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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.

Musical, Theatre

Review: The Rocky Horror Show, Venue Cymru, Llandudno by Richard Evans

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Venue Cymru, Llandudno, March 3rd – 8th 2025 and touring

out of 5 stars (4.5 / 5)

Howard Panter for Trafalgar Theatre Productions, Mallory Factor for Hill Street Productions and Rupert Gavin

The Rocky Horror Show has come a long way since it debuted upstairs in the Royal Court theatre in a 10.30 showing in an auditorium seating 60 people.  What is it about the show that gives it a lasting appeal?  Certainly there is a prevailing sense of fun throughout and the music is upbeat and energetic with the signature song, Time Warp having a timeless appeal.  However it is the subversive nature of the story that has seen the show gain its cult following. 

The storyline in one sense is a sideline.  It was never meant to be profound, rather it was a spoof on a long line of 1950’s B-movies that had a sci-fi theme.  A sweet couple having just got engaged break down in their car and seek help from Frank n Furters castle in the distance.  There they enter an alternative reality that shakes their perception of normality to the core.  Of course some of the inhabitants are aliens who take revenge on Frank n Furter who is guilty of having a profligate lifestyle and betraying some of his loyal servants. 

The cast were well drilled, enthusiastic and energetic.  Adam Strong as Frank n Furter was suitably commanding and was ably supported by the sinister Job Greuter as Riff Raff and the ebullient Jayme-Lee Zanoncelli as Columbia.  The choreography was slick and well rehearsed while the set was simple, adaptable and effective.   

The show is narrated by Joe McFadden who was excellent in dealing with the interruptions from the audience.  These have obviously become part of the tradition of the show as they were not only tolerated but expected.  Some of these were funny, sometimes the interruptions were intrusive.  Either way, McFadden handled them well

First produced in 1973, the play picks up on the attitudes that exploded in Britain with the advent of the permissive society.  This was the era of glam rock where people played around with traditional male and female norms and were less afraid of being openly indulgent in their sexual appetites.  To quote, ‘Give yourself over to absolute pleasure’.  Can people really do that without consequence?

Writer Richard O’Brien never expected it to last but shortly after it bombed on Broadway for not being high brow enough, he heard that it was getting cult following on campuses across the USA where students were attending a performance in costume.  A new trend was formed that allowed those of us who were normally constrained by their career driven, family orientated lifestyles could throw off those shackles and go wild for the evening.  

Now that the show is over 50 years old, does it retain its cutting edge?  It is still subversive but has to be slightly more explicit to give that shock factor.  There is also a disconnect.  Having started off with such humble origins, the glitz and glamour of a West End style show seems slightly out of place.  However, that does not detract from what remains a fun filled, light hearted and still slightly shocking show.

Opera & classical

Review, Grace William’s 1st Symphony, BBC NOW, Hoddinott Hall by James Ellis

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out of 5 stars (3 / 5)

An all female driven programme is appealing with the build up to International Women’s Day around the corner. Cecilia Damström had a UK premiere with ICE. A fine little opener, the lone vibraphone and dense orchestral textures had a decent amount of unease. Blood curdling strings would offer severity to the pot, Damström clearly likes both worlds of music making: experimentation and more conventional forms. The addition of a bike bell is certainly unique!

It’s always a pleasure to see Clare Hammond back in Cardiff. A pianist of great renown, the chance to hear a world premiere should have been blockbuster. The Piano Concerto from Ninfea Cruttwell-Reade had smatterings of Ravel and Thomas Newman. Strangely, as the orchestra geared up to present the opening cadenza for Hammond, she played tutti with the orchestra. It was underwhelming, you could barely find her playing audible in the fray. These issues would continue throughout and as it went on, there was not a lot that stood out. A slow movement which went on too long, a fairly passable finale and an all round uncertainty over this being an actual concerto were the concerns.

Maestro Emilia Hoving offered up elbow flexing conducting. She is very watchable in charge, her endorsing of Grace William’s and her 1st Sympony had more allure. ‘Grace’ (as this concert has been titled) proved to be one of the finest composers from Wales in the last century. Also known as the Symphonic Impressions, this has promise (she would go on to write another symphony and plenty more orchestral work). Though…this is not really to my taste. A trumpet solo is extensive, the sense of alarm and clinging to Romantic sensibility are it features. It is very busy with its focus, never clear in mood nor pacing. A great amount of ‘searching’ seems to have gone into this, to create a symphony which for a first effort is fine, but needed more balance.

Listen on BBC Sounds

Celebrations

Mae Gwobrau Effaith Ddiwylliannol Get The Chance 2025, sy’n cael eu cefnogi gan Tempo Time Credits a Porter’s Cardiff, yn cael eu lansio y mis hwn!

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Mae Gwobrau Effaith Ddiwylliannol Get The Chance 2025 yn dathlu gweithgarwch diwylliannol o safon uchel sy’n cyrraedd ystod eang o’r cyhoedd a’i effaith gadarnhaol ar ansawdd eu bywyd.

Bydd y seremoni wobrwyo yn cael ei chynnal yn Porter’s Cardiff, Caerdydd ddydd Sadwrn, 22 Mawrth (5-7pm). Bydd gwahoddiad i gynrychiolydd o bob sefydliad/unigolyn enwebedig fod yn bresennol.

Bydd yr enillwyr ym mhob categori yn cael y cyfle i greu ffilm broffesiynol fer sy’n amlygu eu gwaith. (yn amodol ar gadarnhad)

Mae’r Gwobrau’n cael eu cefnogi gan Tempo Time Credits a Porter’s Cardiff. Dywedodd Rachel Gegeshidze, Prif Weithredwr Tempo Time Credits:

“Yn Tempo, rydyn ni’n credu y dylai diwylliant, y celfyddydau, a threftadaeth fod yn hygyrch i bawb, ac rydyn ni’n hynod falch o fod yn cefnogi Gwobrau Effaith Ddiwylliannol Get The Chance 2025. Gwirfoddolwyr yw asgwrn cefn ein cymunedau, a thrwy Time Credits, rydyn ni’n cydnabod ac yn gwerthfawrogi eu hamser, gan agor drysau i brofiadau newydd. Mae’r gwobrau hyn yn taflu goleuni ar y mentrau diwylliannol anhygoel a’r gwirfoddolwyr sy’n rhoi o’u hamser i wneud gwahaniaeth go iawn i gymunedau a bywydau pobl. Mae’n fraint, felly, i ni ddathlu’r unigolion a’r sefydliadau sy’n arwain y gwaith hwn.”

Rachel Gegeshidze, Prif Weithredwr Tempo Time Credits

Dywedodd Dan Porter, Cyfarwyddwr Porter’s Cardiff:

“Fel lleoliad, rydyn ni am barhau i fod yn ymrwymedig i artistiaid newydd, y rhai sy’n dod i’r amlwg, a’r rhai sydd ddim yn cael eu cefnogi.Rydyn ni’n falch o gefnogi Gwobrau Effaith Get The Chance a’r hyn y gallwn helpu eraill i’w gyflawni yn Porter’s Cardiff.”

Dan Porter, Alice Rush a Frankie-Rose Taylor

(Llun: Moreton Brothers)

Mae’r gwobrau’n gyfle gwych i ddathlu effaith y ddarpariaeth ddiwylliannol yng Nghymru yn ystod 2024. Mae llawer o’r categorïau unigol yn cael eu noddi gan amrywiaeth o gefnogwyr prosiect.

*Cysylltwch os oes gennych ddiddordeb mewn cefnogi’r digwyddiad hwn

Ceir rhagor o wybodaeth am y Categorïau a’r broses enwebu isod:

Meini prawf

Nod y gwobrau hyn yw amlygu ac arddangos natur fywiog ac amrywiol diwylliant, treftadaeth a’r celfyddydau yn ein cenedl bob blwyddyn

At ddibenion y gwobrau hyn, mae gennym ddiffiniad eang o ddarpariaeth ddiwylliannol sy’n cynnwys gwirfoddoli cymunedol gyda’r celfyddydau, addysg a threftadaeth. Bydd enwebiadau yn adlewyrchu amrywiaeth o feysydd ym mywyd diwylliannol Cymru. Gall unigolion neu sefydliadau enwebedig fod yn wirfoddol neu’n broffesiynol. Rhaid i bob parti a enwebir ddod o Gymru neu wedi’i leoli yng Nghymru ar gyfer y rhan fwyaf o’i weithgarwch creadigol a’i faes enwebedig. Y cyfnod sy’n berthnasol ar gyfer enwebiad yw 1 Ionawr–31 Rhagfyr 2024.

Pwrpas y gwobrau hyn yw codi ymwybyddiaeth o weithgaredd diwylliannol o ansawdd uchel sy’n cyrraedd ystod eang o’r cyhoedd, yn ogystal â’i effaith. Rhoddir ystyriaeth ddyledus i adnoddau’r gweithgaredd creadigol a’i effaith ar y cyhoedd.

Rhaid i bob gwaith fod â chysylltiad Cymreig cryf, a bydd hyn yn rhan o’r broses sgorio.

Mae’r ffurflen enwebu yn y ddolen isod.

https://forms.office.com/e/MFiTvHPSXy

Categorïau

  1. Digwyddiad Cyhoeddus

Disgrifiad: Dyfernir i gynhyrchiad, arddangosfa neu ddigwyddiad diwylliannol cyhoeddus sy’n dangos uchelgais a safon artistig uchel sy’n cysylltu â’r cyhoedd. Dylai’r gweithgaredd fod wedi cael ei gynnal a’i gynhyrchu gan bobl greadigol o Gymru.

Ystyriaethau

  • Pa effaith gafodd y Digwyddiad Cyhoeddus hwn ar y cyhoedd?

  • Sut mae gan y digwyddiad safon artistig uchel amlwg; a gafodd adolygiadau, sylw yn y wasg neu wobrau diwydiant?

  • Cyrraedd cynulleidfa – tua faint o bobl a welodd y digwyddiad ac a gyrhaeddwyd unrhyw grwpiau penodol megis plant a phobl ifanc ac ati?

  • Cyrraedd cynulleidfa – o ble ddaeth cynulleidfaoedd? A aeth ar daith neu a oedd yn ddigon mawr i ddenu pobl o’r tu allan i’r ardal lle cafodd ei pherfformio?

2. Person Creadigol y Flwyddyn

Disgrifiad: Dyfernir i Berson Creadigol sy’n dangos y safon artistig uchaf mewn gwaith sy’n cael ei greu a/neu ei arddangos, ei berfformio neu ei arddangos yn gyhoeddus yng Nghymru.

Ystyriaethau

  • Pa effaith gafodd gwaith y Person Creadigol hwn ar y cyhoedd?

  • Sut mae’r Person Creadigol wedi dangos safon artistig uchel; a gafodd ei waith adolygiadau, sylw yn y wasg neu wobrau diwydiant?

3. Prosiect Cymunedol ac Addysgol

Disgrifiad: Dyfernir i brosiect cymunedol, cyfranogol neu addysgol e.e. côr, dawns, theatr, celfyddydau gweledol neu grŵp treftadaeth sy’n cynnig mynediad rheolaidd, cynhwysol at ddiwylliant i bobl leol.

Ystyriaethau

  • Pa effaith gafodd y prosiect cymunedol, cyfranogol neu addysgol ar y cyhoedd?

  • A gafodd y prosiect adborth cadarnhaol a boddhad gan gyfranogwyr?

  • Faint o bobl gymerodd ran?

  • Oedd y prosiect yn gynhwysol? Er enghraifft, a oedd yn cefnogi pobl o gefndiroedd amrywiol neu’r rhai ag anableddau neu na fyddai, am resymau eraill, yn cael y cyfle i gymryd rhan fel arall?

  • A gafodd y prosiect unrhyw sylw cadarnhaol yn y wasg, adolygiadau, gwobrau eraill neu gydnabyddiaeth?

  • A wnaeth y prosiect gydweithio â sefydliadau eraill?

4. Hwylusydd y Flwyddyn

Disgrifiad: Dyfernir i hwylusydd diwylliannol, athro neu ymarferydd sy’n arwain prosiectau cymunedol, cyfranogol neu addysgol cynhwysol yng Nghymru.

Ystyriaethau

  • Pa effaith gafodd gwaith yr unigolyn ar y grŵp neu unigolion?

  • Unrhyw adolygiadau, sylw yn y wasg, gwobrau eraill neu gydnabyddiaeth?

  • Unrhyw adborth gan bartneriaid neu gyllidwyr?

5. Diwylliant a Iechyd

(Noddwyd gan Christine O’Donnell)

Disgrifiad: Dyfernir i brosiect, digwyddiad neu gyfres o weithdai diwylliannol sy’n cefnogi pobl sy’n byw yng Nghymru i wella eu hiechyd a’u lles.

Ystyriaethau

  • Pa effaith gafodd y prosiect ar ei gyfranogwyr

  • Faint o bobl gymerodd ran?

  • Sut cafodd y prosiect/digwyddiad effaith gadarnhaol ar iechyd pobl?

  • Unrhyw adborth/tysteb gan gyfranogwyr?

  • A oes unrhyw ffyrdd y mae’r gweithgaredd wedi lleihau dibyniaeth ar wasanaethau eraill fel y GIG?

  • Sut defnyddiodd y prosiect ddiwylliant a chyfranogiad?

  • Unrhyw adolygiadau, sylw yn y wasg, gwobrau/cydnabyddiaethau eraill?

  • Unrhyw adborth gan bartner?

6. Hyrwyddwr Diwylliannol

(Noddwyd gan Tempo Time Credits)

Disgrifiad: Dyfernir i unigolyn o’r gymuned greadigol, e.e. gwirfoddolwr, gweinyddwr, technegydd, curadur neu aelod bwrdd y mae ei waith yn gwneud cyfraniad cadarnhaol mawr at fywyd diwylliannol y genedl

Ystyriaethau

  • Y prosiect/digwyddiad/gweithgaredd/arddangosfa fawr y mae’r unigolyn wedi chwarae rhan arwyddocaol ynddo neu ynddi a beth fu effaith ei rôl?
Music

An Interview with Aled Phillips – Founder and Director of Johns’ Boys by Samiya Houston

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Last week I had the immense honour of interviewing Aled Phillips, founder and director of the award – winning (and BGT semi-finalists!) Welsh male voice choir – Johns’ Boys, in the midst of a UK Tour.

How did the choir start? 

The choir came together in 2016 to perform choral arrangements by two local composers in our village—both of whom were named John! As I walked onto the stage to conduct the concert, I suddenly realized I hadn’t thought of a name… and that’s how Johns’ Boys was born. I still get so many emails starting with ‘Hi John’!

What was the experience of being on BGT (auditions and live semi-finals) like for you? 

BGT was an incredible experience—truly surreal. You never know how the audience will react, so to see everyone on their feet and receive such amazing feedback from the judges was unforgettable. Then, being invited onto national TV and even getting a personal message of congratulations from Calum Scott was unbelievable. The impact was immediate—travelling to London the next day, we saw the numbers rising from Wrexham to Euston at every stop -another million people had watched our audition. It was a moment we’ll never forget!

Aside from BGT, have there been any other highlights for the choir? 

In 2019, we became the first British male choir to be crowned Choir of the World at the Llangollen International Eisteddfod—undoubtedly the choir’s biggest achievement. Winning such a prestigious competition was an incredible honour. Other standout moments include performing at the Last Night of the Proms and the Royal Variety Performance at the Royal Albert Hall—both unforgettable experiences that showcased the choir on some of the world’s most iconic stages

Have there been any major challenges/setbacks?

The shift in running the choir has been incredibly challenging. I was a music teacher for over 15 years, but the sheer amount of work needed to manage the choir meant I had to step away from teaching. Now, my days are filled with organising concert venues, responding to emails from all over the world, booking hotels and transport, and arranging music for new shows and another EP. It’s a huge task, but seeing what the choir has achieved makes it all worthwhile. For the lads, I’d say the biggest challenge is balancing choir with work and family commitments—it’s tricky, but their dedication and passion make it possible-

What’s your favourite song/piece to perform as a choir? 

That’s a tricky one for me to answer because when I listen to the choir in concert, I have three caps on—the conductor, giving direction to the performance; the arranger, who has written the songs; and the manager, watching the audience’s reactions. As a conductor, the best piece to lead is Surge Illuminare—it’s a full workout! As an arranger, I’d have to say our BGT audition arrangement of Biblical, which has had over 20 million views worldwide. And in terms of audience reaction, it’s a close call between Bread of Heaven and Myfanwy, with Angels thrown in too!

https://youtu.be/RKYiTw-dRUU?si=Wcqq5N7-_nVWYpRI

What’s next for Johns’ Boys post – tour? 

The choir is currently in the middle of recording our second EP and preparing for our first foreign tour to Canada. Next, I’d love to extend the tour even further! But beyond that, a dream of mine is to create a musical set in a Welsh pub, with a piano in the corner and a jukebox. Picture all the lads sitting on stools, chatting about life in Johns’ Boys! I’ve got it all planned out… now I just need someone to write it—and pay for it!           We’re also starting up a Junior Johns’ Boys Choir to give young people in the area a chance to be part of this wonderful story. It’s not just about inspiring the next generation but also ensuring a strong future for the choir. We want to pass on the passion, talent, and camaraderie that make Johns’ Boys so special.

https://youtu.be/Ef_20UzZJ_s?si=crOwyTZopthcf0__

The Choir will be performing in Wales this year on,

1st March: Brangwyn Hall, Guildhall, Swansea

5th April: Aberystwyth Arts Centre

20th June: Venue Cymru

More information here

Theatre

Review, An Inspector Calls by J.B. Priestley – Wales Millennium Centre by Bethan England

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A scene from An Inspector Calls by J.B. Priestley @ Churchill, Bromley. Directed by Stephen Daldry. ©Tristram Kenton 09/19

out of 5 stars (4 / 5)

An Inspector Calls is a staple of English Literature GCSE; we’ve all grown up knowing the twists and turns of J.B Priestley’s classic play. I remember vividly studying it and even playing Shiela Birling in an amateur production, so I know the play well. This is a production that rips up the basic setting of the upper-class drawing room and engagement party that Inspector Goole intrudes upon, with unwelcome news. This is a moody, smoky, gritty production that really emphasises the themes of society, class, gender and generational divide.

The set is extremely impressive. I loved the ‘doll’s house’ Birling household, with them being closeted away inside away from the audience’s view as the curtain lifts. It stands on stilts above the street below, keeping the Birlings and their perfect world away from the gutter, out of the view of the lower end of society. The front of the house opens up to begin their descent, swinging open to reveal their garish opulence, which stands starkly against the grey drabness of the street below. The Inspector arrives and bridges the gap, slamming steps against their home to be able to force them to descend to the streets below. The house plays an important part later on too, which I won’t spoil, but this further visceral vision of the collapse of this affluent family is excellent and drew gasps from the audience.

A scene from An Inspector Calls by J.B. Priestley @ Churchill, Bromley. Directed by Stephen Daldry. ©Tristram Kenton

I also loved the costuming, with each character revealing their own unravelling. Sheila becomes more and more undressed as the show progresses, with her beautiful white gown having less and less fabric as action unfolds. Gloves are removed, shoulders taken off, leaving bare shoulders and arms. The other cast are disrobed in similar ways. Eric especially is dishevelled and unkempt upon his return; Mrs Birling’s perfect hair cascades messily down her face.

https://youtu.be/UhXDvm86_e8

Tim Treloar as Inspector Goole walks through the darkness of the auditorium to the stage, his figure standing tall and forlorn in the single ray of the streetlamp. We have a Welsh Inspector here, a fact made altogether more impressive by the fact that this is a change specifically for the Wales Millennium Centre residency. The accent adds an extra element to the performance; ensuring that Goole stands apart from the Birlings, not quite fitting in anywhere to the fictional industrial town of Brumley, England. His performance was not what I was expecting at all; this Inspector is sometimes funny, passionate, clearly passionately involved in the tale of Eva Smith and her untimely demise. It makes him more human than previous iterations I have seen; his humour breaking the sometimes almost unbearable tension of the scenes and, of course, immediately gains him the empathy and support of this Cardiff crowd!

An Inspector Calls 2024. Tim Treloar (Inspector Goole) and Alice Darling (Edna). Photo by Mark Douet

He is joined by an excellent cast; Jackie Morrison owning every inch of the stage in her opulent gown as Mrs Birling; Philip Stewart is our understudy Mr Birling and brings the upper-class bluster and self-importance of Birling in spades. The younger side of the family are played to great effect by Leona Allen as Sheila Birling and George Rowlands as Eric Birling. Tom Chapman completes this ensemble as Gerald Croft, bridging that gap between the older and younger generations with ease. I also thoroughly enjoyed the ever-present Edna played by Alice Darling, her fair skin and quiet demeanour constantly reminding us of the lost Eva Smith and being an unending reminder of the effects that this family have had on a girl just like her.

This is a production which is unafraid of silences, poignant pauses and tableaus which really drive home every piece of symbolism and theme of the script. The image of the Birlings brought low by the Inspector, wrapped in blankets on the cobblestones beneath the very house they presided from is one that will stay with me for a long time. I enjoyed the use of the young actors throughout the piece and the ensemble serves to remind us that we are one society and those who forget that do so at their peril. This is ably directed by Stephen Daldry (with assistance from Charlotte Peters) and ensures that the audience sees this very well-known script with a whole new set of eyes. My only tiny complaint was that we lose some of the dialogue full of foreshadowing and dramatic irony at the beginning, with the house remaining closed slightly longer than I would have liked. But this is a very small grumble in an otherwise well executed, smart production.

Moody, atmospheric, with spades of tension to boot; I love the original, but I’m pleased to report that this adaptation maintains that whilst adding many more layers and creating a version that will stay with the studiers of this GCSE piece. Ultimately, I think that is what is important; maintaining the integrity and message of the original whilst compounding its importance for the future generations that are, and will be, reading it in class. The audience, both young and old, leave with ‘fire and blood’ in their minds, left with the message of ‘one society’ that is more important now than ever, almost 80 years after it was first produced in the West End.

Celebrations

Launching the Get The Chance, Cultural Impact Awards, 2025

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The Get The Chance, Cultural Impact Awards, 2025 supported by Tempo Time Credits and Porters Cardiff, Launch this month!

The Get The Chance, Cultural Impact Awards, 2025 celebrate high quality, cultural activity that reaches a broad range of the public and its positive impact on their quality of life.

The Award event will take place at Porters , Cardiff on Sat March 22nd, 5-7 pm a representative of all nominated organisations/individuals will be invited to attend.

Award winners in each category will have the opportunity to have a short professional film created which highlights their work. (subject to confirmation)

The Awards are supported by Tempo Time Credits and Porters Cardiff. Rachel Gegeshidze, Chief Executive, Tempo Time Credits said

“At Tempo, we believe that culture, the arts, and heritage should be accessible to all, and we are incredibly proud to support the Get The Chance, Cultural Impact Awards 2025. Volunteers are the backbone of our communities, and through Time Credits, we recognise and value their time, opening doors to new experiences. These awards shine a light on the incredible cultural initiatives and volunteers that give their time to make a real difference to communities and people’s lives, and we are privileged to celebrate the individuals and organisations leading this work.”

Rachel Gegeshidze, Chief Executive, Tempo Time Credits

Dan Porter, Director of Porter’s Cardiff said

‘As a venue we want to remain committed to new, emerging and unsupported artists. We are happy to support the Get The Chance, Impact Awards and what we can help others to achieve at Porters Cardiff”

Dan Porter, Alice Rush and Frankie-Rose Taylor

(Photograph: Moreton Brothers)

The awards are a great opportunity to celebrate the impact cultural provision in Wales during 2024, many of the individual categories are sponsored by a range of project supporters.

*Please get in touch of you are interested in supporting this event

Further information on the Categories and nomination process can be found below

These awards aim to highlight and showcase the vibrant and diverse nature of culture, heritage and the arts within our Nation each year

Criteria

For the purposes of these awards, we have a broad definition of cultural provision which includes community arts volunteering, education and heritage. Nominations will reflect a range of areas in the cultural life of Wales, nominated individuals or organisations can be either voluntary or professional. All nominated parties must be from or based in Wales for the majority of their creative activity and nominated area. The nomination period is Jan 01-Dec 31 2024.

The purpose of these awards is to raise awareness of high quality, cultural activity that reaches a broad range of the public and its impact. Due consideration shall be made on the resources of the creative activity and its impact on the public.

All work must have a strong Welsh connection, and this will form part of the scoring process.

The nomination form can be found at the link below

https://forms.office.com/e/MFiTvHPSXy

Categories

  1. Public Event

Description: Awarded to a public production, exhibition or cultural event that demonstrates high artistic ambition and quality which connects with the public. The activity should take place in and be produced by Welsh and Wales based creatives

Considerations

  • What impact did this Public Event have on the general public?

  • How the event has demonstrable high artistic quality, did it receive reviews, press coverage or industry awards?

  • Audience reach – roughly how many people saw it and were any specific groups reached such as children and young people etc?

  • Audience reach – where did audiences come from? Did it tour or was it large enough to attract people from outside the direct performance area?

2. Creative of the Year

(Sponsored by Porters Cardiff)

Description: Awarded to a Creative who demonstrates the highest artistic quality in work which is created and/or publicly exhibited, performed or displayed in Wales.

Considerations

  • What Impact did the work of this Creative have on the general public?

  • How has the Creative demonstrated high artistic quality, did their work receive reviews, press coverage or industry awards?

3. Community and Education Project

(Sponsored by The Red Shoes Poster Archive)

Description: Awarded to a community, participatory or education project e.g. choir, dance, theatre, visual arts or heritage group which provides regular, inclusive access to culture for local people.

Considerations

  • What Impact does the community, participatory or education project have on the general public?

  • Did the project receive positive feedback and satisfaction from participants?

  • How many people took part?

  • Was the project inclusive? For example, supporting people from diverse backgrounds or those with disabilities or who, for other reasons, might otherwise not have the opportunity to take part?

  • Did the project receive any positive press coverage, reviews, other awards or recognition

  • Did the project work in partnership with other organisations?

4. Facilitator of the Year

Description: Awarded to a cultural facilitator, teacher or practitioner who leads inclusive community, participatory or education projects in Wales

Considerations

  • The impact the individuals work has on the group or individuals

  • Any reviews, press coverage, other awards or recognition

  • Any feedback from partners or funders

5. Culture and Health

(Sponsored by Christine O’Donnell)

Description: Awarded to a cultural project, event or series of workshops which support people living in Wales to improve their health and wellbeing.

Considerations

  • The impact the project has had on its participants

  • How many people took part?

  • How the project/event positively impacted people’s health?

  • Any participant feedback/testimonial?

  • Are there any ways the activity has reduced reliance on other services such as the NHS?

  • How the project used culture and participation?

  • Any reviews, press coverage, other awards/recognition?

  • Any partner feedback?

6. Cultural Champion

(Sponsored by Tempo Time Credits)

Description: Awarded to an individual from the creative community, e.g. a volunteer, administrator, technician, curator or board member whose work makes a significant positive contribution to the cultural life of the Nation

Considerations

  • The major project/event/activity/display in which the individual has played a significant role and what the impact of their role has been?

  • How the individual positively contributes, beyond their own participation (for example supporting others, volunteering etc)?

  • Any support or feedback from project/organisation leaders or facilitators?

  • Any reviews, press coverage, other awards/recognition for either the individual or the project they are involved with?

  • About any feedback from colleagues, participants and other relevant parties?

7. Commitment to Arts, Heritage & Culture

(Sponsored by Awen Cultural Trust)

Description: Awarded to a school who demonstrate significant commitment to and celebration of the arts in the broadest sense

Considerations

  • The impact the project has had on its participants?

  • What cultural activities does the school offer?

  • How many students are involved?

  • How is this offer different from traditionally provided education activity?

8. Disabled Creativity

An award recognising the achievements of an organisation or individual creating awareness of Disabled led work.

Considerations

  • What impact has the organisation or individual made to Disabled led work?

  • What cultural activities does the organisation or individual offer?

  • How many people are involved?

Theatre

Review The Lion, the Witch and the Wardrobe, Wales Millennium Centre by Tracy Robinson

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As the weather turns frosty, it feels like we too have stepped beyond the fur coats and into our own endless winter. But if that means joining the Pevensie children on an adventure, then this winter brings plenty of warmth!

The stage adaptation of C.S. Lewis’s “The Lion, the Witch and the Wardrobe” is a magical experience that brings Narnia to life. Directed by Michael Fentiman, this production blends music, puppetry, and energy, making it a treat for fans old and new.

The Wales Millennium Centre delivered an unforgettable experience. Marking the novel’s 75th anniversary, this adaptation enhances the beloved story’s magic. With breathtaking staging and a talented cast, it brings the wonder and adventure of Narnia to life.

From the moment the lights go down, the visuals are breathtaking. Tom Paris’s set and costumes transport the audience into the snowy forests and the White Witch’s icy castle. The puppetry, especially in bringing Aslan to life, is wonderful. Actor, Stanton Wright, along with a team of puppeteers, makes the lion feel both powerful and real.

The music by Benji Bower and Barnaby Race adds depth with folk-inspired melodies. A unique touch is the actors’ playing instruments live on stage, making the atmosphere even more immersive.

The cast shines, led by the four Pevensie children, who capture both the wonder and sibling squabbles of youth. Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy), and Bunmi Osadolor (Edmund) bring their characters to life, making Edmund’s transformation from selfish to redeemed very moving.

Katy Stephens is both chilling and captivating as the White Witch. Archie Pope’s Mr. Tumnus is warm and endearing, and his nostalgic song about spring is a show highlight. Ed Thorpe’s Mr. Beaver brings the perfect amount of humour, while Anya de Villiers as Mrs. Beaver is equally delightful.

 The audience reacted with gasps of wonder and enthusiastic applause, especially during the wardrobe’s magical transformation into Narnia. The mix of humour, adventure, and emotion made the show enjoyable for all ages.

Some special effects may not be as striking from seats farther away, and the first half’s pacing is uneven, with some scenes dragging while others felt rushed. At times, the music overpowers key dialogue. Aslan’s portrayal as both a puppet and an actor is creative, but some may find the transition a bit distracting. 

And of course, no matter how magical the show, it doesn’t come with a real portal to Narnia. Some audience members (myself included) might leave a little disappointed after checking the back of their wardrobes at home!

This adaptation is a brilliant retelling of a beloved story. With strong performances, stunning visuals, and immersive music, it captures the heart of C.S. Lewis’s classic. Despite minor flaws, the passion and creativity behind this production make it must-see. Whether revisiting a childhood favourite or discovering Narnia for the first time, this show is a magical and unforgettable experience.

Taking off my critic’s hat for a moment—this production completely swept me away. I could go on and on with praise, but I urge you to see it for yourself. I felt like a child again, lost in a magical world brought to life in the most fantastic way. It’s 317 days to Christmas, but in Narnia, every day could be Christmas. If I could exist in both the real world and Narnia like the Pevensies, it would be a dream come true!

Opera & classical

The Marriage of Figaro – a review by Eva Marloes

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out of 5 stars (4 / 5)

A strong cast and orchestra perform well notwithstanding the threat of further cuts to the Welsh National Opera. Outside the Wales Millennium Centre, as many times before, we are met by WNO staff members wearing t-shirts and handing out leaflets and petitions about yet another round of cuts. The once formidable chorus has been halved from 40 to 20 members. Yet, the WNO manages to deliver once again.

Mozart’s Le Nozze di Figaro (The Marriage of Figaro) is based on Pierre Beaumarchais’ political satire La Folle Journée (1784), sequel to Le Barbier de Séville (The Barber of Seville).  Le Nozze is a scathing critique of the power of the nobility. At the centre is the droit de seigneur, the right of the lord of taking sexual advantage of his female servants.

The opera begins with Susanna (Christina Gansch) and Figaro (Michael Mofidian), servants to the Count and Countess of Almaviva, making plans for their wedding. Susanna is afraid that the Count will revive the droit de seigneur to sleep with the bride. Figaro thinks he can outwit the Count of Almaviva (Giorgio Caoduro). Meanwhile, Don Bartolo (Wyn Pencarreg) and Marcellina (Monika Sawa) employ a lawyer to recoup the money lended to Figaro, who has promised to marry Marcellina, if he cannot repay it. The page, Cherubino (Harriet Eyley), in love with the Countess and every woman he sees, pleads with the Countess to help him to avoid dismissal. 

What follows is a farce of mistaken identities, where the plot thickens from trick to trick, new truths are discovered, like Figaro being the son of Marcellina and Don Basilio. There’s always someone who overhears something folding a plot and starting off a new one. At its core, however, is the servants, with the help of the betrayed Countess, plotting against the Count. 

This production has excellent singing and interpretations from all the cast. A funny and skillful Farfallone Amoroso by Michael Mofidian as Figaro, a beautifully delicate Voi Che Sapete of Harriet Eyley’s Cherubino, a moving Dove Sono of Chen Reiss as the Countess Almaviva, and a beautiful Deh Vieni of the excellent Christina Gansch as Susanna, to name a few. Particularly good performance comes also from Monika Sawa as Marcellina and Giorgio Caoduro as the Count. The cast shines as an ensemble, supported by a solid orchestra, conducted by Kerem Hasan. 

Christina Gansch as Susanna and Michael Mofidian and Figaro. Photo by Dafydd Owen.

The strong performances entertain and enchant, but the direction lacks brio. Le Nozze rests on singers and orchestra playing out the satire. We are left with a farce with beautiful music and singing, which misses the political intent. The 18th century’s setting of this revival production constrains the politics of the opera. A modern take could have perhaps exploited the liberties taken by today’s billionnaires, who seem to be above the law. It would have been poignant given the role of billionnaires in impoverishing our society.