In my naivety and lack of French speech (despite learning it for quite the number of years), I spent most of the week in the run up to this review, completely mispronouncing it.
However, after this production, there is no mistaking the name of Tartuffe.
Tartuffe by Molière is a comical yet poignant play about the differences and priorities of the class system. Tartuffe is brought into a rich family, when the man of the house begins questioning life and everything underneath his roof. This affects his family and his general existence and we question who really is the villain of the piece.
Denis O’Hare, who plays Tartuffe himself is excellent. He is the quintessential homeless hippy yet never tries to be anything other than what the family members say he is. He is vibrant and hilarious and while we are geared to hate him, we kind of love him too.
He embodies this smelly and unhealthy man, and yet the way he is portrayed and allows himself to be portrayed to the point where we feel like we can smell, taste and feel everything he is.
The whole production is full of very well rehearsed and thought out moments of slapstick humour and action – it is fast paced and full to the brim with comedy that we are never uncomfortable or lacking a moment of interest in what is on stage. All the actors react and perform with complete perfection.
When we reach the end, our hilarity is cut short. We are suddenly reminded of the ‘moral story’ and things become dark and real. This echoes much of the writing at The Royal Court and feels like a shock change to the laughter we encountered previously.
For a very old play, Tartuffe is extremely poignant and has the great ability to hold us in comedy to then suddenly drop us into doom.
If you are a fan of my reviews, you will know that my favourite production is one with no interval. I believe to be fully involved, the interruption of ice cream and loo breaks seriously disrupts this immersion.
However, when you are told a production is 2 hours 15 minutes, no interval, suddenly that lovely wish feels sour, daunting and worrying.
Friends who had previously seen Follies, assured me that I wouldn’t notice this – that it is so good that the time will fly by.
And I am happy to report, that some of this is true.
Follies is a story about the end of an era. Show girls are taken back to the good old days of their youth, in a ruined building that was once a bustling theatre, admired by all. Now it is dilapidated, being knocked down. And this is the last hurrah! The now matured performers are haunted by their younger selves – dressed in their glam and changing of time outfits, looking upon their future selves in sometimes disapproval, sometimes admiration, and sometimes awe.
It’s right to say that you go through Follies and the need for an interval isn’t present. You feel involved and interested in the action, but for a theatre production, while it has it moments of quirkiness, of enjoyment, some lovely songs and some impeccable acting, it feels like a story where nothing much happens.
I really enjoyed being able to see their past selves – their youth. The glitz, the glamour, the femininity; all makes the showgirl/burlesque girl in me scream with delight. It is the quintessential 1930’s/1940’s era and it shows in the style and elegance of the performers. The current day being the 70’s, costumes and styles have changed and it’s easy to see how good the casting is and how true to the eras they keep to.
The dancing is enjoyable and typical musical based. The songs are belted with every breath. No one holds back. And the character of Phyllis, played by Janie Dee is by far my favourite and executed with great hilarity and almost becomes a bitter reminder of myself.
Follies is fun, it is enjoyable, but I wouldn’t come away saying it was anything spectacular or breath taking. If you are looking for a exciting and typical musical, something to sit back and enjoy a G&T with, then this is it.
How could I resist my theatrical sisters and not see another solo show after another!
In Search of Applause features a struggling actress, a trained clown who falls into the comfortable and routine life of a relationship. She doesn’t really love him. He has money and they live an interesting lifestyle, but ultimately, he seemed kind.
Now with this premise, we expect some hard hitting shock to the system- is this about domestic abuse? Perhaps a Phoenix from the ashes moment? Unfortunately there is no such thing. And the hour or so feels unremarkable.
Maroussia Vladi, both the writer and actress of the piece is very good- don’t get me wrong. She has a presence to the stage; the narrative is interesting … but it felt unfinished.
If Vladi has indeed trained as a clown, this shows. And I don’t mean this necessarily negatively. She obviously has talent but some reactions and mime seemed a little too over the top and unnecessary – perhaps in a clowning piece it would have been perfect, but for this, it didn’t. I badly wanted to associate myself with her but I just couldn’t fight through the over-theatrical wall.
The moments she really broke down, let her guard lower for a moment- where the real anger and emotion lay was what I craved and while it was only a small amount over all and near the end, it was good and what we needed throughout.
Vladi’s In Search of Applause is a nice piece of theatre – the idea is there, the talent is, but the two didn’t match quite enough for me to really enjoy it and feel a connection.
A black box theatre above a pub seems like the perfect setting for Rattled.
The stage is basic, there isn’t much to it, and this works well for a one woman show where the acting and the writing is imperative.
It is dark, gloomy, our focus over a bench and with a light that swings above. It begins with flashing of lights and a hooded figure thrashing around. When the lights begin, it’s a young lady and she’s found a car holdall with a baby in it.
The narrative continues with the woman speaking a monologue; looking back at her past, at her present and inputted with moments of anxiety and worry; some directed to and about the baby in the holdall.
Rattled is a play based on true events of a woman with post-natal depression. The series of events are mixed for theatrical effect, but Rachel Harper does a very good job of bringing realism and emotion to the character. Part of me felt uneasy and a little unconvinced at times when her character continued with nervous giggling – obviously this is for theatrical purposes, but after a while it became grating and unreal.
Harper, however, is very emotional and while this may not be her story, it is obvious that she feels connected to it – this certainly gives some backing to her acting and helps it to be as natural as possible. You wanted to hug her and tell her all is okay – you want her to stop talking to her baby as someone she doesn’t know. Ultimately, you want to help.
Rattled is a wonderful play and really in-depth and true. With some work and maybe a bigger stage, Rattled could be something special and really make waves.
See-Through is an amusing exploration of Claire Gaydon, a 29-year-old, Drama school graduate, “giving it a go” on the old YouTube. A semi auto-biographical play about boundaries online, oversharing and the relationship between a mother and daughter.
The play opens with Claire Gaydon singing ‘Gimme More’ by
Britney Spears, (an excellent song choice), before she sits down, back to the
audience and presents herself through a screen.
Early on, Gaydon establishes her character and tells us this is a true story with a few fabrications. The character finds her voice and begins establishing her channel. Starting out with generic challenges and funny videos with her mother. The more she shares, the quicker we learn that other content will get more views.
In particular, content where Claire overshares with titles such as “Sex and Weed”. The more she overshares, the more she knocks down the boundaries between her and the audience. Eventually, Gaydon goes too far and shares a very personal experience. Something she hasn’t even told her mother, who subsequently finds out through the video. This forces Claire to re-evaluate and reflect on her YouTube experience.
The performance from Claire Gaydon is strong. It’s obviously a personal piece, but one she is critical and self-aware about in her performance. Gaydon obviously enjoys the funnier moments of the script, but it is the more serious ones where her performance is strongest.
The writing is witty and amusing but doesn’t hold back on personal details of the character. Despite seeing the majority of the performance via a screen, we get to “see-through” to the emotion of the character behind the screen. This is something we don’t get in real world YouTube which works really well and is a really nice concept.
A worry going in was that the play would trivialise YouTube a bit, but it doesn’t do this. Another worry was that the use of technology would take away from the intimacy of the play. But if anything, it allows us to get even closer to the character. Gaydon just has fun with it and through a good use of technology delivers an interesting piece both in terms of its content and presentation.
There are moments that could be cut a little. Moments that drag, especially near the start, where Claire researches YouTube – which ultimately serves as a quick introduction to audience members who are not so familiar with the platform. We learn a little about the character through this, but really not enough for the opening minutes. This is, however, carried well by humour and is the only real blip in the production, and one which is ultimately understandable.
See-Through is not the most plot-heavy play, but its strength isn’t in the plot. There is a story that jumps around in terms of timeline, revealed through the screen chronologically. But this is more of a character-based piece which peaks as we eventually go behind the screen and see Claire writing a letter to her mother.
A real strength of the play is that it could go down with any age-group. Anyone “older” who is put off by the mention of YouTube really needn’t be. It’s objectively funny and enjoyable as well as having a deeper message and a story to tell which will resonate with almost anyone in some way.
The message is subtle and well crafted, which is a testament to the writing and performance of Claire Gaydon. It’s intimacy and excellent character work will have you thinking about it long after the production is over.
See-Through is a humorous, intimate and emotive play that explores the character behind the screen of an aspiring YouTuber.
See-Through is part of The Other Room’s ‘Spring Fringe’ curated spring season. One
of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets
can be found for the upcoming Spring Fringe shows HERE, with an
ever-growing discount for the more shows you book.
SEE
THROUGH performed at The Other Room
21st – 24th February 2019
Created, performed and presented by Claire Gaydon
Associate Directors: Jaz Woodcock-Stewart and Grace Gibson
Music by James Jacob
Video Editing Support: Joseph Brett
Stage Manager: Ben Lyon
Hi Adele, great to meet you, can you give our readers some background information on yourself please?
I am a theatre and opera director. I am from Port Talbot originally and live in Cardiff now. I’m about to make my Royal Opera House debut with Handel’s Berenice.
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I am obsessively listening to Berenice as I’m about to direct it! So my iPod is pretty much given over to that and to some of Handel’s other operas. It’s good to get a sense of where this piece fits into his wider body of work.
But the latest thing that I saw and was blown away by was a gig by Hen Ogledd. Their album, Mogic, has just come out and it’s just sensational. I’m a vinyl lover, so I’ll be listening to it on the record player!
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 1
Magical Mystery Tour – The Beatles
I’m going to immediately preface this by saying that this is by no means The Beatles’ best album (for me, that’s Revolver) but it is the one that changed my life. I was struggling to fit in in my teens in a world of grey concrete and everyone in head to toe adidas block colour tracksuit and gangster rap. After one very late night of underage drinking, a friend took me back to his house and said “check this out”. He put the film of Magical Mystery Tour on and immediately my entire world opened up. The colour, the surreality, the clothes and, of course, the music! I became obsessed with the backwards tapeloops, the kaleidoscope camera, the technicolour kaftans. I binned the tracksuit and immediately became a 60s throwback. That one encounter opened up everything to me: art, counter culture, the music scene, a whole world of new friends. And I can still quote that film word for word.
His ‘N’ Hers – Pulp
When my school mates did all start listening to Oasis and Blur I was firmly in the 3rd camp: I was a massive Pulp fan. Different Class is the album that cemented them as working class hero for the wierdo amongst us, and This is Hardcore saw them reach the pinnacle of their orchestral ambition, but His ‘N’ Hers is my favourite. It captures something very real about being an outsider in the 90s: when charity shops were packed full of incredible 60s clothing for pennies, the seedy glamour of the beachside dirty weekend B n Bs along Mumbles road, sticky indie clubs and lager and lime. It’s an album that celebrates the trashy, sexy, the working class. Jarvis Cocker is still my hero and nothing makes me dance and cry at the same time like “Do you Remember the First time”.
Work and Non-Work – Broadcast
I wrestled between this and Dots and Loops by Stereolab (which is a masterpiece) but Broadcast just pips them for me. Warp records seemed to be the coolest thing on the planet, and Broadcast’s music touched a nostalgic nerve for a period I didn’t even know. Their music seemed to be the subconscious by product of an alternative past: the mulch creepiness of Dario Argento’s fits, the sun saturated photography, the trippy wierdness of Public Information films. This album is incredibly beautiful and cinematic: every song on it lends itself to a film that has never been made. And perhaps the thing that pushes Broadcast’s work up the list for me is the tragic death of their singer and heart of the group Trish Keenan. She was a fashion icon and a poetic mind who went too soon.
The Hissing of Summer Lawns – Joni Mitchell
One night my boyfriend and I were driving very late down a pitch Black Country lane and we were listening to a radio show of Prince’s favourite songs. Suddenly this piece came on and it was so overwhelmingly beautiful, so totally perfect that we had to stop the car and just sit there in the dark listening. That song was Edith and the Kingpin from this strange and haunting album by the one and only Joni Mitchell. Poetically, every listen glistens with new meaning and her use of language is so incredible. “The helicopter lands on the Pan Am roof/ Like a dragonfly on a tomb”. Exquisite. Especially coming at you through that pure voice.
Wozzeck – Berg
I discovered that I wanted to direct for stage when I sat down and watched Richard Jones’s production of Berg’s complex and terrifyingly hard opera based on the Buchner play. That production tore away any concepts I had of what theatre could be. The world on stage was so strange, so complete, and the performers were incredible musicians and amazing actors (Christopher Purves’ performance in that was one of immense human detail. All while singing some of the hardest music you’ve every heard over a full orchestra). Now I’m finally directing opera, this production is still the benchmark for me of what can be achieved. It’s really worth listening to: yes the music’s complex, but the tragedy of the story is brilliantly served here. Please note the version Adele describes is not available online. Instead we present The Hamburg Philharmonic State Orchestra, The Chorus of the Hamburg State Opera, Conducted by Bruno Maderna, Directed for television by Joachim Hess. Set design: Herbert Kirchhoff Costumes: Helmut Jürgens Recorded 1970, Hamburg State Opera.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
I’m going to chose Babies from His N’ Hers because I think it shows how complex pop music can be. Melancholic, strangely profound: it captures the sense of teenage boredom on a rainy Tuesday evening between school and… But it also never fails to get everyone on the dance floor, and it builds into a euphoric, semi-spiritual exorcism of raw sexuality and kitchen sink drama. I can’t listen to this without dancing!
Excellent writing from Emily Hinshelwood, who loves words and is brave enough to share hers with us
On a surprisingly balmy February evening, a warm welcome greeted us at Pontardawe Arts Centre, a busy and chatty crowd were waiting eagerly in the bar. Being a small, local theatre many people knew each other, familiar faces including that of Emily Hinshelwood exchanged greetings and created a lovely pre show atmosphere. Emily lives fairly local to Pontardawe and is fairly well known there, particularly for her poetry. She also runs the Script Café at the arts centre, a regular series of workshops with professional scriptwriters and theatre-makers to advise, critique and inspire new writing.
We headed
into the theatre and were greeted at the door by the Theatre Manager, who along
with her team has supported the production of Cracked. It is so important for
theatres to support local artists, who in return bring innovative theatre to
their programmes and audience members that follow their work. From experience I
know that this takes additional funding and a lot of hard work, so well done to
everyone who was involved in the production and touring of Cracked. The high
quality of the resulting performance must have made it all worthwhile.
The audience
were excited and talkative before the show; in front of them an impressive set,
a solid scaffold-like structure with different levels and shapes within. The bright
and clear programme helped to set the scene. The audience ranged from teenage
to older age, a real mix of people. The theatre, the welcome and the programme
delivered a safe space to those who had taken the chance tonight on a new drama
that promised to be ‘a moving, thought-provoking play about vulnerability,
mental well-being and the universal need for love’.
The cast of
5 were supported by a versatile set, clever lighting and a soundscape with
non-intrusive familiar sounds that helped to affirm the perception of place,
whether in school or by the sea. The 6th member of the cast was a
puppet of Mick, the main character, appearing as a young boy and whose integral
part gave us the background to the story.
Whilst Mick (Tom Mumford) was the central character, each of the other players were essential to the story and all of their performances gave way to that moment where you let your imagination go and begin to believe that they really are those characters before you. Most convincing in this was Dick Bradnum in his portrayal of Mr Jackson, that brash, self-important and misguided teacher who just gets it wrong. In this moralistic tale, he also plays the voice of Dad, but never appears.
Joe Wiltshire Smith plays Stewart Skinner, the unruly pupil who’s a bit of a joker, with a hidden backstory whose offensive and defensive manner gets him into trouble. Shelby (Frances Keyton) provides the balance and understanding in her character that blends concern with clumsiness in action and words. Both build relationships with Mick that take him on a difficult path, but in the end show a much needed glimmer of hope.
Cavelle, played by Catriona James, is the character that only Mick can see, that imaginary friend, conscience and other self that we all converse with, portrayed in the form of a crow. At one moment proud, loving and supportive, at another undermining and mean, she accompanies Mick throughout the play as he makes decisions on which path to take. Along with the puppet of the young Mick, she tells the story of his past, his loss and his insecurity that leads him to the present and into the future.
Location is
important in this play, set in the South West and near to the sea. The
coastline here is a geologist’s dream with fossils, layered rocks and a history
that includes dinosaur’s footprints and volcanic eruptions. Mick teaches
Geology and it seems that the writer has a strong interest in this subject with
references to tectonic plates, trilobites and the historical shifts in land and
sea that have shaped Wales’ coastline.
The show
begins with a scene of distress, with Mick about to jump of a cliff, giving us
a glimpse of the possible future that beholds him and then melting into the
start of a school day and the beginning of this episode of his life that provides
the thought-provoking and often difficult scenes that emerge.
The play has
a good pace, moving swiftly through scenes and circumstances that confront Mick
as both the teacher and boy; a story and a sense of impending doom gradually
emerges as more information is revealed. The performance was engaging throughout;
some scene changes were a bit rough and the pace lessened towards the end, but
this portrayal of the human condition was delivered with strength and
determination.
There is
lots of humour, relevant and with underlying pathos. The play makes many
reference to issues that young people experience such as home schooling,
difficult circumstances, illness, mental health, death and loss. It recognises
the ways that society, schools in particular, deal with this and how what is
intended to protect can often cause harm. It shows human kindness and human
frailty in a way that is often difficult for the audience to watch, but gives
voice to subjects that need to be addressed.
In the
programme the writer makes it clear that it doesn’t aim to come up with
answers, but invites discussion. The workshops and daytime performances that
have gone alongside the evening shows of Cracked are very important, giving the
opportunity for teachers and secondary pupils to attend and take part. Yes,
there’s some swearing, but it’s really inoffensive and I would recommend this
play to be seen, read and studied. Cracked deserves a longer life than this
short tour.
For me, I am
part of that older audience that appreciated the play for its honesty and
bravery. For the actors who all played their parts so well and for the
excellent writing from Emily Hinshelwood, who loves words and is brave enough
to share hers with us.
If you
haven’t been there before, Pontardawe Arts Centre is a gem of a theatre, just
10 minutes’ drive from junction 45 of the M4. Check out their programme and
make a date for yourself – there are also some nice restaurants in and around
the town for pre or post show dinner. Check out their events at https://npttheatres.co.uk/pontardawe/whats-on/ .
Just a Few Words explores the psychological and emotional impact of having a stutter. How that affects your everyday life and indeed, your love life. We follow our protagonist (Nye Russell-Thompson) as he struggles to tell the woman he loves how he feels.
I’d heard a lot about
this piece and my main worry going in was that the writing would be structured poorly.
This isn’t a worry that need be had. The writing from Russell-Thompson is
brilliantly structured as we follow the protagonist’s journey through his mind,
preparing what to say.
Just a Few Words is
frustrating at times as a slow-moving piece of theatre, deliberately so. This
allows the audience to imagine, if not feel, the frustration that can be felt with
a stammer. Not to pity but understand. You never feel sorry for the character
which is a real strength of the piece. He feels like someone going through
something which is presented as normal and relatable.
A one-man-show created
and performed by Russell-Thompson, you can’t help but notice how this is more
real to Nye than it would be to another actor. Even without the knowledge of
who he is. This is a credit to his abilities as an actor, but also serves as a
note to organisations who don’t hire disabled actors to play the roles their
disabilities represent.
The debate about
stammering being a disability will continue, a debate I’m not qualified to
comment on and one this production doesn’t claim to solve. But what this play does
present clearly is that Just a Few Words is
stronger because of Nye’s personal performance. And it is the character’s
emotive story that is the main strength of Just
a Few Words.
The music and sound utilised in the production are excellent. From stuttering on an Otis Redding love song played on a record player in the beginning, to a grainy, static from said record player that runs for the entirety of the play. The sound is simple but adds a huge amount to the ambiance.
The minimalist set is great too. A record player in one corner, a table in another and the use of pre-written cards which act as subtitles for our protagonist’s thoughts that scatter around the stage complete the show and makes it everything fringe theatre should be.
Just a Few Words is an excellent and relatable portrayal of life with a stammer, blending a beautifully minimalist approach with powerful writing.
Just a Few Words is part of The Other Room’s
‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s
only pub theatre over eight weeks. Tickets can be found for the
upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.
JUST A FEW WORDS performed at The Other Room 13th February – 16th February 2019 Presented by StammerMouth Created and Performed by Nye Russell-Thompson Stage Manager: Megan Randall
I always feel a sense of joy when I head to the Peacock Theatre; their programming is always fun and whimsical. This is exactly what I experienced again, on my trip this time.
A beautiful part of this production, was the initial entrance into the foyer and by the bar. A collection of Spanish speaking patrons mingling and speaking this delicious language which really set the tone for the show itself.
Whilst in Argentina myself, I took a tango class with a short show afterwards and found this beautiful, sexy and interesting language to Tango. It’s fierce, it’s unapologetic and it has a feat of awe.
And this show definitely hit those checkboxes. The staging is simple, with our first half in the typical 1940’s-1950’s costume, lustrous summer scene with only a bench and lamppost. The dancers have a conversation with their movement and there’s humour and plenty of elements that we all recognise – the loved up couple, the unrequited lovers, the males vs females. We enjoy the movement between them, the conversation through dance and it over all is a joyous beginning to the show.
Our second half is more hot and steamy. The women are wearing less, the interaction is raw and fierce and it’s hard to take your eyes off them. The feat to which the woman are lifted and thrown across the male dancer’s bodies and across the stage left a few with gasps and awes. Feet moving and legs kicking at extreme pace; it is hard to ignore such ability and grace.
While a lovely show, and picking on all the elements of Tango, I didn’t feel too awe-struck or inspired. It was lovely to watch and interesting to see the skill involved but it didn’t feel too original. It felt very quintessential.
Over all German Cornejo’s Tango Fire is something to be enjoyed. If you are ready for a show with little to complain about and sit for a nice evening, it’s a safe bet to take. You won’t come away disappointed. But do not expect to come out speechless.
‘All happy families are alike; each unhappy family is unhappy in its own way.’ – Tolstoy
Elin, visiting her Carmarthen family from her new life in London, meets Thomas, her old teacher, and there’s a spark between them. Bringing him back to the family home, her intent more carnal than romantic, she expects an empty house. Instead they are almost caught by her mother, Lisa.
(Nia Roberts as Lisa)
Surprised, Thomas blurts out that he was invited back for a meal, much to the daughter’s dismay and her mother’s delight, because Lisa has been looking for a boyfriend for her gay son Huw, and, mistaking Elin’s intentions, she thinks she’s found one.
(Huw, Lisa and Elin)
So begins an evening of misunderstandings, comedy and revelations. The shy Huw blooms, as does the play, from what seems like an Ayckbourn farce into something progressively darker, as old wounds are re-opened and the absent, oft mentioned father casts a pall over everything like the ghost in Hamlet.
(Sophie Melville as Elin and Jordan Bernarde as Thomas)
What could have been stereotypes – slutty daughter, gay son, lecherous teacher and dragon mother – are, in the hands of these actors, fleshed out into real people. Helped by impressive writing and the subtle direction of Chelsey Gilard. My favourite moment being during the dinner scene, when Huw talks to Thomas, while under the table Elin caresses the teachers thigh possessively.
Writer Rhys Warrington trained as an actor, and perhaps this is why he knows to leave room for the cast to breathe life into their roles. His script is funny, engaging and sad.
Maybe it was first night nerves, the script, or the directors intent, but there was a rawness, echoing the characters on show, a feeling of slightly rough edges that need filing. Whatever the reason, I found that it enhanced the play.
Sophie Melville gives the lippy Elin the right mix of being grown up yet still lacking maturity, and relishes her lines. In response to her mother’s “Know what we need now?” she replies waspisly “Another drink?”.
Jordan Bernarde gives the fought-over Thomas a steadiness, but hints at unshed grief over his own father’s recent death.
Playing the shy, withdrawn Huw is not easy, and it’s to Gwydion Rhys’ credit that he makes him so human, moving from boring to vulnerable and evoking our sympathy.
Nia Roberts is an actor that loves getting her teeth into a part, and here she takes the role and runs with it. Switching from monster to Mam in a second, she gives us a Lisa that is heartbroken and angry, living in past memories because the present is too painful.
There is a lot to admire in Blue, much of it familiar, especially to Welsh audiences. Rebecca Hammond founded Chippy Lane Productions to promote Welsh theatre and talent beyond Wales, and this is a prime example of it. There’s even a faint trace here of Chekhov’s The Cherry Orchard, possibly due to the presence of Matthew Bulgo as dramaturg, a cast member in the celebrated Sherman Theatre production.
Blue isn’t completely perfect and I’m glad for that, because It means that this is a writer with space to grow, to improve. That is a very pleasing prospect for the future of Welsh drama.
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
(4 / 5)
(3 / 5)
(2 / 5)
