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.
Russ Williams is an author who enjoys exploring the often overlooked aspects of Welsh culture. His debut book Where the Folk: A Welsh Folklore Road Triplooks at the history and origins of some of the country’s most influential folktales.
When we think of fairies, we tend to think of pleasant, winged little darlings here to make our dreams come true with a wave of their sparkling magic wands. You’d be forgiven for thinking they would make for rather laughable foes in any horror film, yet in Rabbit Trap, the latest feature film to bring Welsh folklore to the big screen, they are anything but. That is because the film draws inspiration from Wales’ answer to the fairy myth; the Tylwyth Teg. And in Welsh fairy tales, people rarely live happily ever after.
This psychological horror, produced by Anglesey-based production company Mad as Birds, follows the story of married couple Darcy (played by Dev Patel) and Daphne (Rosy McEwen), who have relocated from London to a house in rural Wales, seemingly so that professional singer Daphne can focus on her new album. Darcy spends most of his days capturing natural audio clips for Daphne’s new record and it is these field recordings which ultimately invite a malevolent force into their home, which arrives in the form of a nameless child (played by Merthyr Tydfil actor Jade Croot) who just won’t go away. The film stays true to the lore of the Tylwyth Teg, blending different aspects together to portray these Welsh fairies in the way our ancestors would have imagined them; as powerful beings that should be avoided at all cost.
Throughout Wales, Tylwyth Teg take many forms and their nature and motivations vary. Many locales have a story about a ‘Lady of the Lake’; beautiful women who would appear near ponds or lakes and marry a local mortal, an arrangement that inevitably ended in tragedy. Bodies of water were once believed to be places where the veil between our world and that of the fairies was at its thinnest and the film subtly references this. Other tales tell of how the Tylwyth Teg would kidnap human children and replace them with Plant Newid, Wales’ answer to the Changeling, a piece of lore integral to the film’s narrative. Our ancestors would also leave out gifts for the Tylwyth Teg (more often as a peace offering) or would adorn their homes with various charms believed to ward off those benevolent tricksters, something else that is represented well.
Another important bit of lore integral to the plot of Rabbit Trap is the link between the Tylwyth Teg and music. There are many tales of how the Tylwyth Teg used music to lure people into a trance, such as the story of poor Ned Puw, doomed to play his fiddle for all eternity in the gloomy depths of Tal Clegir Cave. As terrifying as they were, Welsh fairies loved a good party and the ruined state of Pennard Castle on the Gower Peninsula is testament to what happens when humans try to stop them from having a good time. The story goes that the tyrannical lord who once dwelled there denied entrance to a band of fairies who wanted to join his daughter’s wedding party; they responded by conjuring up a sandstorm and engulfing the castle and all those within.
This isn’t the first film to introduce Welsh folklore to the world. The classic 1985 animated dark fantasy The Black Cauldron borrows heavily from the Mabinogion and was based on a series of books called The Chronicles of Prydain (Prydain being the Welsh word for Britain), which reimagine Welsh mythology with a fresh narrative. The titular cauldron itself is inspired by the Pair Dadeni (Cauldron of Rebirth) from the Second Branch of the Mabinogion, which the Irish used to gain the upper hand in a war against the Welsh.
Then there’s the more recent eco-horror film Gwledd/The Feast (2017), in which the character Cadi is portrayed as a Nature Spirit, punishing the family for their desire to harm the land. The popular ‘Lady of the Lake’ tales I mentioned do indeed end in tragedy, but mostly due to the destructive nature of humans – sometimes one needs to look inward to find the real monster. Then there’s The Green Knight (2021), which also stars Dev Patel. Loosely based on the epic 14th-century poem Sir Gawain and the Green Knight, it features St. Winifred’s Well (there’s no shortage of holy wells here in Wales) and Cewri (Welsh giants).
References in other films are less obvious and may surprise you, such as Studio Ghibli’s Howl’s Moving Castle (2004). Hayao Miyazaki, one of the studio’s founders, grew an affinity for Wales after falling in love with the landscape, language and architecture following a visit here and he based much of the animation on the sights he had seen here. The titular wizard Howl even speaks a bit of Welsh. The film was based on a book by Diana Wynn Jones, which tells the story of a Welshman who becomes a wizard after visiting a magical land.
Rabbit Trap does a great job of bringing the scarier aspects of Welsh folklore to the big screen and proves that stories about Tylwyth Teg aren’t just for children. Hopefully it will encourage other filmmakers to look to Welsh folklore for inspiration, as there is certainly no shortage of stories to choose from. One of my personal favourites is the tragic tale of doomed lovers Rhys and Meinir, which concerns an old wedding tradition of a game of bridal hide-and-seek that goes terribly wrong. There’s also the legend of Cantref Gwaelod, the ‘Welsh Atlantis’ that was lost to the sea somewhere off Cardigan Bay thanks to the intoxicated gatekeeper, Seithenyn.
Then there’s a whole pantheon of terrifying Welsh monsters, such as the banshee-like Gwrach-y-Rhibyn, a monstrous hag who would appear out of the mist and drain the blood of her victims; the goblin-like Coblynau who terrorised Welsh miners and even followed them to Welsh settlements in America; and the demonic black mastiff Y Gwyllgi with its glowing red eyes, who attacked those foolish enough to travel along lonely country lanes at night. But filmmakers shouldn’t feel restricted to folk horror; just think of the epic fantasies we could adapt from the tales of the Mabinogion; stories of quarrelling dynasties, dragons and powerful wizards.
The Welsh have always been great storytellers; hopefully this is the start of a new trend that will allow us to share them with the world.
Rabbit Trapis coming to cinemas across the UK from January 30, 2026.
The film has various connections to Wales including production company Mad as Birds and Merthyr Tydfil actor Jade Croot. Rabbit Trap was partly filmed in North Wales.
This article was commissioned by Film Hub Wales as part of its Made in Wales project, which celebrates films with Welsh connections, thanks to funding from Creative Wales and the National Lottery via the BFI.
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
What better way to talk about how Tempo Time Credits work than sharing an amazing ruby match in the capital of Wales! Last Saturday I was lucky enough to head down to Cardiff Arms Park to watch Cardiff Rugby take on Racing 92 in the EPCR Challenge Cup — and the best bit? I did it with Tempo Time Credits. What a brilliant way to turn volunteering into unforgettable moments!
What Are Tempo Time Credits?
If you haven’t yet come across them, Tempo Time Credits are a simple but powerful way of rewarding and thanking people for the time they volunteer in their communities. Members of the Network earn 1 Time Credit for every hour you volunteer. You can spend those credits on a huge range of activities and experiences offered by Tempo’s network of partners — from theatre tickets to museum entry, to sport and more.
I’ve earned mine through administrating and helping out with Get the Chance. Get the Chance works to create opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.
How to Use Tempo Time Credits to Get a Rugby Ticket
Here’s how it works,
Earn your Time Credits by volunteering with a Tempo partner organisation (like us!).
Log in to your Tempo online account and click to redeem your credits for available activities.
Search for activities by location and interest — in my case I looked for Cardiff Rugby or sports events.
Select the match and confirm your booking using your credits — it’s often as simple as an online voucher, booking code or email confirmation.
For the Cardiff Ruby match I just emailed the team at Cardiff Rugby, quoting my Tempo ID and they then booked two tickets for me and sent me the electronic tickets by return of email. It’s incredibly straightforward and that part always feels like a reward in itself!
Getting to Cardiff Arms Park
If you haven’t been before, Cardiff Arms Park sits right in the heart of Cardiff’s city centre, next to the iconic Principality Stadium, so it’s super easy to find! I took the train into Cardiff Central, and from there it’s only about a 10-minute walk to the ground.
There’s no match-day parking on site, but plenty of public transport options around, and a whole host of city centre car parks nearby if driving is your preference.
The Match Experience
There’s nothing like walking up the street towards the Arms Park on a match day. The atmosphere builds with every step — supporters in scarves and colours, families gathering, friends meeting up — you feel it before you even get in through the gates.
To get into the card I just had to show my electronic ticket at the turnstile and have the QR code scanned. There are lots of staff onsite who can show you the way if you haven’t been before.
Then the game kicks off — and what a spectacle it was! Cardiff Rugby against Racing 92, two teams giving everything in front of a buzzing crowd. Being there live with the roar of supporters, the tension of pivotal plays and the thrill of big hits — well, it reminded me why live sport really matters.
Half-Time… Food and Drinks!Final Score
Half-time at the Arms Park is a highlight in itself. There are plenty of refreshment options on offer — from classic match-day favourites like hot pies, burgers and chips, to coffee and snacks. There are also bars and stands inside and outside the ground where you can grab a drink and chat with fellow fans.
Whether you’re catching up with friends about the first-half action or just soaking up the atmosphere, it’s a great chance to relax before the second half.
Final Score
Cardiff took a huge stride towards the Challenge Cup knockouts with a determined, 32-13, bonus-point home win over Racing 92 in front of a buzzing Arms Park crowd.
Why I Love Tempo Time Credits
Using Tempo Time Credits to go to a rugby match like that felt brilliant. Not only do you get rewarded for giving back — you can try new things, and share those experiences with friends or family. Whether it’s sport, theatre, or a day out somewhere new, Tempo opens so many doors!
Ready to Get Involved?
If you’ve not signed up yet, now’s a great time. Join the Tempo Time Credit network, start volunteering, and start racking up credits! Head to wearetempo.org to sign up, browse opportunities, and see where your credits can take you next.
Let’s get out there, try new things, and make some memories — thanks to Tempo!
We all know the rags-to-riches fairy-tale Cinderella: a beautiful, kind-hearted young woman, stuck scrubbing floors while her stepsister’s parade around in all their wickedness. However, with a little help from her Fairy Godmother, Cinderella is whisked off to the Royal Ball, where she promptly falls in love with the Prince. There’s just one catch- the magic expires at midnight. Cue a frantic exit, one abandoned shoe (sorry, slipper), and a Prince determined to search the entire kingdom for the foot that fits. Spoiler alert: he finds Cinderella and, of course, they live happily ever after. Throw in her bestie, Buttons, a Fairy Godmother with a wardrobe fit for a queen (I’ll let you decide which type of queen!) and a blend of fantastical sets, props and dancing villagers and you’ve got yourself a recipe for a standout Venue Cymru production!
A brilliantly written script, this panto does not disappoint in its nod to tradition with plenty of hilarious one liners, often alluding to well-known North Wales locations, lots of ‘oh no, you didn’ts’ etc., a frenzied 12 Days of Christmas complete with custard pies and, a highlight, Buttons and the Fairy Godmother discussing ‘Billy from Bala’s Bullocks’…you can imagine where this sketch has the potential to go…! The chemistry between John Evans (Buttons) and Simon Nehan (Fairy Godmother/Dame Dolly Penrhyn) is unmistakable- both consummate professionals and no stranger to Venue Cymru’s stage (in fact, Dame Dolly mentions how confusing her feelings are for Buttons as she played his mother last year!) Evans is the master of improvisation and clearly extremely comfortable in this role and Nehan excels as the Dame, with wonderful comic timing and just enough bawdy behaviour!
Another duo with a clear connection is 2025 Britain’s Got Talent finalists Hannah Roberts and Fran Cottington as wicked stepsisters Whitney and Britney Bardashian (see what they did there?!). Both local, Han & Fran are literally ‘living the dream,’ riding on the wave of their talent show success. However, these two are not to be underestimated. They have already proved they can sing and that they’re comfortable in front of the cameras and now this powerhouse pair are conquering the professional theatre world. Both seem very ‘at home’ here and bounce off each other perfectly, neither one stealing the limelight from the other. Performing a laugh-out-loud rewrite of ABBA’s Fernando (an ode to popular restaurant chain Nando’s!) along with other ABBA classics and more, continue like this and Team Han & Fran will no doubt go a long way!
Another local performer is Corrine Cherish who simply shines as Cinderella. Despite being the title character, this role can often be forgettable. However, Cherish truly puts her own stamp on the story’s heroine, and not only does she make a stunning lead, her vocals also stun- no more so than at the end of Act One- as Cinderella makes her way to the ball in her newly transformed coach, Cherish’s soaring vocals, combined with a beautifully magical piece of stagecraft (which I won’t spoil here), create a surprisingly emotional and memorable end to the first half.
This year’s ‘celebrity’ panto stars are Strictly Come Dancing’s AJ Pritchard and his brother, also a professional dancer, best known for Dancing with the Stars, Ireland, and his appearance on Love Island. Unfortunately, both give disappointing performances, often stumbling over lines, and displaying acting talent about as wooden as Cinderella’s broom! I’m not sure I’ve ever attended a production of Cinderella in which the Prince (AJ Pritchard) doesn’t sing at all and, although Curtis Pritchard as Dandini is given a few musical moments, he mimes every time which is very off-putting! I can’t help but think the production would have benefited from some more local talent rather than being reliant on ‘names’ to put bums on seats!
The cast is mostly strong, with a lively and dynamic ensemble who keep the energy up and whimsical, cartoon-like sets, clever lighting design and fabulous costumes all add to the magic. The musical numbers strike a fun balance between timeless classics and modern hits- though, like Cinderella’s night at the ball, some feel a tad rushed. All songs, however, are played live by the company’s fantastic band, led by Musical Director Shaun Critten, who even pops up for his own mini moments in the show, adding an extra sprinkle of charm!
Overall, Venue Cymru’s Cinderella is a true spectacle which could have been propelled to a five-star production with a handful of minor alterations. It was wonderful to see the theatre full on a Sunday afternoon and a pleasure to hear families thoroughly enjoying themselves in the lead up to Christmas. For a feel-good, festive experience with lots of laughs and local talent, I wouldn’t hesitate to recommend a visit to Venue Cymru this panto-season!
Cinderella. Venue Cymru, Llandudno Friday December 12th, 2025- Saturday January 3rd, 2026 Cinderella | Venue Cymru
CAST AJ Pritchard Curtis Pritchard John Evans Hannah Roberts Fran Cottington Simon Nehan Corrine Cherish Ella Goody Connor Pearson Sadie Wagstaff Sam Woods
CREATIVE TEAM Associate Producer Laura Taylor Second Associate Producer Jo Longworth Writer Tam Ryan Director Alli Coyne Choreographer Eddie Slattery Musical Arranger Steve Clark Musical Director Shaun Critten Lighting Designer Ben Payne Sound Designer Matt Karmios
BAND Md/Keys Shaun Critten Drums Michael ‘Ozzie’ Osborn Bass Dominic Palmer
FOR CINDERELLA Production Manager Andy Pye Company Manager Matthew Ollerhead Deputy Stage Manager Heather Milne Assistant Stage Manager Mali Barratt Wardrobe Supervisor Paula Cain Wardrobe Assistant Imogen Duke Dresser Alaw Broster Production Carpenter Simon Somerset Holmes Lighting Programmer Sophie Schmidt Production Sound Matt Gibson Sound No 1 Jason Jones Dance Captain Ella Goodie
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.
It’s a great big festive, ‘How’s it going, alrigh’?’ from the annual Christmas pantomime at the New Theatre, Cardiff. Sleeping Beauty is packed full of inuendoes, fast paced slapstick, fabulous musical numbers and a fabulous, mostly returning cast who brought the house down with ease.
It’s the classic fairytale, but with plenty of Welsh flavour; Aurora has been cursed by the wicked, Carabosse, but not to fear, the Spirit of the Pantomime has protected her until the eve of her 21st birthday! When she pricks her finger on a spinning wheel, it’s up to Nurse Nelly, Muddles and the Spirit to rescue Prince Gethin (of Gabalfa, of course…) and return him to the castle in Cardiff so he can bestow true love’s kiss and awaken the princess! Will true love save the day? Will Aurora ever awaken? And will we all be going ‘alright!’ all the way home? Oh yes, we will!
It’s a spectacular affair, as we’ve all come to expect from the New Theatre pantomime; the set is beautifully done, I loved the slick lighting and sound, and the orchestra perform toe tapping numbers with ease, led by Musical Director, Michael Morwood. The special effects are definitely special; the ending of act one takes the audience’s breath away…all I’ll say is that it was definitely gravity defying for Muddles! The choreography by James Bennett is slick and delivered with much aplomb by the talented ensemble and director Matt Slack clearly has a flair for slapstick and comedy, there’s laughs and heart aplenty here. The script by Alan McHugh is delightfully naughty in places, with plenty of jokes for younger and older ears alike!
The all star cast is led by Gethin Jones who is delightful, with a heartfelt performance as Prince Gethin of Gabalfa. He is joined by Emma Kirk as Aurora, who delivers the role with huge enthusiasm and energy. Aurora is usually a smaller role in the pantomime, but Emma really makes her presence felt with great personality, immediately earning her place in the hearts of the audience. Owain Wyn Evans is a force to be reckoned with for Carabosse and delivers fast paced weather puns with ease. Jalisa Phoenix-Roberts is a delightfully evil, but likeable Carabosse, with vocals and sass to die for. Jack Ryan is instantly loveable as Muddles, often at the butt of many jokes and much slapstick. I particularly loved his interaction with Nurse Nelly in the ‘Wonder of You’ section, which was delivered exceptionally well. My personal favourite was Mike Doyle as the fantastically naughty Nurse Nelly. His speech delivered so many fast-paced innuendos, it was hard to keep up! His voice is excellent, and he holds the audience in the palm of his hand throughout the whole production.
All in all, it’s a slick, well-oiled pantomime, full of laughs aplenty, tight dance routines, toe tapping musical numbers and a great deal of heart. It’s guaranteed to have something for every member of your family and is a great night out over this Christmas period. It’s a spectacular show which needs to come out of your dreams and become a family tradition this Christmas time!
You can find out more about the production and book tickets here
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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