The Awards Panel volunteer their time to score, shortlist and choose the winners of each category, They come from a range of backgrounds including, Get the Chance volunteers, Disabled Creatives, Lectures and Arts Professionals . You can find out a little more about the panel below.

Samiya Houston

I am an aspiring educator and creative practitioner with a deep commitment to inclusive arts. Alongside a strong voluntary background supporting children and young people in various schools and charities, I recently completed a rewarding internship with Cardiff-based charity UCAN Productions. During my time there, I facilitated creative workshops across Wales for blind and partially sighted youth, which truly reinforced my passion for helping people build their confidence through creativity.

Currently, I am training to become a teaching assistant, with future plans to study either primary education or the performing arts. My ultimate goal is to bring more accessible, confidence-building creativity into classrooms and ensure that learning is as fun and inclusive as possible. I am so excited to be on the panel for the second-ever the Get The Chance Cultural Impact Awards – I can’t wait to discover and celebrate the amazing projects that are using creativity to make a real difference in our communities! Outside of my professional goals, I’m an avid musical theatre fan, a keen baker, and a self-confessed foodie who loves reading and spending time with friends.

Dr Barbara Hughes Moore

Dr Barbara Hughes-Moore is a writer, poet, and lecturer. She teaches law and literature, with a focus on criminal law and the nineteenth century Gothic. Her poetry has featured in These Pages Sing, Horror Scribes, Roath Writers, The Birdcage, and The Folks.

Jak Rhys Birch

Jak Rhys Birch Is A Celebrated Writer, Artist, And Multi-Award-Winning Entrepreneur Based In Cardiff, Wales. With A Deep-Rooted Passion For The Arts, Jak Has Made Significant Strides Across Various Sectors, Showcasing His Versatility And Dedication. His Extensive Knowledge And Experience Have Inspired And Educated Budding Artists And Creatives In Wales.
Jak’s Commitment To Fostering Creative Talent Led To The Founding Of Galwad, A Not-For-Profit Organization Dedicated To Nurturing And Empowering Welsh Creatives. Through Galwad, Jak Aims To Turn Artistic Passion Into A Viable Profession, Providing Invaluable Support And Opportunities For Emerging Talents In The Region.

Jak Rhys Birch’s Unwavering Dedication To The Arts And His Entrepreneurial Spirit Continue To Make A Lasting Impact On The Creative Landscape Of Wales.

Rhys Payne

This award will be presented by Rhys Payne, Rhys, is an educator and critic, he runs Rhys Reviews which is an entertainment blog/theatre review page which puts new and emerging musicals in the spotlight!

Hannah Goslin

Hannah currently works at the National Theatre as the Operational Support Manager for the Customer Experience and Commercial Operations department. She has been part of Get The Chance Wales from the early days of it being known as Young Critics when she was studying her undergraduate in Performing Arts in Swansea and her masters in Events Management in Cardiff over 10 years ago.

Hannah was the first London correspondent for Get The Chance Wales and has continued, since joining all that time ago, to review in London, Scotland and Devon. Half Welsh, she is fiercely proud of her Welsh roots and has a deep passion for Welsh theatre that she feels is unlike any other theatre in the country. Alongside the NT and Get The Chance Wales, Hannah is an all round theatre professional; performing, creating, producing and marketing productions and currently, separately trying her hand as a novelist.

Nicola Parsons

Nic Parsons is an artist and arts & health practitioner. She has an MA in Arts, Health & Well-being and is a qualified F.E tutor. She began her career as a scenic artist working for Welsh National Opera on theatre and opera sets that were shared across the globe.

She has worked within the community on a wide variety of funded projects as an arts tutor and arts development officer, bringing together a variety of creatives to work on exciting and innovative workshops and exhibitions, with an aim to supporting well-being and providing a platform for community members to showcase their artwork to a broader audience.

In her own practice she embraces nature as her muse. Exploring natural forms and colour palettes through a variety of mediums such as illustration, paint and textiles.

Barrie Llewelyn

Barrie Llewelyn is a writer and an academic researcher at the University of South Wales. She teaches undergraduates and supervises post graduate students. Her research interest is broadly writing for wellbeing with a special interest on the benefits of creativity to those seeking sanctuary in Wales.

(4 / 5)

Having been lucky enough to see Blackeyed Theatre’s award-nominated production of Oh What a Lovely War at the same theatre in 2024, I knew I was in for a treat with this world-premiere adaptation- in which we see four classic Sherlock Holmes mysteries intertwined to make one thrilling new adventure.

Blackeyed Theatre is one of the UK’s leading touring theatre companies, with over twelve years’ experience of bringing exciting, high-quality work across the UK.

“After working with Blackeyed on two previous adaptations of Conan Doyle novels (The Sign of Four and The Valley of Fear) it was really exciting to be asked back to create something a little different for our third Holmes collaboration. It’s been fun capturing the pace, the spirit and the character of Doyle’s original adventures, and our hope is that, like the stories themselves, The Hunt for Moriarty will keep audiences gripped – and guessing – along with the great detective himself, right to the last” Nick Lane, Writer and Director.

The stage is set but is perhaps not what we would expect from 221b Baker Street- the apartment is burnt out, and we can’t see much aside from a few doors, some chairs, and a table. Enter our narrator for the evening, Dr John Watson, perfectly portrayed by Ben Owora who leads us into our tale and the events leading up to the fire. The plot is intricate but fast paced and the set is versatile- transforming cleanly from 221b Baker Street to an underground station, a theatre basement, a gentlemen’s club and so on. Sound and lighting offer additional atmosphere and projections on the back wall provide the audience with a visual aid reflecting the action on stage (i.e. a letter that’s being read, a note that’s been found etc.) as well as assisting with scene transitions- an underground map, billowing flames, a waterfall.

Mention must be made to the movement within the piece- from the slick scene changes to the fight choreography and the clever physical theatre of the Diogenes Club- the togetherness of the gentlemen seated, trying to read their newspapers in peace makes for an amusing watch! There are lots of standout moments like this which make this production sparkle.

The cast are superb and deal with the large amount of dialogue wonderfully- the production is lengthy at 2 hours 45 with a 20-minute interval (unsure of the 7.45pm start!) and in honesty, felt like it should have ended at ‘case-closed’! However, the title somewhat gives away the fact that we’re going to be heading to the Reichenbach Falls at some point during proceedings, so the numb bum had to be endured for at least another 20 minutes!

The character transformations are executed beautifully, with thoughtful costume and accent changes that make it easy to tell who’s who — and ultimately, whodunnit! Pippa Caddick plays all female roles from Mrs Hudson to Irene Adler and switches between them with confidence and clarity. Eliot Giuralarocca and Robbie Capaldi also handle four or five characters each with ease. However, special mention must go to Gavin Molloy, whose portrayals of five characters are so distinct that it’s easy to forget Lestrade and Moriarty are, in fact, the same actor!

To me, Holmes isn’t quite manic or quirky enough- Knightley portraying him as a more composed detective than fans are used to. There’s an air of madness bubbling, but it never quite comes to fruition.

That said, even with its long running time, the show dazzles with originality, cleverness, and style- any Sherlock Holmes fan would be mad to miss it. Elementary, indeed!

Sherlock Holmes: The Hunt for Moriarty continues its run on March 10^th at The Dukes, Lancaster and finishes on May 23^rd at the Northcott Theatre, Exeter.

Sherlock Holmes and the Hunt for Moriarty – Blackeyed Theatre

Cast:

Ben Owora- Doctor John Watson

Mark Knightley- Sherlock Homes

Pippa Caddick- Mrs Hudson, Violet Westbury, Irene Adler, Hilda Trelawney-Hope

Gavin Molloy- Inspector Lestrade, Louis LaRotiere, Professor Moriarty, Alex Trelawney-Hope, Herbert Fennell

Robbie Capaldi- Sir James deWilde, Hugo Oberstein, Ronald Smith, Don Chappell

Eliot Giuralarocca- Mycroft Holmes, Col. Valentine Walter, Wilhelm von Ormstein, Henry Petty-Fitzmaurice, Will Parfitt

Creative Team:

Playwright / Director- Nick Lane
Composer and Sound Designer- Tristan Parkes
Fight Director and Choreographer- Rob Myles
Set Designer- Victoria Spearing
Costume Designer- Madeleine Edis
Lighting Designer- Oliver Welsh
Projection Designer- Mark Hooper
Education Advisor- Ben Mitchell
Company Stage Manager- Jay Hirst
Assistant Stage Manager- Duncan Bruce

Set Construction- Russell Pearn

Producer- Adrian McDougall

(5 / 5)

Grand Ambition’s new play, ‘HOP- The Hopeful Hare,’ by Michelle McTernan, Steve Balsamo and John Quirk, was such a lovely story exploring love and grief through puppetry, song, and (lots of) vegetables!

Immediately when you enter the theatre, the setting and atmosphere conveyed the tone of the piece. They had birdsong through the speakers, a tree, plenty of plants, a plant bed with potatoes, carrots, peas, and cabbages, a wheelbarrow, and to the left in front of a shed was a deckchair, radio and coffee table. This was contained by a small section of blue fence to the left of the stage, with one wonky post. Even the front row of seats was covered in a hessian fabric to add to the outdoor, nature feel.

Images by Kirsten McTernan

The back of the stage showed a projection with blue skies and clouds, which was effectively utilised during the production for accessibility in captions as well as moments of animation. (I would like to mention also, that the performance I went to see was a BSL interpreted performance, which is great to see is happening more and more, not just on professional tours but also local and amateur ones.)

The story follows Grandpa, who every morning marks the day on his calendar before sitting in his deckchair and listening to Gardeners’ Question Time on the radio. Sometimes Grandpa was very receptive to the host and guest speaker, remarking on whether they were in Swansea or grumbling about them being in Cardiff or Aberystwyth. Other days, he would just turn it off.

During the first day, Grandpa strokes a well-loved toy rabbit and a happy birthday card, which immediately grabs the audience’s attention, making not only the young ones intrigued into a painful part of the character’s life, but the adults as well.

There are also animated scenes on the projection that explain Grandpa’s grumpiness, which is, of course, grief, in a much more powerful way than words could’ve done. When his wife died, he grieved her so much that he shut out his son in the process. The son walked away from their relationship to have his own partner and child.

Birds and slugs try to enter his garden every day, and every day Grandpa shoos them away. The slugs grumble as they leave. This was one of the many comedic elements, which combine well with the deeper tone of the piece.

At night, the hare (called Hop) enters, munching on the vegetables in the plant bed. Every night they go down, and Grandpa tries to stay awake to catch who, or what, is eating his crop.

Grandpa develops a relationship with Hop during the production revealing difficulties for his past but offering positivity for the future.

The set, animation, puppetry and original song came together to create a wonderful, heart-warming story that can connect with all ages, and was effective in teaching kids about grief and loss but also reminding all of the importance of working together with nature and animals.

I recommend this piece and wish there was more of this around, because now more than ever, kids need live theatre to connect to human stories in a physical way, away from screens.

Images by Kirsten McTernan