
Rebecca Reid’s adaptation of the 1992 film of the same name ramps up the tension and psychological thrills as Single White Female takes to the Donald Gordon stage at the WMC. The 34-year-old classic film is brought bang up to date with Reid’s references to social media, Mounjaro, Vinted and Matcha Lattes! It ensures that the story remains timeless and relevant to a modern-day audience.
The set is exceptionally designed; detailed enough to mean we totally believe that we are inside a small city flat shared by mother and daughter, and claustrophobic enough to mean that the tension is ramped up exponentially once the action starts proper. The sound effects of the temperamental building also add to the drama, as both actors and audience react to the sudden moans and groans of the old city block. Light and darkness are used to great effect too, with the stage plunging into darkness for the passage of time with lights streaming around the proscenium arch, showing us both the passage of time and increasing the feeling of unease throughout the audience.
In a small but mighty cast, each actor delivers here, in absolute spades. Lisa Faulkner is completely believable as divorcee Allie; doggedly working to set up her business and make a better life for herself and daughter, Bella. She captures the growing uncertainty around roommate Hedy perfectly, adding complete believability to the final climactic action of the show. Allie’s friend, Graham, is brought perfectly to life by Andro, who ably adds a slice of well needed comedy to the piece. He is a great balance to Faulkner’s Allie.
Jonny McGarrity as Sam and Amy Snudden as Bella complete the cast. Their exchanges as slightly absent father and daughter are delivered very well; their interactions completely believable and realistic. McGarrity walks the line between deadbeat ex and trying father very well, it is very hard to dislike his charming swagger. Snudden captures the physicality of teenage girl with ease, in turns sassy and awkward, clashing with Allie at one moment and craving her mother’s affection in the next.
Kym Marsh portrays Hedy perfectly here, building the unease with expertise. She begins as an incredibly likeable new lodger and the descent into unbalance is cleverly woven into her performance. Her presence is commanding and instantly makes you want to see exactly what the nefarious Hedy is getting up to in this scene!
This could feel like a dated piece with the inspirational material now being over 33 years old, but this is a clever adaptation that is easily accessible whether you’ve seen the source material or not. It’s a great evening of theatre; one that’ll have you gasping and on the edge of your seat throughout.
Based on the hit television series sharing the same name, This production is a well crafted reimagining of ITV’s long-running Inspector Morse, hailed by Radio Times as ‘The greatest British crime series of all time’.
Inspector Morse- House of Ghosts written by Alma Cullen based on the characters by Colin Dexter offers a new generation of Morse fans to take a look behind the scenes of a production of Macbeth and view the unraveling web of lies and deception in real time. Director Anthony Banks plays well with the balance of comedic devices and well placed quips alongside the harsh themes of Suicide, Marital affairs, Deceit and Murder. This adaptation is the first of its kind and is an impressive reimagining from the screen to the stage, staying true to the original tone of the well loved television classic.
The manipulation of perspective allows the cast to shift the audience and place them exactly where they are needed, with limited set this directional choice was fundamental in creating various locations and moments in the piece so that we too are moving with the performers through the story as it unravels.
The titular character of Inspector Morse is played by the notable Actor Tom Chambers who is dedicated in his performance of this beloved character. His physicality was instrumental in capturing the essence of the inspector, blending the inspectors stolid professional life with his desire to peruse a romantic relationship with Ellen. Another performer of note was the delightful Jason Done responsible for the role of the antagonistic Director Lawrence and the contrasting saintly Father Paul. The juxtaposition between these roles allowed us to see the extensive range of the performer, from the notable change in vocal mannerisms to the way in which each character held themselves we were engrossed with Jason’s performance from the moment he entered the auditorium.
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Inspector Morse- House of Ghosts at the New Theatre Cardiff is a delightful evening for Morse enthusiasts and fans of detective fiction and mystery alike. The production hides nothing from the exposed wings to the secrets laced within the delicious writing, the lighting and set design much like the writing plays with the light and dark elements of the production. A great evening of entertainment that leaves you wanting more.
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 6th 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 3rd 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.
It was never going to be easy. The task of staging the celebrated 1982 Stephen King novella Rita Hayworth and Shawshank Redemption and the 1994 film version starring Tim Robbins and Morgan Freeman, would be marked by the setting of a very high bar indeed. With this production, writers Owen O’Neill and Dave Johns have met the challenge with aplomb.
The story centres around the miscarriage of justice meted out to Andy Dufresne, who is now serving a double life sentence for murdering his wife and daughter, at the Shawshank Maximum Security Penitentiary (“The Shank”). Narrated via Andy’s friend Red, we learn the fate of the protagonist told over two decades of incarceration, creating a vivid depiction of corruption, bullying and violent abuse.
Joe McFadden (Holby City; winner, Strictly Come Dancing), shines in the role of Andy. Capturing his obvious intelligence and skill in accounting, desire to do anything he can to make the lives of (most of) his fellow inmates a little more tolerable, while at the same time delivering a steely character and a fastidiousness many on the outside would fail to achieve, McFadden manages to inject a boyish charm into the role, difficult to achieve when portraying an alleged double murderer.
The role of Ellis “Red” Redding is played by Ben Onwakwe (London’s Burning; Professor T). Drawing the audience in to the narrative with his witty, sardonic storytelling, Onwakwe is a fitting contrast to McFadden, portraying Red as a world-weary prison fixer who has seen it all. Shout-outs must also go to Kenneth Jay as poor old Brooksie, terrified of gaining parole as he feared lack of purpose on leaving his role as prison librarian, and Bill Ward as Warden Stammas, a frightening figure open to corruption and intimidation with a vicious cruel streak thrown in.
The prison setting worked extremely well in being versatile enough to depict the prisoners’ cells, the courtyard, the refectory and the library with a few deft adjustments. A one-colour greyness enveloped the stage, which is only augmented by the blue denim of the inmates and their drab shirts. With a few more switches of furniture, we are transported to the parole office, all carried out seamlessly and with conviction.
And what a joyous scene to end the play, with Red leaving the prison then a clever switch of scene (kudos here to the lighting team) to a full backdrop of Andy on his long-dreamt-of Mexican beach at sunset in Hawaiian shirt, shorts and sandals. Reminiscent of a Martin Parr colour-saturated photograph, the contrast with, and relief following, the dreary prison interior, was palpable amongst the audience members around me, and a fitting ending to a glorious production.
The productions runs till the 17th Jan. You can find out more and purchase tickets here
The Riverfront in Newport presents its 20th year of pantomime and invites the audience to ‘let their hair down’ with the classic tale of Rapunzel! This is a great, bang up to date, version of the fairytale, with some fantastic song choices, hugely energetic dance routines and a super talented cast and ensemble.
I loved the use of the full stage area, including the side balconies to introduce Rapunzel’s parents, the king and the queen, and for our first view of Rapunzel herself. The set is impressive; the transitions between scenes are also particularly slick. I loved the village with its bright colours, the bottom of the tower and the internal of Rapunzel’s tower. There are some lovely touches, including a swing made of plaits for Rapunzel to sing ‘Unwritten’ on and at one point the evil Ceridwen bounds onto the stage from a trap door.
I really enjoyed the traditional mixed with the modern. There were so many 2025 trends in this pantomime, I could barely keep up! Of course, the ‘6, 7’ obsession makes an appearance, we have ‘Golden’ sung by Ceridwen and Gruff, Jet 2 Holidays gets an outing of its jingle and many more. There’s plenty of the traditional too, which are performed with precision and expertise. There was a great ‘ghost’ scene, but featuring a bear, and the songsheet also utilised the ‘bear’ theme and was led with aplomb by Muddles (Richard Ellis).
The cast are full of vigour and the joy of Christmas as they each hold the audience in the palm of their hands. I especially enjoyed Gareth Tempest as Dame Winnie Wiggins, though I must say, my favourite part was the rather unscripted section where his wig fell off! He is an hilarious dame though, exactly understanding the brief. Delivering inuendo that goes straight over little ones’ heads one minute, and bringing delightful family humour the next. I don’t think I’ve ever laughed so hard as I did during the quick costume change for ‘Pink Pony Club’ which was a moment of pure panto magic.
The cast is brilliant all round, each bringing their own unique spin to the characters. I also thought the ensemble were excellent, including the children. The dancing was high quality and delivered with such passion and sheer enjoyment that it was a joy to behold. The children’s ensemble also held their own and it was nice to see them have a good deal of involvement with the plot.
In its 20th year of producing pantomime, it’s safe to say that The Riverfront continues to deliver pantomimes that are punchy, energetic, incredibly humorous, traditional yet with a distinct modern flavour. There’s definitely something for the whole family here, which means that everyone, no matter how young or old will have a fabulous time at the Newport pantomime!
Snow White at the Lyric Theatre, Carmarthen, certainly earns the title of the ‘fairest pantomime of them all.’ On a cold, wet evening in West Wales, this pantomime certainly blew away the winter blues and had us in absolute stiches!
Theatrau Sir Gar, in association with Imagine Theatre, present a beautifully colourful, lively pantomime, which is strong on plot and all the classic pantomime tropes. The set is lovely, light by Jonny ‘JR’ Rees and sound by Alun Walters all make the stage pop and create a gorgeous stage for the performers to present the classic tale. I was also really impressed with the costumes! In particular, I loved Dame Dolly Mixture’s stunning array of costumes, with so many fast-paced changes that I could barely keep up! I also adored the puppetry design used for the Dwarfs, which was really magical.
The ensemble/dwarfs were one of the best I’ve seen in pantomime. They delivered fantastic, high energy dance routines and created loveable, believable characters in their respective Dwarfs. We saw Team White, the ensemble of children, and I must say, they also performed admirably. Ceri-Anne Thomas makes a picture-perfect Snow White, capturing the essence of the original fairytale character with lovely vocals and a great relationship with Abe Armitage’s Prince Michael of Monmouth. Abe plays Michael fantastically, a picture book prince with lovely vocals, which mix really well with Ceri-Anne’s. Alexandra George is a delightfully sassy Evil Queen, revelling in the boos of the audience and owning the stage whilst singing Poison surrounded by an ensemble of evil cockroaches!
Elis James appears ‘in spirit’ as the Spirit of the Mirror, bringing loads of local flavour and humour in a performance that is pre-recorded but is so well rehearsed that it really seems like he’s in the theatre with us! Our comedic pair are Nathan Guy as Jingles the Jester and Steve Elias as Dame Dolly Mixture. Jingles is delightfully hapless, clumsy and of course, head over heels in love with Snow White. Nathan is an adorable Jingles, taking everything in his stride, even sliding, without control across the slosh scene! He is paired with his ‘mam,’ Dame Dolly Mixture. Steve Elias was a fantastic Dame, ad libbing at the speed of light, the audience were in absolute stitches. He mixed exactly the right level of inuendo, naughtiness and family friendly humour to make a really fantastic Dame.
Some great song choices, (including the inevitable 2025 favourite, Golden), a great script that was packed full of local references, hilarious slapstick, naughty bits for the adults and a whole shed load of traditional pantomime tropes, Snow White was an absolute delight and really put us in the Christmas spirit. Snow White at The Lyric, is the perfect balance of well-rehearsed, slick pantomime, mixed with the crazy, silliness that makes pantomime such a perfect family treat.
We last interviewed Tracy in 2020, In this new interview she updates us on her work with Coleg Gwent and thoughts on the Creative industries today.
Hi Tracy You recently worked with Viv Goodman, lecturer on the AS and A Level Drama & Theatre Studies course across Coleg Gwent supporting the delivery of the Unit 3, A level Drama & Theatre Studies unit called Women in Drama. What did this entail?
I spent time with the students sharing my experience as a female playwright working in Wales and talking honestly about what it means to write women’s stories today. I introduced them to my two current projects; Girls, Girls, Girls, a verbatim piece exploring five decades of stories from one of the last all-girls schools in Wales, and Divas, a pop-opera based on Adelina Patti and the divas that followed, that I’m co-writing with Cath Dyson. We also worked on their devised pieces, encouraging them to make brave, truthful choices about how they represent women on stage.
Viv often supports practising creatives to deliver activity with her students; do you feel this has value?
I think it’s absolutely essential. When students meet people who are actually out there making work, the industry suddenly feels more real and reachable. They get to ask proper questions the “How do you do this?” kind. They see the messy, exciting, problem-solving side of creativity. And representation really matters. For young women, especially working-class young women, seeing someone like them forging a path in theatre can be a game-changer. It tells them they belong here too.
Viv creates such a vibrant, inspiring environment by bringing creatives in. I genuinely love working with her students, and many of them stay in touch after. Dylan, that I met back in 2020 has just produced a short film No Scrumping, which I directed and which comes out next year. Watching the next generation step into the industry is honestly one of the most rewarding parts of what I do.
We asked Viv Goodman about the Unit , Viv, How did you come to involve the professional playwrights in the Women in Drama unit and how did you choose them?
The Women in the Performing Arts project has emerged from the learners’ choice of stimulus for their Unit 3 A level Drama & Theatre Studies exam ; they selected the Rob Burrow quotation ” in a world of adversity we must dare to dream” which, as an all female class, prompted discussions about the difficulties women in the performing arts have faced in order to pursue a respected place in the profession. We explored the lives of the first actresses in the Restoration era through workshopping Jessica Swale’s ‘Nell Gwyn’ and ‘Playhouse Creatures’ by April de Angelis and we wanted to work from these plays for their scripted pieces.
We then wanted to look at the journey that women have made from that time to now and so I asked Playwrights Tracy Harris, Lisa Parry and Gwenllian Higginson for help! I really wanted the learners to meet them and work with them practically, but also to be able to discuss the industry and find out their views about women’s place in the theatre today.
Tracy working at Coleg Gwent
A part of their devised theatre style is to use verbatim and we will be taking their views and reflections to use in the pieces as well as having the benefit of their practical expertise as playwright and actor respectively. It’s fantastic to have them on board with our work; some fascinating views and experiences have been shared and it’s both alarming and necessary for us to acknowledge that female performers are still faced with issues that April de Angelis depicts in her 1660s set play. I’ve been lucky to work with so many brilliant industry professionals in the classroom, but I must say that there is something unique and special about this project; it’s all about the girls!
The cultural sector is dominated by middle-class, white men. Has the work to improve diversity for women had an effect? What more needs to happen?
There’s definitely been some progress, conversations are finally happening in the open. But let’s be honest real structural change is still lagging behind. Women continue to face barriers in funding, opportunities, confidence, and access. If we want things to genuinely shift, we need more, sustained investment, not one-off projects, Proper access routes for young women who don’t already have cultural or financial privilege, Fair, open commissioning processes that don’t favour the same voices over and over. Long-term mentorship; This year I have mentored two young female writers; Lorien Tear on her first play; ‘Breeding ‘and Ceri Ashe on her verbatim play about motherhood, and it’s been one of the most rewarding experiences to be able to work with new bold female voices and see them shine. Representation is important, but it’s just the start. The goal is an industry where women don’t just enter, they stay, they grow, they support each other and they lead.
I am also working on a festival celebrating Jane Arden. She was one of the leading figures in British theatre and Cinema and one of the most radical feminist voices in the 60’s and 70s. My aim is to create a celebration of this forgotten Welsh artist showcasing her plays, films and talks with leading academics. She is a major inspiration of mine and her work should be celebrated far and wide!
Is the decline in A-level Drama affecting who goes into performing arts training?
Yes, and it’s already having an impact. When Drama disappears from schools, whole groups of young people lose the chance to discover that the arts might be for them. Drama gives young people confidence, imagination, and a sense of belonging. Without it, so many potential creatives simply never get lit up by that first spark. It’s particularly damaging for working-class students, who often don’t have access to theatre outside of school. And this isn’t just about training actors, it’s about writers, directors, designers, technicians, producers, and audiences. The whole ecosystem suffers. Early exposure to the arts shapes lives. If we want a diverse, vibrant cultural sector, we have to fight for Drama in schools. It matters culturally, creatively, and for the future of our industry.
Tell us about your writing process. Where do your ideas come from?
My writing process varies depending on the piece, but most of my ideas are rooted in real experiences or stories I feel compelled to tell. Before I begin writing, I usually fall down a research rabbit hole, collecting anything that sparks something to do with the story: snippets of text, pieces of music, images, fragments of conversations. Once I’ve gathered enough material, I write the first draft instinctively. I try not to overthink it; I just get the story out and shape it later.
Can you describe your writing day? Do you have a process or a minimum word count?
My process is more instinctive. When I’m working on a play, I give myself the time and freedom to write the first draft quite freely, then I go back and refine, reshape, and more often than not cut anything that isn’t serving the piece. I’ve learned to trust this process rather than force something on days when the urge simply isn’t there. Ideas often arrive when I’m out and about, far more than when I’m sitting at my desk. I’ve stopped putting pressure on myself to hit a word count. When the writing is ready to come, it always does, and it’s often in the middle of the night or when I least expect it. Once I’ve taken it as far as I can on my own, I’ll share it with friends I trust before moving on to the next draft. That stage of honest feedback is invaluable to me.
Do you write from a certain physical space? Do you have a writing room?
I usually write at my desk in my office. It’s by a window overlooking a busy road, which I actually love, it reminds me that life is happening outside while I’m tucked away creating something. I’ll sometimes work in cafés, but never when I’m starting a first draft. At the beginning, I need the quiet space to let ideas come without distraction.
Which Welsh writers have inspired your work?
Welsh writers inspire me constantly, and there are too many to do justice to in a single list. But I always return to the greats; Jane Arden and Dylan Thomas have been lifelong influences. I’m also deeply inspired by the work of Ed Thomas,Gary Owen, Alys Conran, Katherine Chandler, Gwyneth Lewis. I love the unique voices of Catherine Dyson and Katie Payne, whose plays ‘The Last Picture’ (York Theatre) and My Mixed up Tape (Sherman) are on next year.
Thanks for your time Tracy
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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