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Art, Celebrations

The Get the Chance, Cultural Impact Awards 2025, Winners.

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The Winners of the Get the Chance, Cultural Impact Awards 2025, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff, were announced on Sat 22 March at Porters Cardiff.

Congratulation to all of all of the those Long/Short Listed and the winners. Thanks to all of the members of the public that took time to nominate, it was great to see a range of cultural activity that reaches a broad range of the public and its positive impact on their quality of life.

Thanks to our panel for volunteering their time to support this inaugural Awards event.

Rachel Gegeshidze, Chief Executive, Tempo Time Credits said of the event.

“What an inspiring and emotional evening at the Get the Chance inaugural Cultural Impact Awards this evening at Porters Cardiff. Get The Chance is a remarkable social enterprise based in South Wales, dedicated to creating opportunities for a diverse range of individuals to engage with and respond to sport, arts, culture, and live events. This evening, I had the honour of presenting the Cultural Champion Award, and it was truly inspiring to hear about the incredible initiatives taking place across Wales that engage people in culture, arts, and heritage. The stories shared, reflect the passionate commitment of individuals and organisations working tirelessly to make a difference in their communities. Now more than ever we need to work in partnership to connect communities and celebrate diversity and inclusivity. In the words of one of tonight’s winners “If you can’t see it, you can’t be it!” Guy O’Donnell your commitment and passion for engagement is truly incredible and your work changes communities and lives!”

Category

Public Event

(Sponsored by Tanio)

Grav – 10 year celebration/ Owen Thomas and Gareth John Bale

“Very proud to accept this award from the brilliant Get the Chance on behalf of everyone at the Torch Theatre
Special thanks to Peter Doran Gareth Bale Chelsey Gillard, Guy O’Donnell. Huge love to Grav and his family x”

Creative of the Year

(Sponsored by Porters Cardiff)

Geinor Styles, Theatr na nÓg

Community and Education Project

(Sponsored by The Red Shoes Poster Archive)

Mess Up The Mess Theatre Company with a focus on the regular Youth Theatre and their projects

“What a fantastic evening we had on Saturday at the inaugural Cultural Impact Awards led by Get the Chance
Overjoyed and honoured to have won 2 awards! Community and Education Project of the Year Award for our Youth Theatre and Facilitator of The Year Award for Joanne Shackley recognising her enormous contribution to Mess Up The Mess.
Thank you to all those involved in our work artists, staff, young people, families, funders and volunteers. It is a big team effort!
Thank you to Get the Chance for giving us this platform it is so needed right now. Porter’s Cardiff


Huge congratulations to all the other nominees and winners you are doing life changing work!


Queertawe Taking Flight Theatre Company UCAN Productions Peoplespeakup Theatr na nÓg Theatrau Sir Gar Owen Thomas”

Facilitator of the Year

 Joanne Shackley, Mess Up The Mess Theatre Company, The Yfory Project

“Well that was a wonderful surprise. I was awarded the facilitator of the year in the @getthechance1 Cultural Impact Awards.

When I first started my career just leaving Uni and didn’t have a clue what a facilitator was and that I could even make it a career in it. Now accepting an award as facilitator of the year is mind blowing.

A massive thank you to @messupthemess for making me the person and creative I am today. Giving me amazing opportunities to grow and develop. I was so lucky to make a difference to young people’s lives creatively. I am so proud to have been part of Mess Up The Mess and taught me so many amazing values. I am excited to keep supporting such an important company.

A thank you to @getthechance1 for helping the creative community celebrate and highlight the amazing work in Wales. The Arts truly makes a difference!”

Culture and Health

(Sponsored by Christine O’Donnell)

People Speak Up, Creative Home Delivery Service

“Wow wow – we won!!!! Fe wnaethom ennill!!!!

Diolch i’n tîm, artistiaid llawrydd, cyfranogwyr a phartneriaid
Da iawn i bawb a enwebwyd. Cymaint o weithgareddau pwysig yn digwydd trwy Gymru.


DIOLCH i Get The Chance, Guy O’Donnell a Tempo Time Credits am noson i ddathlu’r celfyddydau.


Well done to our team, freelancers, participants and partners
Well done to everyone who was nominated. So much important activity taking place across Wales.


DIOLCH thank you to Get The Chance and Tempo Time credits for an evening of celebrating the arts.”

Cultural Champion

(Sponsored by Tempo Time Credits)

Sara Sirati, Ardour Academy

Commitment to Arts, Heritage & Culture

(Sponsored by Awen Cultural Trust)

Samea Ahmed, Mount Stuart Primary School

“So proud of our amazing teacher Samea Ahmed who won the ‘Commitment to Arts, Heritage & Culture Award’ at tonight’s inaugural ‘Cultural Impact Awards 2025’”
Mrs Shubnam Aziz, Senior Leader at Mount Stuart Primary School

Disabled Creativity

Alex Rees and Jane Latham, UCAN Productions

“UCAN is delighted to win the FIRST EVER Get the Chance Cultural Impact ‘Disabled Creativity’ award! Congratulations to Alex, Gwennan and Flo for their fantastic Arts Award project.

Mae UCAN yn falch iawn ein bod wedi ennill gwobr ‘Creadigrwydd Anabl’ yng Ngwobrau Effaith Ddiwylliannol Get the Chance CYNTAF ERIOED! Llongyfarchiadau i Alex, Gwennan a Flo am eu prosiect Arts Awards gwych.”

Lifetime Impact Award

Taking Flight Theatre

“We are absolutely thrilled to have been awarded a Lifetime Achievement Award at last night’s Cultural Impact Awards at Porter’s Cardiff , organised by Get the Chance , supported by Tempo Time Credits Cymru . The award was presented to us by trustee Sara Beer, who had kept it a complete secret. We were rather overwhelmed. Thank you to everyone who has made this journey possible. Let’s keep shouting about access, eh? It really does make the work better for everyone.”

Dance

Review ‘Shorts | Byrion’ National Dance Company Wales, Dance House by Matt Gough

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Firstly, go see the show … it’s good, fun, and refreshing. A cohesive programme of three short works from “up and coming” choreographers.

The night felt positively retro-futuristic  in style and design. ‘UN3D’, and ‘Hang there Baby’ were giving  ‘Wes Anderson meets 1970s Robert North’ aesthetics  with contemporary sensibilities. Infinity Duet suggested early Trisha Brown but without being derivative in its design or movement.

I felt I was seeing  the threshold of change in the choreographic practices presented. Each practice was deftly supported by rehearsal director Victoria Roberts who gave each work space to breath, but guided a coherent, and articulate company throughout the evening.


Infinity Duet : Faye Tan and Cecile Johnson-Soliz 


A trio of performers (two people and a sculpture engage in actions, refractions, and contemplation. This abstracted but subtly interpersonal encounter, was  performed to a score of (s)crunching paper with a meandering ostinato. If you wanted this work to go on longer, keep your fingers crossed that  NDCW will bring back “In Tandem” from the same creative team.

UN3D :Osian Meilir 


A series of unfolding movement ideas and concepts (de)synchronised to the sounds of Björk, and The Police. A humorous encounter that transforms the costumes as much as the movement materials. Overall I enjoyed the flower of unfolding delights, but some ideas lingered a little too long.

Hang in There, Baby : John-William Watson


70’s pastels, and a new years office party at the setting for exploration of decisions, destiny, and clones. The cubicle sized set, carefully constructed movement, and alternative outcomes offered contemporary dance meets Wes Anderson. Although this work was a remounting, it didn’t sit uncomfortably on the company, or seem at odds with the rest of the program.

I hope NDCW will continue to develop these (and other) new voices as it establishes its new identity and leadership. Thresholds can be fragile spaces, and the Welsh dance sector needs growth and belief..  

Dance

Review Cassa Pancho’s Ballet Black – Ballet Black: SHADOWS,by Tanica Psalmist

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A shadow work incorporates infused acoustic piano & synthesiser, blended sounds to engineer the depths between living in conflict with the illusions & reality. Visiting the quantum fields to face the past, present & future; where we can no longer run away from suppressed truths & conditioning, returning to inescapable sentiments to explore infinite possibilities of emotional currency to sustain vitality & redeem creation and soul activation.

A Shadow Work highlights significant stages of manifesting your inner light subconsciously & consciously, being the architect of your energy, giving yourself permission to be vulnerable to restore your inner-power. Entering portals & tunnels that will psychologically challenge you but eventually revive your innate power, to allow life the flow through your good, bad & ugly experiences, feeling multi energy forces to move strategically within you to protect your energy, reinvest your power to operate around negative aspects that’s depleted areas we struggle to amplify who & what we allow into our quantum fields to reactivate, re-cleanse & detox with the end goal to empower, own your truth, validate self & intuitively guard your essence when leaving the shadows to pour back into self for healing purposes.

The journey told through dance channels curiosity as we divinely follow dancer Taraja Hudon on her spiritual & mental endeavours as she emotionally breaks through vicious cycles to learn past lessons to prevent them from reoccurring, to stop attracting unpleasant experiences, where we acknowledge her running away from a box, with her shadow’s encouraging her to reopen the box potentially filled with images of past trauma, hurt, pain, difficulty & imbalanced relationships. The fellow dancers play both her inner & outer demons; reinforcing her to free her mind, face her face & enter into the unknown aspects of ourselves to become complete, whole & victorious.

In the second show entitled: About My Sister, The Serial Killer, inspired by the book ‘My Sister’ by author; Oyinkan Braithwaite. The audience were taken on an intensifying choreography piece that was suspenseful both musically & metaphorically. All dancers generated movement that was sensual, cunning & intriguing as we witnessed two different material happening simultaneously, keeping us at the edge of our seats. Cassa Pancho herself had both choreographed & directed this performance, she incorporated themes of fantasy, infatuation, allure, fatal attraction & vindictive tendencies well, the adaption of this book onto the stage offers a distorted reality of introspection & deception intertwined.

Celebrations

The Get the Chance, Cultural Impact Awards 2025, Short list.

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The Panel for the Get the Chance, Cultural Impact Awards 2025, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff, met two weeks ago, to decide the Long and Short list for this years awards. The Short list is below, the quality of nominations was very high and the panel had a very difficult decision, congratulations to everyone listed below!

The Short listed nominees will be invited to attend the live awards event at Porters, Cardiff on Saturday 22 March at Porters Cardiff 5-7pm.

Thanks to all of the members of the public that took time to nominate, it was great to see a range of cultural activity that reaches a broad range of the public and its positive impact on their quality of life.

Thanks to our panel for volunteering their time to support this inaugural Awards event.

Category

Public Event

(Sponsored by Tanio)

Operation Julie Tour, Theatr na nÓg

Grav – 10 year celebration/ Owen Thomas and Gareth John Bale

Mae Gen Ti Ddreigiau/You’ve Got Dragons adapted by Manon Steffan Ros from the book by Kathryn Cave & Nick Maland/ Taking Flight Theatre Company

Creative of the Year

(Sponsored by Porters Cardiff)

Bradley Rmer One, Yusuf Ismail and Shawqi Hasson, Unify Creative

Geinor Styles, Theatr na nÓg

Gavin Porter, Director

Community and Education Project

(Sponsored by The Red Shoes Poster Archive)

The Fight Company, Theatr na nÓg

Little Gigs Bach, The Little Gigs Team and Cerdd CF,  The Cardiff Commitment Curriculum Team

Mess Up The Mess Theatre Company with a focus on the regular Youth Theatre and their projects

Facilitator of the Year

Sara Sirati, Ardour Academy, Create & Connect

Steph Bailey Scott, Taking Flight Theatre Company, Taking Flight Youth Theatre/ You’ve Got Dragons/Introduction to working Inclusively/Deaf Awareness training

 Joanne Shackley, Mess Up The Mess Theatre Company, The Yfory Project

Culture and Health

(Sponsored by Christine O’Donnell)

People Speak Up, Creative Home Delivery Service

Sara Sirati and Anna Coviello, Ardour Academy LTD, Butterfly Soup

Queertawe artists, staff, partners and participants, Connect and Flourish project led by Mess Up The Mess Theatre Company in partnership with Bethan Marlow, Cerian Wilshire-Davies, Swansea Pride, Urban HQ, SwanScene and Swansea Bay Health Board, Queertawe and Queertawe Frinj,

Cultural Champion

(Sponsored by Tempo Time Credits)

Debbie Webster, Theatr na nÓg, Chair of the Board

Sara Sirati, Ardour Academy

Jak Bjornstrom, Galwad & The Edit

Commitment to Arts, Heritage & Culture

(Sponsored by Awen Cultural Trust)

Samea Ahmed, Mount Stuart Primary School

Louise Williams, Cadoxton Primary School, Barry,

Ruth Wiltshire, Head Teacher, St. Paul’s Church in Wales, Primary School, Cardiff

Disabled Creativity

Taking Flight Theatre

Alex Rees and Jane Latham, UCAN Productions

The Craidd Project

Opera & classical

Review, London Symphony Orchestra, Haydn’s London Symphony, Barbican, London by James Ellis

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Photo credit: Mark Allan


out of 5 stars (4 / 5)





Barbara Hannigan is thriving at the London Symphony Orchestra. Her USP of both conductor and singer is a bold feat and might not always work. Though on a night like this thing were all set for greatness. A rare outing of Albert Roussel and Le festin de l’araignée – Symphonic Fragments would herald the start. Though perhaps more curiosity than compelling, these very French passages have gusto and some charm. Roussel who rarely gets outings in the standard repertoire, has to work hard to get heard. All the right moments are there yet something hasn’t quite made the cut. I’d like to hear more and this again.

In an arrangement by Anthony Girard, Ravel’s Histoires naturelle’s is a marvellous setting of the poetry of Jules Renard. These lovely settings of the mostly avians sort see jilted peacocks, a restless cricket, an existential swan a content kingfisher and of course, a disgruntled gujnea-fowl. As always with Ravel (and now Girad) there are buckets of charm, this really is tellingly delightfully verse. As well as the snazzy orchestration, baritone Stéphane Degout is a native French speaker and is also a great actor to boot. All these silly moments spent with these critters and flying creatures, vividly portrayed by Degout, who never over does his voice, it was smooth and very listenable.

What really sealed the deal was Hannigan doing what she does best: sing and also conduct at the very same time. I’ve had some reservations upon seeing her in the past, I recall an LSO gig in Bath of Messiaen and Mahler. Though her conducting might just be a little rigid, when she sings and continues to guide the orchestra with her back to them, things thrive. With the poetry of Rimbaud, this romantic upstart gets the Benjamin Britten treatment in what his one of his finer short concerts works. Extravagant poetry mingles with Hannagan’s soprano in scintillating form. The strings of the orchestra also shone, when Britten gets is right…the score seem to marvel at all sorts of lavish sights depicted in the poems of fantastical antiquity. It’s her acting which also pulls you in. I found myself in a state of amazement.

It’s been just over four months since hearing Haydn’s London Symphony again at the Barbican. With Hannigan at the helm, the almost monotonous repeat of the melody could wain elsewhere. It was tight throughout this Symphony 104; its elegance is matched by its sincerity. You can often see Haydn winking in good cheer, naturally. Pumping rhythms mingle with pressed slower bars, this is often digestible and wraps up a concert in fine taste and cheery fashion. Maybe this fine soprano maestro is warming on me?

Opera & classical

Review, London Philharmonic Orchestra, Crossing Generations, Queen Elizabeth Hall, London by James Ellis

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out of 5 stars (4 / 5)

I’m aware of orchestras doing their utmost to get the younger audiences into their events. This feeling was apparent when at this latest London Philharmonic Orchestra concert and I am all for it. This highly eccentric programme would appease both new audiences and diehard fans. Kevin John Edusei as maestro would throughout the night maintain these odd works with vigour and joy.

Frank Zappa did a fine job blurring the line between rock music and orchestra writing. In what might be the strangest, yet most splendid music I’ve heard at a gig for some time, his music stood out in many ways. Maybe it’s the surreal names: The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornao, or the odd rhythms and timbres…it’s hard not to like. The standout were the percussive forces and a lone banjo later what appeared to be acoustic guitar. Zappa creates orchestral creations that would have appeased the MTV listener (we are talking roughly that era), its muscle lying within its curious meters. I found many smiles and raised eyebrows throughout. Ripping good fun.

A European premiere with Dinuk Wijeratne with a new Clarinet Concerto. With soloist Kinan Azmeh, thing started off very Ives like, as he played off stage as the string ensemble disturbed with eerie natures, a lone string piano played by Azmeh also stood out. This was it for numbers, strictly not brass, woodwind nor percussion so there was a profound sense of intimacy. Azmeh impressed with sounds from far afield, the middle east and strange registers within the instrument. Heaps of discord and the lone clarinet getting soaring cadenzas, thanks to the wisdom and clarity of Azmeh. Though what felt like a classical structure, didn’t necessarily keep, it proved to be a stimulating premiere one of notes in recent months.

This slight evening would wrap up with Bohuslav Martinů. His Symphony No. 6 (Fantasies symphonies) proved highly alert and absorbing. Though the pacing may be erratic, Martinů knew how to compress the listener with anxiety inducing music, thanks to a incredibly clever handling of orchestration. The intense tightening grip would scarcely loosen over us, we remain at the mercy over this intense symphonic work, all the types of instruments played tutti though no one group out did the other. I was compelled by the grip the players had over the piece, a work not even 30 minutes in length though very demanding yet constantly regrouping. This proves Martinů should be heard be here much more. This is genius levels of creation.

Featured, Theatre, Uncategorized

Review: Calamity Jane, Wales Millennium Centre by Gemma Treharne-Foose 

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out of 5 stars (3 / 5)

A rootin’-tootin’, boot-scooting good time…

For anyone looking for a way to escape the horrors of the 2025 news cycle, may I recommend instead a little excursion to the prairies and saloon bar of Deadwood City in Goldrush-era USA? 

The 2025 touring production tweaks the 1961 stage play, based on the 1953 Hollywood smash musical movie featuring the iconic Doris Day and gives it a little bit of a “modern” touch. You may have memories watching Calamity during holidays, or maybe on a Sunday with your grandparents…you may not know *how* you know the “Whip-crack-away” song or the tune to “Just Blew in from the Windy City”, but even if you don’t remember the movie exactly, the 2025 musical will draw you in for its spectacle. From its cowboys and hoe-downs, to the the Americana bluegrass musicians and the vocal powerhouse that is Carrie Hope Fletcher, there are plenty of story, song and dance nuggets to keep you satiated. 

We meet Calamity, Wild Bill Hickock and a rag-tag ensemble of Deadwood City saloon-goers at the Watermill Theatre, HQ for the production’s story where Director/Choreographer Nick Winston and Director Nikolai Foster first imagined the world of Calamity in 2014. For this production, the production team have added a few extra songs and lost others synonymous with problematic representation or iconography. 

The production does well to navigate some of the awkwardness and “cringe” (to quote my daughter’s favourite phrase) of songs written in an era where men literally imagined the idea, wrote the story, the theme tunes and then staged and directed the show featuring predominantly white men. It’s a bit like watching Little House on the Prairie – it’s almost an absurd parody of the true harshnesses, shocking injustices and brutality of frontier life, but it sure was nice escaping to a fantasy for a few hours. I even enjoyed a song sung by Katie Brown (Seren Sandham-Davies) and Calamity about “A woman’s touch”, where they spruced up the homestead cabin with some tablecloths, patchwork curtains and dried flowers. No trad-wives here though, thankfully – Calamity is whip-smart and there is plenty of sass and energy from Vinny Coyle (playing Wild Bill) and the wonderful Samuel Holmes playing Francis Fryer. Holmes’ comedy chops and comic physicality were a real highlight throughout. 

There were some humorous queer-coded moments which the producers could have leaned into a little more during the scenes where Katie Brown moves in and “runs away” with Calamity Jane. It’s a little “nudge-nudge, wink-wink”, but at least this production has a little more diversity than the man-fest that was the original film. The musicians and ensemble cast mingled about freely providing pace and colour to the script, which at times fell a little flat here and there. Being set in the Wild West with a gaggle of blow-ins, the accents did wander a little “off-piste” at times, but anyone whose watched a production of Guys and Dolls will be familiar with accents oscillating between Noo Yoik and Surrey. It’s all good, clean fun and the cast were great sports and had a great rapport. Huge respect (or should I say Yee-Hawwww!) to Richard Lock for his bow-legged shuffling and toothless gurning as “Rattlesnake” – he really looked the part! 

Centering the entirety of the production in the same Saloon spot may have made sense, but I did find myself wanting to see more more travel, movement and visual interest in the wider set, which could perhaps provide more of a sense of place of the vast rolling plains and prairies where Calamity roamed. Her stagecoach excursions are brought to life by straddling the saloon pianos and chairs, spinning umbrellas, wheels and the two tapping coconut shells for horses hooves. It’s a nostalgic, good time romp through some of Hollywood’s most enduring musical classics and Carrie Hope Fletcher’s voice is truly beautiful. The production finished with an audience rendition of the Black Hills of Dekota, a hoedown reprise and joyous soft-shoe shuffling, spins (and – spoiler alert – there’s a double wedding). Well it was written in 1953 don’t forget…

There’s plenty of life in Calamity Jane and her musical / film iterations – It would be wonderful to see a Hollywood biopic of the real Calamity. Her letters and diary to her and Wild Bill’s daughter Janey in the 1800s were found to contain a true glimpse of her life and character. The songs only tell part of the story. But in the meantime, the stagecoach, Wild Bill and Calam will be in Cardiff til they “Whipcrack Away” on the March 15th. So if you’re fancying a hoe-down and a Sarsparilla, with the gang you’d better saddle up….

Calamity Jane at the WMC – Book here (closes 15th March)

Celebrations

The Get the Chance, Impact Awards, Longlist 2025

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The Panel for the Get The Chance, Impact Awards 2025, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff, met last week to decide the Long and Shortlist for this years awards. The Longlist is below and the shortlist will be revealed very soon!

The Shortlisted nominees will be invited to attend the live awards event at Porters, Cardiff on Saturday 22 March at Porters Cardiff 5-7pm.

Thanks to all of the members of the public that took time to nominate, it was great to see a range of cultural activity that reaches a broad range of the public and its positive impact on their quality of life.

Thanks to our panel for volunteering their time to support this inaugural Awards event. You can find out more about panel at the bottom of this page.

 Category

Public Event

(Sponsored by Tanio)

The Posh Club/ Duckie and Common/Wealth/ Simon Casson, Dicky Eton and Chantal Williams

Grav – 10 year celebration/ Owen Thomas and Gareth John Bale

Balchder Wrecsam | Wrecsam Pride 2024/Kate Hutchinson, Rachel Allen, Megan Rosslyn, Rachel Jones, Sarah Fellows, Lesley Fellows, Aĺed Edwards, Steve Lewis, Nick Plummer-Johnson

Operation Julie Tour, Theatr na nÓg

Mae Gen Ti Ddreigiau/You’ve Got Dragons adapted by Manon Steffan Ros from the book by Kathryn Cave & Nick Maland/ Taking Flight Theatre Company

Our Christmas Lights/ The Cardiff Commitment Curriculum Team, Cardiff Commitment and the Cardiff University School of Architecture/ Kate Martin (The Curriculum Team) and the learners of St Cuthbert’s RC Primary School.

DUMPY BISCUIT, The Other Room

The Hold Up

Creative of the Year

(Sponsored by Porters Cardiff)

Steffan Donnelly, Theatr Cymru

Tobias Weatherburn

Bradley Rmer One, Yusuf Ismail and Shawqi Hasson, Unify Creative

Geinor Styles, Theatr na nÓg

Gavin Porter, Director

Suzie Larke, Visual Artist and Photographer

Community and Education Project

(Sponsored by The Red Shoes Poster Archive)

Olion Trilogy, Frân Wen

Tim Howe, Torch Theatr, Wind in the Willows

The Wallich, The Story Project

The Above And Beyond Project, Penrhys, National Dance Company Wales

CARAD (Community Arts Rhayader and District)

Sian Elin Williams (Participation Coordinator Theatr Cymru) and Konrad Suder Chatterjee (Communication Officer and Resource Developer Ashtar Theatre)/ Theatr Cymru/ ASHTAR Theatre x Theatr Cymru

Bethan England, CAST Performance Academy

People Speak Up, People Speak Up programme

The Arts Partnership, led by Dr Barbara Hughes-Moore – a collaboration between Cardiff University’s School of Law and Politics, RWCMD (Communities and Engagement Division), Sherman Theatre, Hijinx, Company of Sirens and Omidaze

Tanio and Linc Cymru (now Pobl Group), What Once Stood

Rhiannon White, CommonWealth Theatre, We No Longer Talk

The Fight Company, Theatr na nÓg

Common Wealth Theatre, Take your Place

Little Gigs Bach, The Little Gigs Team and Cerdd CF,  The Cardiff Commitment Curriculum Team

Nirushan Sudarsan,  Grange Youth Forum

Mess Up The Mess Theatre Company with a focus on the regular Youth Theatre and their projects

Alan Whitfield, Disability Arts Cymru, National Visual Arts Officer

Facilitator of the Year

Alison McGann, Tanio, Breathing Space

Sara Sirati, Ardour Academy, Create & Connect

Steph Bailey Scott, Taking Flight Theatre Company, Taking Flight Youth Theatre/ You’ve Got Dragons/Introduction to working Inclusively/Deaf Awareness training

Naseem Syed, Ziba Creative, Radical Kindness.

Rabab Ghazoul, Gentle/ Radical, Take Your Place

 Joanne Shackley, Mess Up The Mess Theatre Company, The Yfory Project

Culture and Health

(Sponsored by Christine O’Donnell)

Iola Ynyr, Nia Skyrme and the whole team of artists and project partners.Theatr Cymru, Ar Y Dibyn

The Good Vibrations Chorus, Royal Welsh College of Music and Drama

People Speak Up, Creative Home Delivery Service

Just Jump/ Y Naid, Theatr na nÓg

Sara Sirati and Anna Coviello, Ardour Academy LTD, Butterfly Soup

Learners from Ysgol Plasmawr, Cardiff West and the WNO,Ysgol Plasmawr, Cardiff West High School, WNO, Cofio (To remember)

Tanio, Breathing Space

Juls Benson

Queertawe artists, staff, partners and participants, Connect and Flourish project led by Mess Up The Mess Theatre Company in partnership with Bethan Marlow, Cerian Wilshire-Davies, Swansea Pride, Urban HQ, SwanScene and Swansea Bay Health Board, Queertawe and Queertawe Frinj,

Cultural Champion

(Sponsored by Tempo Time Credits)

Peter Mooney, Open Book

Debbie Webster, Theatr na nÓg, Chair of the Board

Sara Sirati, Ardour Academy

Jak Bjornstrom, Galwad & The Edit

Kami Lamakan, Chapter

Commitment to Arts, Heritage & Culture

(Sponsored by Awen Cultural Trust)

Samea Ahmed, Mount Stuart Primary School

Louise Williams, Cadoxton Primary School, Barry,

Vivienne Goodman, Drama and Theatre Studies, Tutor, Coleg Gwent

Ruth Wiltshire, Head Teacher, St. Paul’s Church in Wales, Primary School, Cardiff

Katherine Allen, Radyr Comprehensive School, Cardiff

Jennie Gough, Cardinal Newman R C, Comprehensive School, Pontypridd

Beth Bruma, Teacher of the Deaf, Llanishen High School

Disabled Creativity

Ashley Newsham, Impetus Dance

Taking Flight Theatre

Tafsila Khan, Blind Spot Consultancy

Alex Rees and Jane Latham, UCAN Productions

The Craidd Project

Anne Culver-House Evans – Resident Artist, Valleys Kids.

Samiya Houston, Trainee Workshop Practitioner, Blind Creative, UCAN/Get the Chance Member

The Get The Chance, Impact Awards Panel 2025.

Morgan Slate, Community & Partnership Manager, Tempo Time Credits

Kevin Johnson, Get the Chance Member

Hannah Goslin, PA & Administration Manager: Enterprises at National Theatre, Get The Chance Member

Gareth Williams, Get The Chance Member

Samiya Houston, Trainee Workshop Practitioner, Blind Creative, Get The Chance Member

Daisy Evans, freelance woodwind multi-instrumentalist, educator, event administrator and social media manager

Barrie Llewelyn, Senior Lecturer – English, Faculty of Business and Creative Industries Faculty of Business and Creative Industries, Humanities Research and Innovation Group, University of South Wales

Nicola Parsons, ACE Arts Project Coordinator

Musical

Review Ghost The Musical, Wales Millennium Centre by Charlotte Hall

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out of 5 stars (4 / 5)

Ghost The Musical is based off the much-loved 90s movie of the same name, starring Patrick Swayze, Demi Moore and Whoopi Goldberg. The story follows Sam and Molly, a couple deeply in love, until their happiness is cut short when Sam is killed by a thug. Now trapped as a spirit, he discovers that Molly’s life is in danger and must enlist the help of a psychic to warn her before it’s too late.

Going in, I wasn’t very familiar with the story- I had heard of the movie but had never watched it- so I didn’t know what to expect. With my favourite musicals typically being heavily dance-based and fantastical, I wasn’t sure if this would be my thing. However, I was absolutely blown away- it was fantastic!

One of the most striking elements of this production was the clever and effective use of the set and staging. The set design was minimalistic yet immersive, with a permanent New York skyline backdrop, cutouts of buildings and rooms that descended, and movable props, which kept the scene transitions very quick and seamless. The iconic pottery wheel (if you know, you know!) was also a lovely touch, an understated nod to the original movie.

The lighting and sound played a crucial role in creating the show’s supernatural theme while also supporting the actors. When Sam (played by Josh St. Clair) died, a silhouette of the New York skyline appeared at the back, subtly reinforcing the spiritual element without the need to constantly remind the audience that he was a ghost. The outline was neon green but turned red when two of the villains met their fate. Combined with the actors being dragged away as they screamed in protest, this strongly implied they were being pulled into Hell, a small but effective detail that added an extra level of depth. Similarly, when Sam first passed, a rippling light effect washed over him, further enhancing that spiritual atmosphere. Sound effects were also well utilised, particularly in moments when Sam interacted with the physical world, like eerie noises accompanying his attempts to open doors.

Another particularly clever moment was when Sam learned to manipulate objects from the subway ghost, crucial for the story later on. The way the sequence was staged completely immersed the audience, making us truly believe that he was moving things with his mind. A very powerful and emotional moment was when Molly (played by Rebekah Lowings) finally believes the psychic Oda Mae (played by Jacqui Dubois) that she is conversing with Sam. Earlier in the show, just before he is killed, a song explores how he struggled to say, ‘I love you’, instead replying with ‘ditto’. This small but significant word became the turning point of the story when Oda Mae repeated it to Molly, proving beyond doubt that Sam was there.  

The production excelled in building suspense and character depth, like hinting at Carl’s villainy long before it is outright revealed is impressive. His scenes and sections in songs were underscored by ominous, minor-key music and a heavy ensemble backing, subtly foreshadowing his role in the story without giving it away, and means that the audience can sense something is off about his character before the dramatic reveal, adding further tension.

The creative team made several smart choices that enhanced the actors’ performances. One of the most impressive aspects was how seamlessly the actors immersed the audience in the world of the show. The actors- particularly Oda Mae- did a fantastic job of pretending not to see Sam on stage, creating the believable divide between the living and the dead. However, what made the production even more effective was the use of lighting, sound and staging to reinforce the supernatural theme. Rather than relying solely on the actors to establish these elements, the technical aspects of the show immersed the audience in its ghostly world and allowed the performers to focus on their character work. The combination of all these elements made the production an outstandingly engaging and atmospheric one.

This musical is on a completely different scale from something like Wicked- if you’re looking for elaborate dance numbers, huge ensemble harmonies, and much fantasy, then this may not be for you. But if you just love a love story and the magic of live theatre, with a thrilling touch of the supernatural, Ghost the Musical is absolutely worth seeing. It’s playing at the Wales Millenium Centre until Saturday 8th March- so go on, you know you want to!

https://www.wmc.org.uk/en/whats-on/2025/ghost-the-musical
Literature

A Critical Issue by Simon Kensdale

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A CRITICAL ISSUE

Last year, the National Poetry competition’s judges awarded second prize to a poem which they claimed was ‘quietly moving’.  They felt the poem, ‘Eric’, ‘establishes a voice and a world …and tells a miniature tragedy with incredible economy’.  The reader learns ‘the world is careless and greedy and love itself is both fragile and surprising.’  Breaking News, then…

But ‘Eric’(available on The Poetry Society website) is not a poem.  It is a 210-word piece of prose flash fiction about a boy who keeps a rabbit and a guinea pig.  The animals make friends but the rabbit disappears, probably stolen to be eaten, and the guinea pig dies, possibly of a broken heart.  The language is authentic, in the sense that it sounds like a boy speaking, even though we know it isn’t.  Children between six and thirteen would respond to the story’s content but adolescents would find it ridiculous.  It has little to offer an unsentimental adult reader, but it could be used in schools to stimulate creative writing or a discussion about relationships.

‘Eric’ was selected ahead of 19,000 other poems entered into the competition by 8,841 poets in 110 countries. Given, from the little I know about judging writing competitions, that few entries are publishable, if the National Poetry judges had thrown away 99% of the entries, they would still have been left with 190.  Many of these would have been well written.  Getting down to a short list of 30 must have been difficult.  After that there wouldn’t have been anything to choose between any of them.  I think ‘Eric’ made the cut because, under extreme pressure, the judges lost the plot – and their pedestrian comments on the little story bear this out.

This is more disconcerting than the merger of criticism and marketing which dominates the cultural scene today.  The judges were being sincere.  They weren’t interested in selling the poem or promoting its author, since competition entries are anonymous.  They believed they had it right, even when they got it wrong.  This is not to say ‘Eric’ is a poor piece of writing but simply that it cannot have been better than all but one of the top 1% of entries, if only because it’s not a poem.  Just as elsewhere the mass-production of cultural product has resulted in restaurant-style reviewing (with only four- and five-star awards being acceptable) the sheer volume of entries in the National Poetry Competition made last year’s result somewhat meaningless.  And if major literary competitions are becoming meaningless, where are we today with critical appreciation?  What can we do?

Not much – other than remember that virtually no contemporary cultural products will survive beyond the year of their making, whatever gets said about them.  For those who have learned not just what we know we like but what is worth exploring, the situation is tolerable.  But for younger members of society looking to broaden their cultural horizons and understand more of the human experience, things are not looking good.