The summer of 2023 in cinema circles will be best remembered for the bizarre joining of the forces of Christopher Nolan’s Oppenheimer and Greta Gerwig’s take on Barbie. Both released on the same day, “Barbenheimer”, as it’s been dubbed might just save the cinema after all, this double feature proudly making millions and creating debates on both films themes.
Unsurprisingly, Barbie the film has rilled up all the wrong people and we are here for it. Some declaring it woke, anti-men, sexist, alt-right and everything in between. With some sprawling marketing, the film has cleverly trudged through the premise of making an actual Barbie film, made by the its creators Mattel. We didn’t need this back in 1990’s, The Simpsons episode ‘Lisa vs. Malibu Stacey’ perfectly captured the thoughts of many. Todd Haynes infamous Karen Carpenter film will never be released due to the use of her unlicensed music, brilliantly uses Barbie dolls to tackle the eating disorders of its leading lady. We’ve had Babrie be used and discussed as above, yet this is her first official feature. Does it work?
Greta Gerwig has made the right Barbie film for our current climate. Unafraid to poke fun at men, Mattel, misogyny and more. Her and Noah Baumbach have written a strange and genuinely funny script which at times pops as much as the tower of pink we as an audience cannot escape. The sets and costumes here are as hyper and over the top as you’d expect. Margot Robbie could only ever be perfect as this Barbie, what might be her most delightful role for some time. She is baffled as to why she after living her perfect life, is now feeling depressed and getting cellulite. Sent to the quirky Kate McKinnon as Oracle like Weird Barbie (a nod to the children who played too rough with their dolls). She tells Barbie to go out into the real world and find the child who is actually playing with her.
What follows is often sharp and so anti-men, I went along with it knowing it was in good humour. Stealing the show is Ryan Gosling as Ken, who is bound to win awards for his take on the role. The lavish musical number “I’m just Ken” is destined for an Oscar nom as well. Ryan embraces everything wrong with toxic men, feeling useless in Barbieland and then empowered by the patriarchy in our own world. It’s outrageous just how much Barbie is harrassed the moment she arrives in our realm, a groper she hits, instantly lines her up for a mugshot, with a joyous Ken.
I had a thought that a plot twist boy would be playing with this Barbie, but it turns out it’s the mother Gloria, who has started to play with Sasha, her daughter’s dolls. Some sweet and apt moments occur between Anerica Ferrera and Ariana Greenblatt, yet it’s not why we are here. The lack of conflict and a villain slows down the dynamics of the film too. It could have shaved off some ten minutes aside. Will Ferrell as the Mattel CEO, is his typical, giddy self, though him fainting on the corporate board table might just be his funniest moment in the film. An ensemble of other Barbies, Kens and other odd casting choices adds style, dirty jokes and a well needed diversity to proceedings. Michael Cera playing as Alan, Ken’s friend who had a limited release as a doll, is clever casting as he defines the nervous, other guy at the party that is Barbieland. Helen Mirren is underplayed as a matter of fact, yet catty narrator, first heard in the opening Space Odyssey parody.
The film is rife with Barbie lore, spanning decades: the dolls they would rather forget and the cult ones they are happy to wink at. Many an Easter egg is to be found here and there are some sweet scenes concering Barbie’s creator that I won’t spoil. Even if some of her rhetoric is out dated and questionable.
Also, it has to be said that this is isn’t really a children’s film (it’s a 12a), unless parents are willing to answer some big questions they might be faced with during and after a screening. The last line of the film caught me right off guard.
When I think of Shakespeare, the words that spring to mind are ‘funny, ‘witty’, ‘sharp dialogue’, ‘a roller-coaster journey’ and 440 Theatre certainly deliver on all of those and add a sprinkle of magic in their own unique and charismatic way.
Shakespeare is wonderful, but sometimes it can drag out a tad, with plays commonly being three hours or so. No so with 440 Theatre! They have taken something brilliant and offer the audience the highlights, with each play being just 40 (ish) minutes. Two Shakespeare plays and an interval for your ice cream in under two hours? Done and dusted!
A simple set, costumes and small cast of just four actors (Luke Thornton, Amy Roberts, Lizzie Robin and marvellously acted and directed by Dom Gee-Burch) brought us this, quite frankly, unique but highly effective take on the two well known plays. There was singing and guitar playing (a special mention to Roberts for her incredible voice and Thornton for bringing comedy gold to the songs), an abundance of wigs, a very clever use of umbrellas and gags-a-plenty, to make sure that the laughter didn’t stop. Gee-Burch was stand out in his various roles, never failing to be deliver hilarity, whether playing the friar, nurse or any one of the three weird sisters. His presence lit up the stage and he truly stole the show. His comedic genius shone through, and his timing was impeccable. Every single one of the actors gave their all and must have been exhausted by the end after maintaining such high energy and not faltering throughout.
First up, the tale of two star-crossed lovers, Romeo and Juliet; never was a story of more woe (and hilarity, true farce and an interesting case of rigor mortis!) and who knew it was all Pat’s fault? Pat, the character Shakespeare forgot to mention (you’ll need to go along and watch 440 Theatre to see how that story unfolds).
Swiftly followed by Macbeth – very obviously the Scottish play thanks to the tartan sashes, wigs and a hint of Taggart (‘there’s been a murrrrder!’). Brilliantly acted, traitorous goings on, dancing ghosts and full of farce. I particularly enjoyed the nod to the Tesco clubcard savings. Again, Gee-Burch shone in his many parts, particularly as the three weird sisters. Thornton’s reactions to them certainly demonstrated how the natural talent of Gee-Burch continually surprises and delights, even to his fellow actors along with the audience.
This is a surprising re-telling of Shakespeare that I recommend you experience for yourself. It is full of surprising comedy moments to catch you off guard and while that was mostly really good fun, it could be a little jarring if slapstick humour is not your particular cup of poison. Watch out for each death scene being milked to the absolute, well, death!
This is an exceptionally special, hilarious, speedy tour of two of Shakespeare’s arguably greatest plays. High energy and thoroughly good fun, a must see if you love the Bard (and especially if you yearn for slightly shorter renditions of the world’s greatest literary works).
Running time: Approximately 2 hours (including 15-20 minute interval).
(Please note this review features an overview of the productions plot)
Choo Choo is a play that is said to give ‘an entertaining exploration’ about Obsessive Compulsive Disorder, intrusive thoughts and ableism. It is a collaboration between Nye Russell- Thompson (writer and performer), Nerida Bradley (writer and director), and is co-written by Duncan Hallis (also performer) and Tafsila Khan (also assistant director).
Before the play, you could hear owls hooting and snoring, you could see a character seemingly sleeping stage right (Laura Goulden, one of the BSL interpreters, I found out later), a yellow chair and a red chair on either side of a small table in the middle, a small radio on top, and some cubed lights in the background- the amount of lights not evenly shown so perhaps this could give us a sense of uncomfortability from the start.
The start of the play saw two characters (Nye and Duncan, one dressed in a yellow top and red dungarees and the other dressed in a blue top and yellow dungarees) come on, yawn, and start their wake-up song. There was a lot of comedy in this play, even from the start, and the characters seemed a bit childlike, although they lived together and they discussed darker themes of intrusive thoughts, being that the basis of the play was Nye’s character was getting thoughts about killing his best friend. There was repetition in their daily routines and rhyme in the song, and they played games with each other all day, from the radio. On the other hand, there was also a lot of darker, adult themes with pregnancy, dying, violence, game/ talk shows (that included audience participation!) and more. The story saw them going through the day, playing games, Nye getting intrusive thoughts, singing the same song the following day but Nye doesn’t feel as happy as normal because of the intrusive thoughts he had last night. Then playing a game as a talk show getting requests from listeners/ audience members, and Nye gave a request to Duncan disguised as an audience member, to explain his intrusive thoughts and what should he do about it. With Duncan then replying saying he was a bad person and he should feel guilty etc, which made Nye feel even worse.
There is radio static at home before they go to bed, of Nye hearing a train get louder and the lights getting brighter, before the new day, which is the day that they are supposed to go on holiday together. Nye doesn’t want to come (he has been trying to isolate himself because he doesn’t want to do anything to hurt Duncan) and so Duncan goes to the train station (for the holiday) by himself, and the train is delayed. The Transport for Wales announcement tells him about intrusive thoughts and OCD, and how his friend is feeling, and then Nye appears at the station. Nye and Duncan hold onto each other over the platform edge, as Duncan is reassuring him that Nye won’t hurt him. They end the show by demonstrating how intrusive thoughts are okay to have, and you shouldn’t be scared of them making you be a bad person, because they are just thoughts, and we are not our thoughts. This is shown through them saying an intrusive thought, like putting the iron over your hand, pushing someone over the edge of the train platform, and the audience would clap if they had ever had that thought.
I enjoyed that there was a lot of comedy in the show and it was light-hearted when Nye wasn’t worrying about hurting his friend, but I didn’t see how it was about ableism and linking to OCD. He was starting to isolate himself, not leave the house, and I can see how intrusive thoughts link to OCD, about how people with OCD can think that they have to do certain things otherwise bad things will happen to people they love, but I don’t see where that fits in, in the show. It had promising writing, but the themes weren’t hard hitting in my opinion, as compared to the other shows I have seen and reviewed were I felt affected and emotional coming out of it.
As the 150th birthday of Charles Ives looms next year, now is the time to get to know this most American of Mavericks. Well known for his involvement in a extremely lucrative insurance firm, Ives composed on weekends. What was conjured from his hand remains an outburst of outrageous and outstanding pieces, way ahead of it’s time.
Orchestra New England have delighted in these devilish sets some of which are premiere recordings. Granted, most of these pieces are recycled from his ludicrous and sensational songs (of which he wrote many). Its curious to see his original version of The Unanswered Question, essentially the same work if rushed, even if it maintains its sharpness in concept. Conductor James Sinclair brings these oddities wonderfully together, without a drop of novelty. I did recognise some of the songs: the brief, yet angular The Cage, an enthralling cowboy ballad Charlie Rutledge, the queasy bout of Like A Sick Eagle and more. All delivered with a fiery acknowledgement of irony and some tender moments which border on the touching.
Perhaps those keen to take the plunge with Ives might fare well with this fairly accessible recording before venturing into the more out there stuff. It’s the way he did things that’s so fascinating, concepts and discoveries that predate movements decades later. These sets define a sort of Americanism, something hard to pin down at times. Pick any of the sets at random and you’d be surprised. You can pick out old hymns, spirituals, vaudeville, marching bands, jamerbies and other noise which caught Ives’ ear.
The Barbican is ablaze with a new musical offering. A Strange Loop remains an unforgettable encounter, leaving many fine images and tunes in the brain. The songs by Michael R. Jackson are packed into this show, no interval and no prisoners here. Our leading man Usher, is his namesake at the theatre putting on The Lion King. As a young, black, gay, overweight male, he tries to find his way through and writing musicals is his escape, his passion. Yet, can Usher make it as a musical master?
There is a lot going on in this show, many themes tackled and many relatable moments for a lot of different people. Usher is very sweet as a character, down trodden by his fellow gays, snobs, family and more. A wonderful ensemble of singers dubbed his ‘Thoughts’ loiter around the stage and fill him with insecurities. Said ensemble are just one of the many highlights of the show, I’m thinking back to the outrageous musical number where black figures from history come to haunt Usher: Maya Angelo, Harriet Tubman, James Baldwin, aside an embodiment of 12 Years A Slave, clutching an Oscar. The show does have many shocking moments, never shying away from sexual, racist and homophobic bursts that left us all upset.
Director Stephen Brackett has made a wonderful production, fabulous use of the stage. I’ve yet to recover from the head turning finale scenes featuring gospel, a 80s style sitcom and even a funeral. Amazing how honest we hear truths about the parental figures in this story, the lack of support for Usher as an artist and as a gay man. Some of these songs are so catchy that I cannot even sing them now due to the context within.
The show very much belongs to our Usher: Kyle Ramar Freeman. Hardy ever off stage and with great comic timing, I was taken so much with how endearing the role is. You need a great voice and even bigger theatrical presence, Kyle does all this and more with aplomb. His brings these truths out to the role, the exhausted, bottled up emotions exploding at the end were majestic. His turn as the gospel preacher was another sensation.
This was a surreal, outrageous thrill that needs to seen at once.
A Strange Loop continues at The Barbican till 9 Sept 2023.
Lyndsey Turner’s version of Arthur Miller’s masterpiece of 20th century theatre will not be underestimated. There is a striking use of lighting thanks to the talents of Tim Lutkin, who wants to expose these characters at every angle. The stage is often alight, a large screen above the stage mimics a Rothko abstract. Perhaps the most showy thrill of this hot shot show is the water feature. Rain treacles down the front of the stage, no doubt the first few rows were in the splash zone. Its gimmicky and it’s real meaning may be contested, but I have much praise for this production.
The soft ambient drones thanks to the work of Tintying Dong and Christopher Shutt are the ever present vain throughout. The girls of the village offer further effective vocalising passages to add to the exquisite broth, another acoustic thrill. The atmosphere is heightened thanks to this and the music of Caroline Shaw also adds to this remarkable story. The actors at the start remind us of the context of the play’s creation: Miller mirroring the Salem Witch Trials with the ongoing attack from Andrew McCarthy in the ever increasing anxiety about communism in American life. Miller weaves a fine tale, facts mingle with dynamite theatre, there is never any disrespect here. The show is therefore set in the time it was written to hammer this truth home.
The Crucible remains a fine example of how not to be in a community. Its is the indulging of gossip, conjecture and hatred for the fellow man that sees these events play out. Faith and delusion intermingle and the threat of the devil and his effect upon people. Yet who has seen what? Are they really servicing the devil himself? The play skillfully used old timey English language without being too archaic, we hear and understand these characters clearly.
A remarkable cast, stun in a list of names as long as the village. Too many to say, but Nick Fletcher does well as the annoying Reverend Samuel Parris who potter’s about lost in his own pomposity. Milly Alcock is a resounding Abigail, one of the girls accused of dancing naked in the woods. Many Irish and English accent float around though Milly’s give wonderful across the pond pipes and her convulsions were immeasurably disturbing. Brian Gleeson has a lap of honour as John Proctor. This saintly figure, who fights for his wife Elizabeth aside his problematic role with Abigial.
Elizabeth is Caitlin FitzGerald, the tall, blonde presence who was hardly involved in any of the witch implied antics. I love her resilience in the face of terror. Giles Corey was a grand Karl Johnson, who get good laughs and offers great insight. Reverend John Hale is Fisayo Akinade, the serious and effective role who on the quest for truth, finds horror instead, as many girls and women are tried for witchcraft with the sentence being hanging. My favourite role was Matthew Marsh as Deputy Governor Danforth. I was awash with goose bumps for the tense trial scene and Marsh is a jammy voiced, highly intimidating figure and simply gloria in the role. Also how the quest for truth, though still extremely biased. I’ll say sorry now for not going into all the great acting in this show.
Just go and see it.
The Crucible is at the Gielgud Theatre till 2 Sept 2023.
Based on the book by Thomas Meehan Music: Charles Strouse Lyrics: Martin Charnin Director: Nikolai Foster Choreographer: Nick Winston. Set and Costume Designer: Colin Richmond Reviewer: Barbara Michaels
Back on stage again, and touring after a highly successful London run, ‘Annie’ the musical, based on the book by Thomas Meehan and the popular comic strip Little Orphan Annie, the original Broadway production of Annie the musical, back in the Seventies, was an outstanding success, running for six years. Not surprising, really – the rags to riches story of eleven-year-old orphan Annie couldn’t fail to grab at the heart strings. The same is true now in this latest production, directed by Nikolai Foster. A musical with the heart-warming theme of a young girl living in an orphanage from which she is determined to escape and find her parents, never fails to be popular with audiences around the UK.
This time around, the darker side is given more prominence. Set in New York, in the Thirties, the time of the Great Depression when President Roosevelt and his cabinet were struggling to find a way through, set designer Colin Richmond uses random jigsaw pieces to emphasize the disjointed existence led by many – not least the orphans, of whom eleven-year-old Annie is the ringleader, under the tyrannical rule of the scary Miss Hannigan.
While the problems of the situation then can be seen to have relevance to our lives in the UK today, with the aftermath of the Pandemic, the lengthy prequel in the form of radio bulletins coming over speakers is overlong, given that the action speaks for itself. Nevertheless, this rejigged version scores, albeit much of it being carried on the shoulders of the highly watchable Craig Revel Horwood, segueing in high heels onto the stage of the Donald Gordon theatre for the second time – the last time was 2019 – in the role that he has made his own.
As the scheming harridan intent on looking after number one, Revel Horwood takes command of the stage, giving it welly with gusto in Easy Street in Act I, and proving yet again – as if we needed reminding -that judging Strictly is not by any means his only talent. Revel Horwood acts and dances with expertise; his timing is spot on. A true pro – although given n that this is the fifth production in which he has played the role, it is hardly surprising.
On opening night in Cardiff, the leading role of Annie was played by Zoe Akinyosade. A challenging role for any young aspiring actress, this young actress and singer ‘gets’ Annie, although there are times when she needs to guard against her voice becoming over shrill, this being exampled in her solo Tomorrow in Act II. There was a tendency for this to be the case with several of the young performers, compensated for by the verve with which they performed the energetic moves required by Nick Winston’s clever and innovative choreography.
The popular Alex Bourne, who played the role in the West End production, is a lovable Daddy Warbucks –the business tycoon who becomes an avuncular figure as he faces the challenges involved in becoming Annie’s adoptive Dad. The wistful Something Was Missing, sung by Warbucks and Annie in Act I and later reprised in Act II, scored Brownie points with this reviewer, while Paul French’s Rooster cuts the mustard on all fronts. Full marks to all the young performers for some superb dance moves.
As if performing with a posse of young actors wasn’t enough in itself, to challenge the adult performers, there is also a cuddly dog who trots back and forth obediently across the stage discreetly rewarded by the necessary treats.
Runs until Saturday July 8th at Wales Millennium Stadium
Back in 2018, four prime ministers ago, a new musical based on the music of Take That was born. It was called “The Band” and the BBC did the show “Let it Shine” to discover the next big boy band for it. They were called Five to Five.
Fast forward to 2023, Take That celebrate the 30th anniversary of their first number one Pray, and “The Band” becomes Greatest Days – The Official Take That Musical!
There has been another musical based on Take That – Never Forget – which by the way, premiered at Wales Millennium Centre in 2007!
So, to Greatest Days.
It’s Manchester 1992 and its based around five 16-year-old girls for who ‘the band’ is everything. They then reunite 25 years later, and you see how life has taken each girl down a different road.
Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, its story is nostalgic and funny. The strength of a “Jukebox Musical” can sometimes be measured in how well it would stand without the music – Greatest Days does this so well. The nostalgia you feel could easily equate to how your own life has panned out in the last thirty-one years. There’s a warmth to each character, and something familiar that feels real.
Production wise it’s brilliant.
The “band” – well put together, but as I’ve previously said, their performances don’t drive the story forward. They provide the backing track, but the main story is carried by the performances of the main ensemble – the young and current versions of each. Going back to what I said about the warmth in each character, each performance was flawless. Sometimes with touring musicals, it’s about the one person being in it, granted Kym Marsh’s Rachel is fab, but each person took you on their own journey of nostalgia. There wasn’t one stand out moment – the story and performers are the stand outs of Greatest Days.
Back in 2018 when I reviewed “The Band” I did something a little bit cheesy and included some Take That song titles in recommending this musical.
But you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.
In what might be the most interesting venue in which to attend a concert in 2023, Bristol Opera had a big old bash for their 100th birthday. They couldn’t believe their luck, a century of activity establishing themselves as the go to opera makers in the city. They haven’t shyed away from working with big composer, nor large scale pieces either. I’m ashamed to say this is my first venture with them. I can feel the passion, the good vibes and of course the love of all the music they embrace.
Curiously, we got to mingle around the Concorde Museum in Filton, seeing inside the inconic plane and bits and pieces behind glass. With the smell of the diesel still in the air, Bristol Opera showed of their best. It was a tour of the past hundred years, looking back at past productions, starting with their first: The Snow Maiden by Rimsky-Korsakov. In the marvellous Prologue we got a glimmer of the Russian master’s cleverness. Clare Daly as the Wood Sprite gave a brief solo, showing promise.
There was a lot of expected things: Carmen, Aida, Lakme and more. The fact they took on Verdi’s Don Carlos is impressive. The chorus clearly practice feverishly and produce a sweet sound of note, getting many numbers for them to sing here. The orchestra also have many great moments, the venue helping the sound along. Sophie Kirk-Harris faired well with her O mio babbino caro from Gianni Schicci. Ever the touching aria, Sophie found a good fitting in it. The Flower Duet from Ethel-Jane Cormack and Heather Holmes added a perfumed aura to the night, a very popular work that is never easy to do. Louise Geller as Olympia for her Doll’s Song from Offenbach’s Tales of Hoffman. Her voice was subtle in the French, she had fun and seemed to know it well.
For the celebration, a new opera was created. Fish by Joel M. Baldwin tells the story of Anne Harriet Fish, a Bristol born artist who’s art got into the crème of top fashion papers. Very much saturated in 1920s flapper culture, her elongated figures brim with whimsy. The opera sees her dream of characters she has created and historical figures who’s writing she could utilize for new art. In a second more sombre scene, the mood is a bathroom where Anne recounts her salad days, years after the first scene is haunted by ghosts of the past in a steamed up mirror. She falls and hits the taps in her tub and is no more.
This curious piece had a lot of potential and worked well. Its eccentric nature matched that of Anne’s own quirkyness. A fine quartet of singers brought out great things. Rebecca Chellappah as Anne was a great success, these new, bold piece she seems to take on with gusto. Fine singing as ever, previous reviews have said the same as well. Andrew Shore, an opera legend and past performer for Bristol Opera played Anne’s husband Walter and also Persian polymath Omar Khayyám. Shore has still got it, his baritone remains a real feast, his Wagner and Rossini also noteworthy.
Sophie Kirk-Harris was back and played both Eve and Lady Carstairs, characters rom Anne’s art who delight and haunt her in equal measure. Sharp voice and good presence showed Sophie as another talent. Guy Withers is a familiar face playing Edward Fitzgerald, translator of Omar’s classics. A jolly tenor, who I found endearing, Edward finished the cast of singers with aplomb.
Conductors Arne Kovac and William Stevens kept face for the classics and this premiere, easily accustomed to conducting duties with flair. Other highlights were Shore doing Doctor Bartello’s manic breakfast aria from Barber of Seville and the surreal turn in the finale: The Toreador Song from Carmen. Rebecca gave us Mon Coeue from Samson and Delia. I couldn’t have asked for anything more.
I’ll have to come and see future work now.
Bristol Opera perform in Feb 2024 with The Merry Wives of Windsor by Otto Nicolai.
Very much well done to the music students at the Guildhall for a curious double bill evening at the opera. Holst’s Sāvitri is taken from the Indian epic the Mahābhārata and looks at love beating death, a theme seen in opera for zonks. It’s a very English affair, Holst has little time for any commitment to traditional Indian music, unlike later English ones like Sir John Tavener.
There is Wagner and Richard Strauss to be heard, but it is the tea and cricket heritage that rings out. Lorna McLea is a resounding Sāvitri, Steven van Derek Linden her partner Satyavān also strong with death just in his door step, vocals which proves promise. As baddie, Death is played by Jacob Harrison, intimidating in delivery and statue, though his kryptonite being love over death foils his plans over our super woman. The real nice touch is a vocalising ladies chorus which suggested an exotic nature, a fad heard in other Indian inspired music of the era.
A much stranger second work by Judith Weir followed. We just heard her new work at the Coronation and I had the pleasure of meeting her last year, her friendly and passion for music making never wains. In Blond Eckbert based on the story but Ludwig Tieck, we get an absorbing and nasty piece. Dubbec a “pocket version” of the opera, the whole endeavour was weird and wonderful. The story became more of an oddity, the woods and fate being major themes and visuals. The Bird is Louisa Stirland, a narrator who tells the tale she has been enamoured in for years, high, vocals and irregular movement. Feeling like quite a demanding role, she makes it look easy.
Eckbert is Emyr Lloyd Jones a role filled with regrets and anxiety. Well placed here, he maintains the tension needed and has power to it all. Berthe, his wife is Rachel Roper who might be the most fascinating character, the plot vastly surrounding her circumstance. Her recounting of her abusive youth and espace was well poised. Jonah Halton as Walther holds a lot of the story in his hands, there are spoilers here for those curious. With his slight build and thick moustache, all is not what it seems and his tone is terrific. The reveal concerning his characters is quite shocking also disturbing. The score as well has loads of suspense and quirky, flavourful orchestral writing.
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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(3.5 / 5)
