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Music

Review The Offspring/ Simple Plan, Cardiff Utilita Arena by Rhian Gregory

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The Offspring and Simple Plan blew the roof off Cardiff’s Utilita Arena last night, Monday, 10th November, delivering an unforgettable night of punk-rock energy and nostalgia.


It was a much anticipated return for both bands – Simple Plan, who last performed in the city in the summer of 2024 at Cardiff Castle supporting Avril Lavigne, and The Offspring, whose previous Cardiff show was back in November 2021. This time, they joined forces for a powerhouse double bill that had fans singing, shouting, and jumping from start to finish.


Simple Plan kicked things off with their trademark pop-punk charm, launching into fan favourites like “I’m Just a Kid “and “Perfect”. The crowd was instantly transported back to the early 2000s, belting out every lyric. Frontman Pierre Bouvier’s energy was infectious, and his connection with the audience was heartfelt — especially when he surprised fans by speaking a few words of Welsh, earning loud cheers across the arena.


One particularly special moment came for Cerys, and her mum Rhian Gregory, who had the chance to meet Simple Plan backstage at a VIP pre-show pizza party. Cerys welcomed the band back to Wales and even taught them some Welsh phrases, which Pierre proudly used during the performance — a lovely touch that made the night even more memorable for local fans.


Then came The Offspring, and the energy surged even higher. Dexter Holland and Noodles delivered a masterclass in rock showmanship, tearing through hits like “Want You Bad” and “Pretty Fly (for a White Guy)” with the raw, rebellious edge that has defined their sound for decades.

A standout moment of the night was Dexter’s emotional piano performance of “Gone Away”. Fans lit up the venue with their phone lights, swaying gently in unison, creating a sea of twinkling lights that matched the emotion of the song perfectly. It was a powerful and heartfelt moment that showed a softer side to The Offspring’s usually high-octane set.

The band even surprised fans with a tribute to The Beatles, leading a massive sing-along of “Hey Jude” that united everyone in the arena.


From start to finish, it was a night of nostalgia, energy, and genuine connection — proof that both The Offspring and Simple Plan still know exactly how to thrill a crowd. Cardiff was loud, proud, and absolutely rocking.

Theatre

Review Pride and Prejudice, Theatr Clwyd by Simon Kensdale

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It is a truth universally acknowledged that a theatre has to put bums on seats if it is to survive. What better source of material to use to achieve this goal than a book which has sold more than 20 million copies (Wikipedia) and which has been revived on TV? The only drawback is that Pride and Prejudice is a novel not a play. Adapting it means a six-hour reading experience has to be pruned back to provide two hours traffic on the stage. The difficulties have been confronted by an interesting (and presumably economic) collaboration between five regional theatres: Mold’s Theatr Clwyd, the Bolton Octagon, Keswick’s Theatre By The Lake, and the Stephen Joseph and Hull Truck Theatres. Their production has attracted good reviews and on a Wednesday press night at Theatr Clwyd the house was more than three quarters full and the best seats looked to be sold.

The audience enjoyed the show. They applauded loudly when Elizabeth Bennet kissed Darcy (did that happen in the book?) and they cheered when the couple were sprayed with water so that Darcy’s shirt could be dampened in reference to a scene in the TV series (not, I think, in the book). A number stood to applaud at the end, as if we were still in the party conference season.

I think the audience and the critics were right to applaud. The show is very funny. The cast, with their spot on timing and faultless attention to detail, perform like a dance band, making the absolute most of the material they have been given. They fill the stage even when only two characters are present, and they easily suggest both the crowded rooms at a ball and the palatial grounds of Darcy’s estate. There is a lot of physical theatre with Ben Fensome’s inspired interpretation of Mr Collins and Joanna Holden’s manic clowning as Mrs Bennet. Set against these two are secure performances from James Sheldon as Darcy – his feet remain stolidly rooted to the stage throughout the excitement – and Eve Pereira’s Mary, a study in straight-face absurdity. We also get a riff on Lady Bracknell in Jessica Ellis’ Lady Catherine de Bourgh (she avoids mentioning the handbag). Other members of the cast, like Rosa Hesmondhalgh as Elizabeth and Dyfrig Morris as Mr Bennet (and one suspects also as the permanently veiled Anne de Bourgh) hold everything together confidently. They maintain the realism of the story. Background music is provided on the harpsichord by Mary, and by other period instrument versions of ‘Will You Still Love Me Tomorrow?’ and ‘You’re So Vain’.

Nobody put a foot wrong. The only (small) detail that didn’t work dramatically was doubling Eve Pereira up as Mr Bingley, presumably to save employing another actor (one of the Bennet daughters was also cut). But, given that Bingley has the least interesting role in the production, the gender switch didn’t matter much.

Nonetheless, despite what the show achieved, it was entertainment rather than art. Quality, ingenious entertainment, requiring a high level of professionalism- it can’t have been easy for writer Kate Hamil to fashion a fast-moving play from a slow-burning novel and director Lotte Wakeham deserves her plaudits for getting the most out of her actors – but this show is fundamentally tongue-in-cheek. It stops short of sending the novel up but it misrepresents it. It draws on Oscar Wilde and Alan Aykbourne and it comes across as more Gilbert and Sullivan than Mozart. Brecht it is not. The humour in it is good-natured and well-meant but the laughter it generates is in the service of what is apparently not a serious story. This because the real facts which Jane Austen was so careful to include, have had to be skipped over. (Those reviewers who claim the show is faithful to the original should go back and reread it.)

Pride and Prejudice is a fairy story. Austen’s artistry consisted of connecting a popular genre to a contemporary reality so both our intelligence and our feelings can be engaged. Economics and the laws of inheritance feature in her novel as they represent the restrictions the Bennet sisters have to break free from – in a world where women had virtually no role to play in society if they didn’t become wives and mothers. The Bennet family lives comfortably, with servants and a carriage, on Mr Bennet’s unearned income (equivalent to £170,000 a year today) but Mrs Bennet is not mad to be obsessed about what will happen to her five daughters if and when her husband dies. Those of the girls who remain unmarried will become homeless and be reduced to the level of the labouring class. Their abilities on the harpsichord and their knowledge of foreign languages won’t help them. They are effectively good for nothing.

Austen’s sharp detailing picks out for us the misery faced by Elizabeth’s friend Charlotte Lucas, who is too insecure to resist Mr Collins’ blandishments and who faces a life with an egotistic eccentric dependent in turn on the whimsical patronage of an almighty snob. She also gives us Lydia Bennet’s elopement with Lieutenant Wickham. Lydia is only fifteen. The age of consent in 1800 was twelve but even two hundred years ago a relationship between a man and a young teenager would have raised eyebrows – as we see from Darcy’s treatment of Wickham. Wickham has already tried it on with his sister.

Any mention of paedophilia or any close consideration of economics or of a legal system preventing women from inheriting property, would unbalance a light-hearted piece of entertainment, so the production skirts these issues. It understates, for example, the social disaster the Bennet family face when Bingley appears to have jilted Jane and Lydia’s elopement has disgraced them.

But you can’t have everything. Like Mary Bennet, ‘I profess myself one of those who consider intervals of recreation and amusement as desirable for everybody.’ Until someone manages to turn work by Sally Rooney or Annie Ernaux into relevant modern comedy, we can go along with productions like that offered by this regional collaboration. Escapism is sometimes OK, and it puts bums on seats.

Opera & classical

Review, Connor Fogel, Lisztomania, Tabernacl, Cardiff by James Ellis

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It would be a surreal Halloween in 2025. I chose to dress up as Marioneta Negocios from Adult Swim, most curious recent offering Women Wearing Shoulder Pads. My plus one was Lady Dimitrescu from Resident Evil Village. Some concerns over dressing up and also political views in a church, would be quickly brushed aside, the Tabernacle have often been friendly and welcoming. It’s why I go back.

Seeing Connor Fogel back last year in the same venue, the through line is naturally Lizst. Connor should not be accused of micro-obsessions, as his devotion to Liszt and known ways in which the composer played, are part of this pianist branding. In this programme entirely made up from the Hungarian composer, it would be mostly arrangements of other’s work. Rossini’s Overture to William Tell is a standard, most famous for the gallop. I noted the lack of dampened pedals for extended passages, the wonderful cello solo rings out, the famous parts puffy and handled with aplomb.

Reminiscences of Lucia di Lammermoor from Donizetti is more well regarded material. I’ve personally never been wowed by this Italian composer, though Liszt takes chunks from the opera and swirls it into a marvellous patter for piano. Mozart and his Don Giovanni (though here dubbed Don Juan) got the Liszt treatment, with Connor noting Scriabin never recovered form playing this take on the opera, with a profound hand injury emerging from rehearsal. It was more dark drama, though a whisper of Zerlina’s aria would really seal the deal.

Lovely Schubert came next and Liszt usage of Ave Maria is by far the most perfumed, wispy right hand ornaments, aside your eternal melody. ‘Le roe des aulnes’ or Erlkönig was a nice touch for All Hallow’s Eve, the story gothic, the composition a highlight of Schubert’s lieder. With the singer playing four varying roles, Connor on piano braced this command with focus and lucidity. The wrap up (with no encore) was Liszt’s very own Grand gallop chromatique. Feverishly absurd in nature, the composer knew how to send audiences dazed and dazzled, Connor seems to relish playing this. It’s finality leave smiles, though I dare say a touch of Wagner next time would really seal the deal form me. It was a family affair, after all.

Film & TV

David Lynch and the Art of Fragmentation by Ayo Adeyinka

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With Chapter’s David Lynch season recently concluded, I wanted to reflect on some of the films I watched. As a film fan, Lynch has always loomed large. I’d seen and been delightfully confounded by Blue Velvet (1986) at a young age and had tepidly dipped my toe into the uncanny waters of Twin Peaks (1990-91). In the wake of his death, I, like many others, decided to dig further into his work and Chapter’s season provided the perfect opportunity.

Over the course of the season, it became clear to me that Lynch’s filmography has long been preoccupied with fragmentation. I’ve always been drawn to the theme- the way identity, perception, and experience can splinter and overlap- and in Lynch’s work, this fascination felt amplified. Watching him wrestle with fractured subjectivity made the films feel both unsettling and alive, and it’s this tension that kept pulling me deeper into his worlds. In Lost Highway (1997), Mulholland Drive (2001), and Inland Empire (2006) specifically, this fascination takes a distinct trajectory: what begins as fragmentation as a symptom ultimately culminates in fragmentation as a condition.

Lost Highway: Fragmentation as Escape

Lost Highway begins with the paranoia of being watched. Fred Madison (Bill Pullman), a jazz musician, receives videotapes filmed inside his own house. The tapes arrive anonymously, and are terrifying because they suggest an external, spectral eye. His subjectivity unravels under this pressure. His sexual inadequacy, jealousy, and inability to communicate are compounded by guilt- likely for murdering his wife, Renee (Patricia Arquette). “I like to remember things my own way,” he says early on, insisting on control over memory. It’s a fragile defense. Soon, his psyche generates an escape route: Fred becomes Pete Dayton (Balthazar Getty), a younger man who is confident, desired, potent.

This transformation, which Lynch called a “psychogenic fugue,” is part plot twist part psychic rupture. Pete offers Fred a way to continue for a while, to live inside a fantasy of vitality. But fantasies cannot hold forever. The recursive line “Dick Laurent is dead” becomes both the spark and the implosion of this psychic construction. Fred is caught in a Möbius strip: both the man receiving the message and the man delivering it. The loop closes, and the fantasy collapses.

Fragmentation in Lost Highway is thus a symptom; a psychic defense against guilt and impotence, a way of buying time in the face of trauma. The self fragments because it cannot endure.

Mulholland Drive: Fragmentation as Dream Logic

If Lost Highway uses fragmentation to repress trauma, Mulholland Drive structures it around dream logic. The first half of the film plays like a fairy tale: Betty (Naomi Watts), bright-eyed, bushy-tailed and gifted, arrives in Los Angeles full of promise. She discovers Rita (Laura Harring), an amnesiac brunette, and together they set out to solve a mystery.

For a while the fantasy works, and Lynch treats it with deep reverence. Hollywood glows with potential. But eventually the frame cracks. Betty becomes Diane, Rita becomes Camilla, and the romance collapses into betrayal and humiliation. The fantasy was Diane’s dream, a desperate attempt to rewrite her failures and rejections. In this structure, fragmentation serves as a hinge: dream versus reality, fantasy versus trauma.

Diane’s tragedy is not that the fantasy was false, it was real enough to genuinely sustain her for a time, but that it could not hold. The kiss between Betty and Rita embodies this tension. It’s tender, charged, but ultimately folded into the dream logic that unravels into despair. The recognition it offers cannot last. Like Lost Highway, fragmentation here derives from something and feels narratively coded; in the dream context, the doubling makes sense. However, in Mulholland Drive the dream world is less a cover, and more a lived space, vivid and real, almost equal to the ‘reality’ that follows it.

Inland Empire: Fragmentation as a Way of Being

By the time we reach Inland Empire, the logic develops considerably. Nikki Grace (Laura Dern), an actress cast in a mysterious film, becomes Sue, a character within that film. But from the beginning, the boundaries are porous. Nikki bleeds into Sue, Sue into Nikki. Other figures emerge: the Lost Girl watching from a room, the prostitutes, the rabbits in a sitcom-like set, a Polish woman, various doubles. Identities multiply, overlap, and dissolve.

Unlike Lost Highway or Mulholland Drive, there is no clean binary. There is no dream to wake from, no fantasy to collapse. There isn’t even a single doubling. Multiplicity proliferates without axis. Nikki/Sue doesn’t fracture because of an identifiable trauma; she was never whole. She is always already multiple: actress, wife, prostitute, ghost, watcher, watched, victim, comforter.

Shot on digital video, the film’s grain and distortion are inseparable from its content. The camera is no longer an outsider intruding, as in Lost Highway. Nor is it the machinery of fantasy, as in Mulholland Drive. In Inland Empire, the camera is reality itself. It shapes the very condition of subjectivity, especially in the modern age, where Lynch seems especially prescient: to be filmed, to be seen, to perform endlessly.

Unlike the other two films, fragmentation in Inland Empire doesn’t seem to stem from anything; it’s not a symptom, or a narrative device- it’s a state of being and doesn’t necessarily lead to revelation. Nikki/Sue fragments not to withhold truth or conceal trauma but because, in her world, that’s what the self does. And then there’s the kiss. Unlike the Mulholland kiss, this one is not eroticised or doomed. It arrives as a recognition: one woman truly seeing another, outside the mediation of roles and screens. Multiplicity doesn’t disappear, but for an instant, it coheres into recognition. It’s not a cure, or a return to unity, but an instant that acknowledges fragmentation and continues regardless.

Watching Inland Empire last of the three films felt appropriate. Not just because it was Lynch’s last feature film, or his longest, or arguably most difficult- but because it feels like the culmination of a journey. Where can you go after rejecting not just narrative resolution but fragmentation as a means to an end? The earlier films still hold out for the possibility of wholeness, even if only in fantasy, even if only for a moment. By contrast, Inland Empire makes peace with fragmentation as the default; suggesting that the self is never whole, never singular, never ‘off-camera’. And yet, the film doesn’t grieve this. If anything, its final moments are joyous: smiles, dancing, a room full of women and doubles and ghosts simply being. This notion struck me then, as it does now, as radical, deeply honest and profoundly moving: the subject may not unify but she does endure.

Theatre

Review The Signalman, Theatr Clwyd by Donna Williams

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out of 5 stars (4 / 5)

Prior to attending Middle Ground Theatre Company’s The Signalman at Theatr Clwyd I picked up a copy of Classic Ghost Stories at my local library and, by complete coincidence, the first offering was The Signalman by Charles Dickens. I decided to resist temptation and attend the production with no expectations (better than great expectations, pardon the pun!) I did, however, skim through and wrack my brains as to how this production was going to take place over 1 hour and 40 minutes, the story taking up a mere 16 pages of this collection.


What better time of year to witness this piece than during the lead up to Halloween- the atmosphere set immediately upon entering the auditorium; dark curtain down and eerie piano music playing. As the curtain rises, the music’s volume increases and we are greeted with a lowly, dark piece of railway line through a tunnel (via use of effective projections) and a signal box shaded in smog, kitted out with everything we might find in a signal box in 1880- bells, levers, flags, a couple of chairs, book shelves, a kettle. The set is static throughout with the addition of several impressive light and sound effects to portray night and day, trains rumbling by, night owls hooting, the wind howling through the trees. It’s all very Victorian, very Dickens!


Dickens always had an interest in the concept of ghosts (made no clearer than in one of his most well-known and loved works, A Christmas Carol, published many years before The Signalman). However, Dickens was also a passenger in the Staplehurst train crash of 1865 which, although he survived, left him with significant psychiatric injury. Perhaps then, this eerie tale, was his way of attempting to banish his own demons and examine the suffering caused by this tragic event. In using the railway as his setting, Dickens provides a backdrop which we can all relate to- although, individuals being able to cross the railway line with only a ‘mind the line’ warning beforehand is a somewhat insane concept in the modern age!


In brief, our signalman, brilliantly portrayed by Chris Walker, is experiencing ‘hauntings’ which he cannot explain and has come to tell of these happenings to a holidaymaker out walking in the area. The holidaymaker is somewhat of an ambiguous character. Is he really an innocent gentleman on holiday? Is he a journalist? An inspector? John Burton plays this character with great energy and authority, and we are left wondering what his purpose is here. It seems his friendliness causes the signalman to relax and talk freely about the ghostly visions- from visiting apparitions, books falling from shelves of their own accord, doors opening without a breeze, voices calling out. As an audience, we are also privy to these occurrences, leaving us feeling uneasy throughout- do we believe what we are seeing? Why are these unearthly incidents happening? Perhaps we now feel as our signalman feels.


Without giving too much of the story away, it appears that the signalman is experiencing fears of an impending disaster on this part of isolated line- not helped by the recollection of past events. The question is, is what happens next down to fate or is it down to these peculiar premonitions?


This is a magnificent re-telling of a lesser-known Dickens fable which builds a fantastically formidable atmosphere throughout, by way of character, set, costume, lighting, sound, and special effects. Having since read the original, it is clear there have been a few embellishments but, overall, the production stays true to the text and is a great, atmospheric period piece, perfect for a dark, winter’s evening.


The Signalman continues its UK Tour on November 4th at the Darlington Hippodrome and continues into 2026, finishing at the Wolverhampton Grand Theatre on March 28th. Head to the website for more information:

The Signalman | Middle Ground Theatre Company Ltd

Theatre

Review The Weir, Harold Pinter Theatre by Millie Pinkstone

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Photo Credit- Millie Pinkstone

Upon first discovering the concept of The Weir, I was intrigued- a naturalistic play about ghost stories seems almost like juxtaposition. It wasn’t until the curtain came up and the play silently began that I truly understood- and for the next hour and forty five minutes, I was captivated.

Before the actors had even uttered a line, the hyperrealistic set caught my eye. Every detail was intentional and beautifully crafted, from the doorway to the pictures on the wall. Every part served a purpose, and added to the solemn atmosphere of the play. The wooden hues, accompanied by the everyday clothing of the characters, further immersed the audience.

Whilst the cast was small, their stage presence could’ve enthralled an audience ten times bigger. Each character wove their personalities into their stories in a different way- from Valerie’s (Kate Phillips) tear-jerking tale about her daughter to the strangely comedic element of Jim’s (Seán McGinley) delivery, it was impossible to be bored at any point.

Brendan Gleeson’s portrayal of Jack was highly anticipated by many- and his performance left little to be desired. The second he stepped on stage, the audience waited with bated breath to see his interpretation of the character. Not many actors could handle the dichotomy of Jack’s darkly funny lines and his profound stories of loss and loneliness, but Gleeson did so expertly.

It isn’t often that a play (or any piece of media) can accurately embody real life- often, something unrealistic interrupts the narrative and the audience can no longer relate to the piece and its characters like they used to. However, the casual dialogue of The Weir resonated with those watching and brought us closer to the action, making us feel as if we were sitting in the pub with the characters without disturbing the serious subject matter.

Photo Credit- Rich Gilligan

Usually, I prefer more plot-based than character-based media, but this play is the exception. I felt that I could connect with everyone onstage- I felt pity for some, laughed with others, and understood the characters’ conflicts as if they were my own. As the storyline mainly revolves around the individual characters and their experiences, one could focus on each person’s story without being distracted by what-ifs and side-plots.

All in all, the performance delivered quality in every area, and left audience members thinking about the characters and their lives for the rest of the night.

Theatre

Lessons on Revolution, Performed at the Barbican Theatre, Review by Tanica Psalmist

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Lessons On Revolution is an immersive documentary theatre. This production reviews numerous global pre-historic events which imposes unrest from political & social injustices, conformity, despair and racial suffering, causing uproar from activists and conscious citizens who refused to accept & integrate at the expense of material comfort for disguised agendas serving the elites greed & mass corruption.

Lessons On Revolution journeys us through 1968, London School of Economics. Where members of the LSE Liberated Zone combine to disconnect from worldwide aparthied inequalities to voice their thoughts. Changing the status quo for radical change despite the powers that be having their resistance, whilst those proceeded doing their due diligence for humanity worldwide.

Writers & performers; as well as flatmates Samuel Rees & Gabriele Uboldi, during 2024, in their Camden flat embark on a discovery of archives from 1968, the student movement that led to the life changing events that made history. Where despite gentrification affecting the cost of living, both guys enter the past in pursuit of finding hope, retelling a story of truth; exploring themes of suicide, racism, and homophobia; restructuring how theatre could reshape reality.

Both men deeply discuss the past, present and future of activism. Especially as the human race at this moment in time have become despondent & dispirited at the breaking point of fleeting fear, worry and energetic awareness in the midsts of capitalism, and the abyss of the unknown within a potential revolutionary future.

Art, Dance, Literature, Theatre

The Health of the Arts in Wales

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 The Arts in Wales are going through a period of reflection and change; the sector is considering the impact of the forthcoming Senedd election due to be held by 7 May, 25.  It will be the first election following current reforms to the voting system, which would increase the size of the Senedd from 60 members to 96, adopting a party-list voting system, reducing the number of constituencies to sixteen, and shortening its term from five years to four. The Labour Party may no longer be the majority party in power and Reform UK have recently gained its first seat on Cardiff council, comfortably winning a by-election in the Trowbridge ward, with Labour pushed into third place by the Liberal Democrats. In October 2025, Plaid Cymru defeated Reform UK in the Welsh Parliament by-election for Caerphilly, with Labour coming third and suffering its first parliamentary defeat there for 100 years. Plaid’s candidate won with 47% of the vote, ahead of Reform UK with 37% and Labour on 11%.

The Arts Council of Wales is appointing a range of new senior roles and has recently published reports into,

English Language Theatre

Dance

Welsh Traditional Music

This article features a range of responses from Welsh/Wales based creatives responding to this period in the Welsh Cultural sector

We asked those interviewed to respond to the questions below.

Arts Council Wales are currently recruiting for a “Head of” a range of art forms, including, Young People and Skills, Dance, Arts, Health and Wellbeing, Engagement and Communities (including Night Out) Music and Theatre, Performing Arts and Touring. 

Many of these roles have shared strategic aims such as, 

“Strengthening participation in the relevant artform, supporting inclusive engagement, developing community partnerships and driving innovation and advancing the sector.”

Where do you feel your sector currently stands and how might these new Head of Art form roles support and develop them?

The roles in Drama, Dance and Music will be tasked with implementing the recommendations of the recent reviews in the relevant art forms, what are your hopes for the outcomes of the review recommendations?

What is the priority for the Arts in Wales over the next few years?

 The Wales Arts and Health Network have recently published an Arts, Health, and Wellbeing Manifesto

The Document states

“The arts are a powerful force for individual and social wellbeing, fostering resilience, social connection, and improved mental and physical health and wellbeing. A significant and growing body of evidence highlights the economic and social value of long-term investment in the arts to support mental and physical health. Additionally, evidence shows increasing engagement with the arts can help to mitigate against negative impacts of living in less affluent areas. “

 The manifesto calls for the following five key commitments to ensure that arts and culture play a central role in shaping a healthier, more vibrant Wales

Do any of them resonate with you and how might you hope to see them realised?

1. Appoint a Cabinet secretary for arts and culture 

As recommended by the Wellbeing of Future Generations Commissioner, Wales must elevate arts and culture within government by appointing a dedicated Cabinet Secretary to champion the sector and ensure its integration into national policy. 

2. Commission a creative health review 

A comprehensive review of creative health initiatives will assess their impact, identify best practices, and inform future policy decisions. It will build a robust cohort of creative health champions and advocates across all public bodies.  The review will ensure that arts-based interventions are evidence-driven and effectively integrated into health and social care strategies, contributing to prevention, recovery and reducing inequalities in health outcomes.   

3. Invest in a national arts on referral scheme 

A nationwide arts-on-referral programme will enable healthcare professionals to refer patients to evidence-based arts interventions, supporting mental health, social inclusion, and overall wellbeing as highlighted in the National Framework for Social Prescribing.  This initiative will build on existing successful models (e.g. National Exercise Referral Scheme) and ensure equitable access across Wales. 

4. Invest in a sector-wide workforce development programme for arts and health professionals 

The programme will build capacity within the arts and health sector, providing training, professional development, and sustainable career pathways for practitioners working at the intersection of arts and health, and enable Wales to respond effectively to the growing demand for creative preventative approaches to tackling mental and physical health.   

5. Protect the arts and help them to unlock their full potential to transform lives, prevent illness and tackle inequality 

In line with the ambitions of the Wellbeing of Future Generations Act arts and culture must be protected and should be formally acknowledged for their role in preventative healthcare, supporting mental health, reducing social isolation, and promoting overall health and wellbeing. Investment in arts-based prevention strategies will reduce long-term healthcare costs and improve quality of life across Wales, particularly for those who experience health inequalities

Connor Allen

Where do you feel your sector currently stands and how might these new Head of Art form roles support and develop them?

I think the new heads of art forms are a good thing and a refreshing step in the right direction. Theatre and art has the ability to enrich lives and inspire change, so with a head of that art form who hopefully is passionate and dedicated to making a difference then I only see it as a good thing. It bridges more of the gap between the artists and arts council which I believe will only help build a more robust industry and sector in Wales where art is showcased in its many forms to the communities that need and appreciate it.

With John Gowers report highlighting the rich tapestry that Wales has to offer with artistic talent and creativity, I believe a new head of art form has a real opportunity to take the recommendations of that report and of the sector and do some real change with it.

The sector is in a real dark place right now but so is the world. Funding cuts are hitting the arts and its hard for a lot of people. But in these moments there are opportunities for change and these new heads of art forms can bring hope, light, and fresh perspectives.

We need fresh voices coming through the development streams in Wales for sure. So if these new heads can start championing and supporting new talent then in my eyes they are doing a good job, we need that surge of new talent and voices to start getting opportunities to shine

The roles in Drama, Dance and Music will be tasked with implementing the recommendations of the recent reviews in the relevant art forms what are your hopes for the outcomes of the review recommendations?

Going off my previous thoughts. The recommendations are there, clear in black and white so now its time for action. Every great journey starts with a first step and they are in prime position to take that first step.

I think an English Language theatre strategy is urgently needed to tackle all avenues from touring to how to even get a show in a venue in Wales and building those crucial relationships. I wouldn’t be here today if it wasn’t for people taking a chance on me and giving me an opportunity to grow. Wales has a deep nourishment of talent waiting for opportunities to showcase their work and voices. They need the chances and this is a pivotal moment to do so. We need the next generation of artists, the next Hannah Lads, Tom Bevans, Alex Rileys to be coming through and be championed and supported whilst doing so. A strategy can really look at how to support localised talent in areas that are not exposed to, get the visibility they deserve.

One of my personal hopes is that marginalised and underrepresented voices get supported and platformed. Its been five years since George Floyds murder sparked protest and conversation yet we still have bias and inequality in the arts. I hate the term “taking a risk” as there’s no risk, it’s an investment in humanity and creativity by giving people opportunities to develop their craft and showcase their talents but we need these heads of art forms and heads of building to be willing to “take risks” because we never know who is watching in the audiences and how seeing themselves represented on stage might transform their sense of belonging. Empowerment in the arts is cyclical — from artist to audience and back again — but that cycle only continues when support and opportunity flow freely.  Having actual heads of art forms that can lead the change and connect with the sector and its artists is crucial so I hope they are visible and approachable. I have been so blessed to have had support from heads of buildings and Artistic Directors over the years who have far more important things than to give their time to me as a kid from a Newport council estate but that’s how you show people that they matter. You show up and give your time so I hope the outcome of the reviews mean the heads and the arts council in general will show up and give artists time and support to really nurture the next AND current generation

What is the priority for the Arts in Wales over the next few years?

I mean, with Wales having the second-lowest spend per head on culture out of all European nations that has to be a huge focus over the next few years, to increase that investment.

Culture and art dont just enrich lives – they save them, by showing people they are not alone. Watching a performance, looking at a painting, walking around a museum, reading a poem you start to connect and resonate with others. There is no greater feeling than understanding and realising you are not alone in this world so a focus HAS to be on increasing the cultural spend and allowing more people to absorb and experience art

We are a small nation, but my God are we a mighty nation, with multicultural stories and history, showcasing every part of Wales will have the ripple effect of building cultural and allowing every person in all corners of the country to be proud and empowered by their own story and the stories of others

Another priority HAS to be the upskilling and development of talent here in Wales so they are not forced to leave to gain the necessary skills for career progression and growth. We can develop and nurture homegrown talent through mentorship and bespoke training in a way that is sustainable and achievable for the ambition of the artists so they can flourish without leaving.

Do any of them resonant with you and how might you hope to see them realised?

1. Appoint a Cabinet secretary for arts and culture 

As recommended by the Wellbeing of Future Generations Commissioner, Wales must elevate arts and culture within government by appointing a dedicated Cabinet Secretary to champion the sector and ensure its integration into national policy. 

This commitment resonates with me because you will have an actual champion of the sector whose job it will be to elevate and encourage policy and cultural change which is only a good thing. With the culture spend so low in Wales we need every fighting opportunity to boost that as a nation but also to enhance the lives of the public through art and through culture.

4. Invest in a sector-wide workforce development programme for arts and health professionals 

The programme will build capacity within the arts and health sector, providing training, professional development, and sustainable career pathways for practitioners working at the intersection of arts and health, and enable Wales to respond effectively to the growing demand for creative preventative approaches to tackling mental and physical health. 

This commitment is crucial as it coincides with what I have previously said and it will stop high quality homegrown talent from leaving Wales to gain what development they need to become the talent they already are. I hope this is a key priority going forward so quality talent chose to stay in Wales and have a sustainable career, boost the creative sector and give amazing work to the general public

5. Protect the arts and help them to unlock their full potential to transform lives, prevent illness and tackle inequality 

In line with the ambitions of the Wellbeing of Future Generations Act arts and culture must be protected and should be formally acknowledged for their role in preventative healthcare, supporting mental health, reducing social isolation, and promoting overall health and wellbeing. Investment in arts-based prevention strategies will reduce long-term healthcare costs and improve quality of life across Wales, particularly for those who experience health inequalities

I preach it constantly that art can and does save lives. Any investment and development that is going to increase that and encourage more collaborations and exposure – I am all for and I will champion that ambition. A key to this commitment would be collaborations. There are already amazing companies, like Tin Shed Theatres HATCH, Like People Speak Up, Like The Wallich who are already saving lives through the arts and showing a clear blueprint on how to do so. Improving the quality of life and providing the most rewarding experiences. So investment and collaborations is key to this commitment being unlocked and accomplished.

Connor Allen is an award winning multi-disciplinary artist, the former Children’s Laureate of Wales (2021-2023) and associate artist of The Riverfront in Newport.


He is a former member of the BBC Wales Welsh Voices, Welsh Royal Court writing groups as well as Hay Festivals Writers At Work Scheme. He has written for Wales Millennium Centre, BBC Radio 4, BBC Wales, Sherman Theatre, National Theatre Wales and more. Connors work is heavily inspired by elements of his own life such as grief, love, masculinity, identity, and ethnicity.
He was a Jerwood Live Work Fund recipient, Won the Rising Star Wales Award 2021 and was the 2023 winner of the Imison Award for his Radio 4 audio drama ‘The Making Of A Monster’
His debut poetry collections Dominoes – For general audiences and Miracles – For children were published by Lucent Dreaming in 2023.

He also holds an Honorary Doctorate in Literature from The University Of South Wales

Bridget Keehan, founder & Co Artistic Director of Papertrail

At Papertrail we’ve had a dynamic year, touring our latest production, A Visit, and launching our training programme, Creative Stages, in partnership with Royal Welsh College of Music & Drama. We’ve also been able to take on three new Associate Artists whose projects we are currently developing. All of this has been made possible by a relative degree of financial security. For the first time in our 11-year history we’ve received 12 months of core funding via ACW’s Creative Steps. It’s made a huge difference in what we’ve been able to do but there’s no continuation of core funding making future plans precarious. I don’t have to search far for similar examples of independent companies and freelancers progressing to a state of flourishment only to be stymied by short term stop-and-start funding. At Papertrail we’re determined to continue, somehow, powered by optimism, which stems from the knowledge that audiences and communities value and benefit from our work.

More broadly, I’m hopeful that the increase in funding for culture in the 2025/26 budget is the start of a reversal of over a decade of cuts and that culture is proven to be a priority when it comes to allocation of government funds. We have a chance next May to scrutinise manifestos and consider who will best deliver on prioritising culture.

Research recently commissioned by Arts Council of Wales points to the contribution of the creative industries to the economy. It’s an argument which has been made repeatedly in countless studies, but, if that is what’s required for politicians to justify an increase in funding, so be it. There’s also evidence that investment in arts and culture help drive regeneration, social cohesion and improve health. As important, although harder to measure, is the life enhancing and sometimes life changing impact that experiencing the arts can inspire in individuals. I have direct experience of this. But it’s vital that the creative sector is welcoming to all and there’s still a massive amount of work to do in diversifying cultural leadership positions. This can have impact in so many ways. Not only on the kinds of stories that are told, and who tells them, but also in attracting and retaining a more diverse workforce. If barely anyone in your world of work can relate to your cultural background, it’s hard to feel you belong.

The recent review of English language theatre discusses various initiatives that are enabling fundamental change within the sector, such as Craidd and Creative Steps. There are companies such as Hijinx, Taking Flight, Fio and Common/Wealth who have been paving the way in creating a sector that is more representative of wider society. I’d like to see resources directed at people who come from working class, underprivileged, low-income backgrounds to enable them to find a way into the arts and then afford to stay in the arts. Resources need to be made available to develop the next generation of artists and cultural leaders and address the lack of working-class people from low-income backgrounds in the sector. This would be beneficial to all.

Bridget Keehan is founder & Co Artistic Director of Papertrail, a theatre company which develops and stages unheard voices. Their most recent production A Visit, by Siân Owen, is currently touring Wales.

Bridie Doyle Roberts, Craidd, Agent for Change, multi-disciplinary Artist

Where do you feel your sector currently stands and how might these new Head of Artform roles support and develop them?

At the moment there appears to be momentum in developing disabled led work, diversity in theatre making and accessibility for audiences. There are some companies and individuals championing this, and there appears to be more awareness and interest in investing in this area in general. There is no further funding available for this, and people in receipt of ACW funding are expected to deliver accessible practice within their production budgets. There will need to be continued investment in this in order to affect meaningful change as it is still challenging for companies to deliver quality here and access is still seen as a add on, nice to have, but not integrated and essential. With more support on how to make integrated access work the theatre sector can make this the norm, not the exception. 

I feel that head of art form roles can support, by advocating for this practise and champion this within the sector, supporting the will and momentum of great work already being developed. 

 The roles in Drama, Dance and Music will be tasked with implementing the recommendations of the recent reviews in the relevant art forms what are your hopes for the outcomes of the review recommendations?

For me the hopes are that the value of arts and culture are recognised for the huge impact it has on people’s lives, improved wellbeing, sense of purpose, connection, empathy and understanding as well as value to the economy. I hope that access is addressed in terms of barriers to theatre, financial, physical and mental, and that accessible practice is mainstreamed and that theatre makers are supported to create new and exciting work that gets to fulfil it’s potential and doesn’t suffer from lack of investment in audience development and touring opportunities. 

What is the priority for the Arts in Wales over the next few years?

Continued investment in stories of people with variety of lived experience. 

Originally from Ceredigion, Bridie is a multi- disciplinary Artist based in Pontypridd, Wales. After training in Dance from Bath Spa University, she Co-Founded Citrus Arts, an outdoor artsand circus charity making work for and with theircommunity for the past 15 years.  

​In recent years she has been developing her individual arts practise with a focus on visual arts and bilingual poetry, often working with furniture as a canvas for visual storytelling.

Bridie is partially sighted and passionate about Creative access. She has a part-time position as Agent for Change on the Craidd project, based at Royal Welsh College of Music and Drama to advocate for a more inclusive and accessible theatre sector to Deaf, disabled and neurodivergent people. 

Billie Ingram-Sofokleous

I think the arts in Wales have so much potential, but we’ve been playing catch-up for a while. We’ve got incredible people, brilliant ideas, and vibrant communities — but too many barriers. If I could wave a magic wand, I’d start by funding more secondary MA’s so artists can actually afford to deepen their practice here rather than leave Wales. We need to grow our own talent, not lose it.
There is a world of change and hopefully this is the first step.

It is not just higher education — we’ve got to get more practical learning into schools. Kids should be doing storytelling, drama, movement, making soundscapes, creating sets, using and learning how technology can harness our learning, engaging with each other— not just reading about it. Sitting behind a desk, being told to sit still. It’s about more than skills. It’s about validating imagination, giving confidence, and saying to young people: your curiosity, your weirdness, your passion, your ideas — they all matter.

I think of that little girl who sat on a hard school hall floor and listened to storyteller spin tales about the Afanc, Selkies and Mermaids— that moment when her world cracked open and she realised stories could be bigger than books. That teacher who believed in her, and when she saw that little girl again as a grown-up, she said of course you’re being that person that I believed in. I think of the kid who believes in ghosts and wants to make theatre about it, the one who wants to build puppets or code, a soundscape using found wires and has created their own world or find the maths hidden inside music. The kid who LOVES football and created a rap in the middle of the playground listening to the birdsong and got a classroom of his peers to learn the chant in real time. Or the kid that makes an Optimus Prime suit, correctly and accurately from paper and tape, kids aren’t daydreamers — they’re future artists, engineers, problem-solvers. The arts should be a place where they see themselves reflected and where their curiosity is fuel, not a flaw.

For people who aren’t on the academic route, vocational courses and apprenticeships are essential. Pair that with creative mentoring — artists guiding artists, sharing skills and networks — and suddenly you’ve got a pipeline of talent that feels supported and excited, not isolated. You’ve got a Wales where a neurodivergent kid in a small town can find a mentor, learn the craft, and make work that changes the world.
Learning BSL is also essential and being able to understand why these changes are being made. They deserve a voice in the world they grow up in.

And of course, accessibility must be at the centre. My work as an audio describer has shown me how transformative it is when disabled and neurodivergent people can take part fully — on stage, behind the scenes, or in the audience. That shouldn’t be a bolt-on. Not one performance is relaxed, not just the lamp (new phrase I learnt from Terps), not just one with AD. It should be the heartbeat of how we work. We need to build spaces, training, and opportunities where disabled and neurodivergent artists aren’t just welcomed but celebrated as leaders, storytellers, and innovators.

For me, the future of the arts in Wales should feel bold, joyful, and a bit unruly — not a sterile box-ticking exercise. More play. More risk. More voices. More places for kids to dream and for adults to rediscover that sense of wonder. More doors open, No gatekeepers, more bridges built between maths and movement, folklore and coding, ghosts, the landscape, and science. A sector that looks like, sounds like, and moves like the communities it serves.

Because at the heart of it, the arts aren’t just about the buildings being renovated, shows, tickets, or galleries. They’re about people feeling seen. Being able to share their voice without feeling denigrated. They’re about a kid in a hall somewhere thinking, if she can do that, maybe I can too. Being amazed by an aerial dancer and wondering how they learnt that and being brave enough to ask that question. That’s the Wales, I want us to build together.

Billie Ingram-Sofokleous is an audio describer and story teller.

Danny Muir

Where do you feel your sector currently stands and how might these new Head of Art form roles support and develop them?

The inclusion of figureheads that are responsible for driving certain key priorities is a very welcome one for me, I had initial reservations around the roles being compulsorily bilingual, not in any way to diminish the importance of Welsh Language in the Welsh arts scene, I think the inclusion of that cannot be overstated – but I wondered if that requirement somewhat drained the pool of an already quite small offer of people with current on-the-ground experience – and whether the inclusion of having a fully bilingual management team was worth this trade off. This is by-the-by anyway, I fully appreciate that as a non-Welsh language speaker this might be a bit of a bad take. 

I don’t think I have a particularly nuanced take here – but it sure would be lovely to have a bit more money and see more grants to grassroots organisations being handed out, across all the sectors I work in. The running theme seems to be that the really interesting, experimental, and genuinely exciting work is not being prioritised, presumably due to the lack of funding available, twisting the commissioning bodies hands into more often than not funding safe work from companies and producers with a track record – stagnating an experimental and truly grassroots scene in Wales out of necessity. 

Having a trusted figurehead at the helm that really knows the minutiae of touring and small/mid scale theatre within Wales, could really do wonders and drive the actual change needed, having someone who does not have this experience might put us in even more of a puddle.

The roles in Drama, Dance and Music will be tasked with implementing the recommendations of the recent reviews in the relevant art forms. What are your hopes for the outcomes of the review recommendations?

The funds going into Wales’ Millennium Centre’s Digital / Immersive space is very exciting. I’d love to see creative technology being more widely adopted and funded, and exploring how that begins to influence the Welsh theatre landscape. It would be such a shame if we find ourselves in a situation in six years time where we have great cutting edge infrastructure in immersive technologies, and no one Wales based who is able to engage with it – I think the training and development in those fields, how to integrate it into the theatre landscape, identify what venues can receive what work, what audiences need, etc – I think this work needs to be happening right now to make sure we are ready to adopt it and run with it when it’s on our doorstep – and there needs to be more funding and pipelines for it readily available. 

What is the priority for the Arts in Wales over the next few years?

I think we need to start looking at how we prioritise paying for labour over being incredibly ambitious with the work we create. I have seen many times fantastically ambitious work created in Wales off of the back of often poorly paid and overworked artists and production team members due to a mindset that prioritises the creation of work that ‘steps up’ the arts culture in Wales, but it’s using the backs of the labour to stand on to do it. Don’t get me wrong, obviously we need to be ambitious, but taking a holistic look at the sector and seeing a crazy packed tech schedule purely to realise an ambitious design choice or having crazy tight touring schedules due to the touring scene being very hard to navigate so you’re taking what you can get, is chipping away at the wellbeing and general health of the theatre production sector. I think we need a priority focus on actually supporting production, supporting the stage managers, production managers, technicians, etc – and them really having a voice and a place within this reform. None of what happens in the arts can happen without a production department, I was a little surprised not to see that being figureheaded in the same manner as everything else.

Do any of them resonant with you and how might you hope to see them realised?

Any action that platforms the work we do in Wales and helps to get more people involved from a wellbeing perspective, creating jobs and enriching lives, is a really exciting and incredibly needed step in the right direction.

“Danny is a producer and creative technologist who has been working in Cardiff since 2016, he has worked with a number of prominent Cardiff theatre companies and establishments such as Sherman Theatre, Stammermouth, and Team Collective Cymru. Danny has a love for immersive and participatory theatre and how technology can be used to enhance worlds creatively and practically. Alongside this, Danny also works as a technical stage and production manager for shows in Cardiff and touring around Wales.”

Respondent requested to remain anonymous

Where do you feel your sector currently stands and how might these new Head of Artform roles support and develop them?

I do not think that my sector has greatly changed as a result of research-based intervention by Arts Council Wales. Following the growth of the Black Lives Matter movement in 2020, Arts Council Wales implemented an Agent for Change role. The Agent for Change role was about supporting ACW with how it engages with and develops opportunities for Black, Asian, and Minority Ethnic people, Deaf people, and disabled people to “enjoy, take part, and work in the arts”. The role is now defunct, and ACW did not re-advertise for this post. It isn’t clear how the Head of Engagement and Communities is different to the Agent for Change role, and this is emblematic of a lack of transparency by Arts Council Wales. It is disappointing that ACW has taken so long to implement these roles, despite their public sector equality duty.

While we welcome a Head of Performing Arts and Touring, this has come years too late for English language theatre in Wales. The theatre sector has already shrunk, and the good progress made on inclusion has been turned back owing to ACW’s lack of cohesive strategy. As a Welsh language speaking woman of colour, I’m receiving more opportunities from England than I am in Wales- and this includes literature and theatre.

I think ACW is scared. ACW is scared of the aggressive far-right campaigns run against its head and the ways in which artists and communities with protected characteristics have been repeatedly targeted. I believe if ACW had taken a better and more systemic view towards working with communities and different sectors, ACW would unlikely to be in the position of continually re-thinking its engagement and administration strategy. I don’t think ACW really knows what it’s doing, but it knows it needs to be holistic. I imagine the Head of Communities role, like the Agent for Change role, will change in a few years when ACW realises its engagement strategy- again- is not working. This has become a speaking point amongst minority ethnic practitioners, much in the same way the Agent for Change role was widely discussed- and perceived to, long term, be unlikely to succeed.

The roles in Drama, Dance and Music will be tasked with implementing the recommendations of the recent reviews in the relevant art forms what are your hopes for the outcomes of the review recommendations?

I do not have any hopes for the outcomes of the review recommendations. Traditionally, as we have seen with different organisations, ACW commissions reviews, and it’s unclear what % of any review recommendations are implemented by ACW.

Nonetheless, it becomes a way in which the institution can demonstrate public-facing engagement. I don’t work in music or dance, but I have worked in theatre in community engagement, and I have also worked in theatre as a writer. It is phenomenal that ACW thinks the implementation of any recommendations and the recruitment of a Head of Performance can turn back over a decade of sector issues, a lack of funding, and repeated racism scandals. For example, Jon Gower’s report did not properly take into account race and ethnicity- and this is emblematic of how 2020’s focus on racial equality is not being borne out within creative strategies. It doesn’t even mention the Anti Racism, Wales Action Plan.

Out of nearly 60 pages, there’s less than 1 page on “diversity and inclusion” when the Black, Asian, and Minority Ethnic population has grown 50% from 2011-2021. Most of that page is about Azuka Okafor’s “Women of Llanrumney” . Jon Gower dedicated exactly two paragraphs to this topic. There are no recommendations about equality and diversity- yet this is something we in the sector are meant to champion despite erasing our communities.

What is the priority for the Arts in Wales over the next few years?

The priority for the Arts over the next few years is for the leadership of the arts sector to represent the workforce, and ACW’s failure on theatre and community engagement will continually post road-blocks. Another priority is to ensure that it is not subject to any more funding cuts. It is astounding ACW is trying to champion community engagement with a markedly smaller budget than 2010- and this has created a tense situation within the sector.

Do any of the areas in the Wales arts and Health Manifesto resonate with you and how might you hope to see them realised?

None of these resonate with me. I feel like there’s a strand of neoliberal discourse within the Welsh Arts that’s characterised by continually linking the arts and creativity to its benefit within society- but we know they’re useful. I don’t know what use another Senedd member will be around the arts and creativity.

Angela Rogers, Executive Director, WAWHWN (Wales Arts Health & Wellbeing Network

Where do you feel your sector currently stands and how might these new Head of Artform roles support and develop them?

WAHWN was encouraged to welcome the entire Arts and Health team to our recent national conference ‘Weave’ and hear a passionate keynote address from Dafydd Rhys on ACW’s commitment to our sector.  The appointment of Head of Programme for Arts Health & Wellbeing signifies a significant commitment and offers a tangible opportunity to build on and strategically grow our sector’s work in Wales alongside key partners and stakeholders.   

Wales is leading the way in integrating arts into healthcare, with its strategic partnership between the Arts Council of Wales and the Welsh NHS Confederation being recognised by The Lancet as one of the most concrete commitments globally to intersectoral collaboration and investment in creative health.   It’s important we ensure this strategic and cross cutting work continues and WAHWN is confident that a Head of Programme for Arts Health & Wellbeing will be a key driver in Wales. 

What is the priority for the Arts in Wales over the next few years?

Drama, dance and music all have significant roles to play in cross cutting themes across all areas of policy.   A growing number of interventions including Dance to Health have shown their potential in cost savings for the NHS and Social Care through their evidence-led, pioneering falls prevention dance programme for older people nationwide.  

Singing Walks – a partnership between Oasis One World Choir, Cardiff & Vale Mental Health and the Ramblers Association are supporting the physical health, mental wellbeing and social connection of people seeking sanctuary; ‘Ar y Dibyn’ developed by Theatr Cymru continues to grow in scale, supporting adults living with substance mis-use and addiction through Welsh language creative interventions. 

 Organisations such as The Wales Arts and Health Network have recently published an Arts, Health, and Wellbeing Manifesto

News | Wales Arts Health & Well-being Network

The Document states

“The arts are a powerful force for individual and social wellbeing, fostering resilience, social connection, and improved mental and physical health and wellbeing. A significant and growing body of evidence highlights the economic and social value of long-term investment in the arts to support mental and physical health. Additionally, evidence shows increasing engagement with the arts can help to mitigate against negative impacts of living in less affluent areas. “

 The manifesto calls for the following five key commitments to ensure that arts and culture play a central role in shaping a healthier, more vibrant Wales

Do any of them resonant with you and how might you hope to see them realised?

Our WAHWN Manifesto was developed in collaboration with our 1000+ network of members, partners and key stakeholders ahead of the Senedd elections.  We are calling on Welsh government to implement all five of our calls to action, all of which have been endorsed by Heledd Fychan, MS, Chair of the Cross Party Group on Arts and Health. 

We are in a rare and key moment in the political cycle right now as hundreds of candidates gear up to launch their campaigns for the 2026 Senedd elections.  This offers a rare opportunity to offer big issues they can campaign on. 

At our Weave conference breakout on arts and health policy, Rosie Dow, Chair of the session, focused on what we, as a sector, can do to influence policy. 

“.. we reflected on this, by considering three BIG questions: What do we want politicians to know? What do we want them to do? And why should they care about arts, health and wellbeing work?”

Rosie reminded us that “the strong links between arts engagement and better health are now irrefutable: the evidence base is significant, robust and growing all the time.  Not only does our work improve people’s lives it also helps us meet some of our biggest challenges as a nation around poor mental and physical health and health inequalities. It makes a major contribution to any government’s top priorities around health, wellbeing and economy. The question now is not whether to invest in this work, but how? “

What we need now is proper long term investment,  not just through Arts Council of Wales but also through local authority, health and education budgets. Arts and culture also need a seat at the table in forums where health is being discussed and strategies developed. All public bodies should be mandated to support creativity and cultural engagement in our population.

In the short term WAHWN will ensure its members have their voices heard in the development of the  Wellbeing of Future Generations Culture Bill Green Paper, connecting with Well-being Assessments, advice for public bodies on implementing their Culture and Welsh language goals.  

Angela is Executive Director, WAWHWN (Wales Arts Health & Wellbeing Network) whose 40-year career in the arts spans community arts development and engagement through roles at Engage Cymru, Centre for Visual Arts, St Donats Arts Centre and Chapter Arts Centre.  She is passionate about bringing people together to build cross sector partnerships and improve health and wellbeing through creativity. 

She set up WAHWN in 2013 as a network of 6 people sitting around a kitchen table in Swansea which has now evolved into the national sector support body for arts, health and wellbeing in Wales with a membership of 1000+ arts, health, social care, academic and third sector members.   WAHWN’s mission is to champion the role of the arts to improve the health and wellbeing of the people of Wales.  We do this through advocacy, regular networking events, contributing to research and flagship programmes such as ‘Stepping In | Wales Arts Health & Well-being Network- a creative workforce training and mentoring programme and ‘How Ya Doing? | Wales Arts Health & Well-being Network Artist wellbeing programme.

Opera & classical

Review, Steven Osborne, Beethoven’s 33 Variations in C on a waltz by Diabelli, Wigmore Hall by James Ellis

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Photo credit: Benjamin Ealovega

out of 5 stars (4 / 5)

In an all piano concert at Wigmore, Scottish pianist Steven Osborne gave an evening of two half in tone, theme and depth. A first part fired up with Schumann’s Papillons. Breezy and clever in nature, they have a lot going for them from the tortured composer. A slight change in mood With thanks Satie’s Gymnopédie No. 3. Whilst not as iconic as the first, this is almost as evocative, the graceful cloud-like pacing and effortless melody charms. This was followed straight on with Lili Boulanger’s D’un jardiniere Clair from 3 Moreaux. Another sensual offering, this from the tragically short life of a female composer who had innovation to spare. The utter charms of Musical Snuffbox from Anatoly Lyadov are in keeping with Satie’s love of novelty, whilst still being delightful and kitsch (the good kind at least).

Fritz Kreisler’s Liebesleid in the arrangement by Rachmaninov, might have been the most forgettable item of the evening, yet its romantic allure shined, if only briefly. Ravel’s Vales nobles et sentimentales might have not really made the mark in this varied first half. It’s hallmark sound for the composer was there, Osborne played with an openness and exuberant quality Ravel demands from players. Fairly loud and impassioned moments seem shocking from the French composer, I have to remind myself he did push the boundaries somewhat.

A second part would be entirely made up of Beethoven’s 33 Variations in C on a waltz by Diabelli. I didn’t know this piece, the source material comes from Austrian composer Anton Diabelli. For me, this was the stand out of the night and a fantastic discovery. There are so many frantic, clomping moments for Osborne, it was pretty shocking. The unravelling sense of motion, driven by a dramatic flair caught me off guard. Why this is not better known Beethoven?. Granted, an apparent codas seemed murky and some quieter passages didn’t quite live up to the outburst surrounding them. Still, with Osborne’s intense and mastered playing, this was quite the feat. An extremely impressed audience gave much him love, though an encore appeared to far this time.

Theatre

Review The Woman on the Hill, Mercury Theatre Wales, Porter’s by Bethan England

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out of 5 stars (4 / 5)

Mercury Theatre Wales’ latest offering couldn’t come at a more apt time. As 2025 sees rising sea levels and temperatures increasing to make this summer one of the warmest on record, The Woman on the Hill blends the urgency of the message with humour and toe tapping tunes to make this piece really memorable.

Written by Bethan Morgan, who also stars as Gwennan, and with direction from Lyn Hunter, the piece manages to deliver the important key points, whilst not becoming preachy and even including moments of humour and poignancy. The script is well crafted with plenty of space for a believable love story between Carys and Owen, whilst offering the audience a look at what could potentially become our reality in the next 25 years. The mirroring of the story of Cantre’r Gwaelod is particularly clever, interweaving the Welsh legend with a tale very much of today. Although this play’s message is relevant throughout the world, I really enjoyed the inherent Welshness of it all.

The Woman on the Hill is the professional debut of Mabil Morgan-Powell who plays Carys, the titular woman. I found Carys’ performance to be completely believable and captivating. Her relationship with Michael Lindoewood’s Owen was beautifully executed and I really felt her pang of grief when she lost him to the sea. Her singing voice is lovely too; the songs of the piece really soar with her vocals behind them. Michael Lindoewood is eager and endearing as Michael. His dialogue contained a lot of what could be considered the ‘preachiness’ of climate change, but he delivered with a naturalism that never came across as the piece giving us the facts and figures.

As well as penning the piece, Bethan Morgan delivers a humorous yet heartfelt performance of Auntie Gwennan. Her comic timing was excellent and the relationship between aunt and niece was touchingly presented. I was also incredibly impressed by the sheer amount of instruments she could play! Dick Bradnum was the jet-skiing villain of the piece, touting tourism and water sports to the sleepy Welsh village. This was a well balanced performance, working well alongside Auntie Gwennan. Though his character had ill intentions for the village, Dick managed to endear himself to the audience still, showing the complicated nature of the beast that is climate change.

The songs, created by Dan Lawrence, alongside Bethan Morgan, are memorable and catchy and pull the action along at a great pace. I really enjoyed the mixing of languages to really emphasise that nod to Welsh legends and folklore. This paired with great choreography from Sarah Rogers, made the songs soar. Played live on stage by the performers, they are a great mix of lilting melodies and toe tapping, comedic lyrics.

Striking that delicate balance of delivering an important message without ever becoming preachy, The Woman on the Hill was a really enjoyable evening while also clearly leaving the sold-out audience with something to think and talk about as they left the performance space. Mercury Theatre Wales are well known for their timely and important messages and The Woman joins that plethora of productions. All in all, a smart, interesting piece which I really hope as many people as possible get to enjoy.

You can find out more about the production and book tickets for the tour here