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?
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.
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….
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
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
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!
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.
Venue Cymru, Llandudno, March 3rd – 8th 2025 and touring
(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.
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.
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
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?
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,
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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