It’s been on the bucket list for a while to see the emerging superstar pianist Khatia Buniatishvili. With her season at the Barbican, she is playing in an array of varied repertoire. This is all very exciting and the time to see her live was upon me. Before this, Academy of St Martin in the Fields set of with Mozart’s Don Giovanni Overture. Director Benjamin Marquise Gilmore lead as first violin, taking over conducting duties without ever needing to conduct. The energy between him and the players is magnetic, Mozart’s spiralling themes and punches hit the audience as they have done for centuries.
Khatia had planned to rather ambitiously perform the solo for two Mozart concerti, though this would fall through. Though her time spent with his Piano Concerto No. 23. This was in many ways perfection, Khatia arrived to the stage in a golden dress, one statement of many. Her playing is effortless (so glad I could see the keys and her hands) graceful yet also violent. Her little moments of conducting, clutching of fists in the air after dramatic passages and her swaying are poetry. This famous concerto has wide appeal and with Khatia playing, each of the three movements were a joy. Her playing of the stupendous Adagio was creamy and oh so right. It’s empowering seeing a musician on this scale. The encore was the very well known Debussy that delighted the audience and left us keen to see her in the new year.
The cancelled other Mozart concerto was replaced respectfully with Mendelssohn’s The Hebrides Overture. The German composer vividly recounted his trip to Scotland with watery cleverness and a sweeping orchestration. Again, the players were were a resounding success, the balance calibrated to a fine set. Fittingly, Haydn’s Symphony No. 104 was the finale. Dubbed the ‘London’, this master of the craft gave thrills and laughs abound. Eccentric in nature, its four movements are curious and noteworthy for their almost ironic tone.
We were then gifted an encore of Sibelius’ Nocturne, the serene flute from Michael Cox the definition of pianissimo. I could not have found a better wrap up.
It’s the wrap up for BBC NOW for the year. Those feeling festive can savour their upcoming Messiah and Christmas thrills, though for me it ends with a more formal offering.
Gabriella Smith started things off with a vivid seascape, that of Tumblebird Contrails. Here the eerie nature of the sea and its command over humans is displayed in a full throttle delivery. I noticed the strings and percussion as stand outs. I can’t say I’ve ever seen a cymbal struck on a timpani drum, so that’s a first. Fairly uneasy in the crescendo harmony, I still found it compelling even if it was brief and for me, the highlight of the night.
Simon Wills continued as both composer and methodical conductor (the rest of the concert was under the baton of a thrilled Geoffrey Paterson) in a sort of James Joyce inspired work. ‘Nora Barnacle Assumes Command’ is a new trumpet concerto and Wills claimed it is not necessarily inspired by the duo. Nora was lovers with Joyce for years and their first meeting is mirrored in his megalithic novel Ulysses. I’m sad to say, it was very conventional and might just be the most dull world premiere I’ve ever heard. Donal Bannister as soloist proves his talents, yet the piece never really shows him off, its greyscale never enchanced. We’ve seen Bannister in BBC NOW for years and his talks on Mahler were always bright and piffy. Aside from fun circus and ommpa passages, I was unmoved by this venture. Pity.
Celebrating his 150th birthday, Charles Ives saw a smattering of performance of his work this year. Ryan Bancroft (pictured) was meant to take over this night for Ives’ Symphony No. 1, the American maestro has excelled in the past with his other symphonies and tone poems. This is early Ives, prior to his plunge into wealth (thanks to a lucrative insurance firm) and his famous experimentation within music. He would create pieces decades before their time, even with some academics claiming he wrote this work much later. His 1st, is extremely safe and again, a bit boring. Inspiration from hymns and marching bands feel present yet never developed into anything really note worthy. Even the rich ‘American sound’ is not here and made me crave much more wild work such as his 4th Symphony or Three Pieces in New England. Aside from the Three Page Sonata, this was the only Ives I heard live in this birthday year…I was hoping to hear heaps more.
It also has to be noted that even with this live on the radio, some audience members choose to talk and thumble about during the music. We’ve had issues before and we can dream that these get ironed out. We’re all here to listen and make discoveries. Let’s respectfully share the joy together in quietness. Also, with the plea for physical programmes to come back to the space, there are improvements to be made. I’m sure I’ll enjoy the new year’s concerts much more: Poulenc, Boulez and Messiaen prove promising.
In conjunction Abel Selaocoe & the BBC singers concert, was the prepared setup, as the live show recorded for BBC Radio 3 in broadcast of Radio 3 Live concert on Thursday 5th December 2024, at the Milton court Hall.
Presenter Al Ryan gave a triumphant introduction to Abel Selaocoe; South African cellist & singer, as he hit centre stage alongside his band members Fred Thomas (pianist), Alan Keary (electric bass guitarist) & Sidiki Dembèlè (African percussionist), whom all majestically energised the space with traditional South African sounds, rooted deeply with Sangoma & Khoisan cultural infusion. Featuring different layers of tribal rhythms from his vocal cords alone chanting high frequencies of spiritual tranquillity, soothing depths of magical symphonies enmeshed with raw passion, power and precision of harmony, love and identity. The themes of his powerhouse music were all in his song titles; Ancestral Affirmations, Emmanuele, Tsohie Tsohie & Hlokomela to name a few.
Abel Selaocoe & his band played six tracks on the night, all which exuded angelical, sensational as well as hypnotising melodies, taking you into a trance effect with the various instrumental sounds from his magnificent band, alongside Abels’s combination of Sangoma grunts and Mongolian throat singing effects which effortlessly blessed the space.
Abel Selaocoe has a raw talent which is undoubtedly stimulating, guaranteed to send shivers down your spine, with his uniquely diverse & varied heightened sounds effect, where when you close your eyes your senses amplify in his culturally empowering & enriching classical music, both satisfying and rewarding to hear as you see pure enthusiasm, joy & soul driven fulfilment whenever he plays.
BBC singers were conducted by Grace Rossiter, with the choir presenting nine songs during the night also, additionally adding to the melodic background & enhancing the atmosphere when their angelic vocals, creating to the ambience of the rich sounds from Abel Selaocoe & his band.
The entire concert was profound, carrying sentimental weight due to the depths of passion, love, deepness, grace & charisma, as he poured his mastery of libation in different ways to reflect his inner artistic genius. Reminding us all how perfection once mastered in any craft can be equally abstract and therapeutic simultaneously. The multiple streams of creativity explored without fully understanding all the words created a blissful & beautiful dynamic which only became more exciting, warming & demure throughout the performances.
Overall, the venue was perfect at capturing the entire essence of the African fusion of Abel, his band & the performance quality of the BBC singers, especially with the corporation of having audience participation neatly intertwined during various moments, making the concert a collective experience that was buoyant, jovial and deepening. I trust Abel Selaocoe tours will reach new ears in the new year to ensure more individuals get to experience his unique voice activation without reverb nor auto tune. Mind-blowing & extraordinary performance.
The story is super powerful, and it created a more impactful side to motherhood. The synopsis of the story delves into the complexities and resilience of the whole womanhood and motherhood aspect, it further tells the story about a mother, called Amber, who fights for her daughter’s health who is fighting cerebral palsy, and her name is Bea. The stage configuration illustrates a boxing ring to win the support for her daughter, the whole story shows great emotion and conflict with the facing of cerebral palsy and the role of being a mother going against the system.
The performance I went and saw with my College, BGLZ, was led by Micha Williams, her performance was incredible, and her portrayal has widely influential in the theatre. The acting led by the actress is praised for its emotional depth and physicality due to its practical on-stage boxing techniques. The character Amber has great purpose in the play, she is the protagonist and is a compelling person. The actress plays her outstandingly well and with the physicality, and the acting was amazing. Micha shows great significance when using the boxing ring that symbolizes a determination to fight for her daughters’ rights, this made me super emotional because of how well she portrayed the characters feelings.
The themes within the play are very vulnerable when it shows the depth of an innocent family’s life. The lengths that a mother will go through for her child is empowering, and this play definitely shows the strength that Amber goes through, but also the upsetting side to it too. The theme of fighting is the main theme of the play, and it adds that unique adaptation to the story’s main focus. Furthermore, the boxing metaphor demonstrates the emotional and powerful dimension to the narrative: this emphasizes the intensity of Ambers struggle while dealing with life.
In summary, the Mum Fighter play is a powerful story written by Tracy Harris, and it explores her own struggle. Harris has a son with the disability, Cerebral Palsy and has created a perfect adaptation of her personal life to a stage show demonstrating the battle she went through herself. With the joint amazing writing and performance, the play is overall incredible, and the theatrical experience creates such a moving atmosphere within the theatre that leaves the audience grasping for what happened next, and how proud that the audience is when Amber wins the fight mentally and physically.
It was a joy to be back in the newly refurbished main theatre at Theatr Clwyd for their annual Rock ‘n’ Roll pantomime this year. Theatr Clwyd is currently undergoing a huge redevelopment and aims to gradually reopen, with everything up and running again from mid-2025. The main theatre, renamed Moondance, is the perfect venue for the festive event of the year- for even if sitting in the back row, it’s impossible not to feel part of the action. Audiences were thrilled not to miss out last year as the production moved to the Big Top but unfortunately it lost the intimacy which makes Theatr Clwyd’s infamous panto so special and so, here we are, back to what we know and love…oh yes, we are!
The scene is set immediately upon entering the auditorium with an old farm windmill stage right and an ominous looking water tower with a chute attached stage left (all to be revealed later in the proceedings!) The proscenium arch is adorned with brightly coloured lights and, as always, the show’s title is displayed proudly in the centre, this year decorated with bubbles and rainbows- such a lovely, warm welcome to the new venue! Theatr Clwyd’s sets always have a story to tell, and they’ve even gone one further this year adding a nod to the modern age with flashy computer screens and super tech equipment in Suella de Rhyl’s lair (kudos to whoever came up with our villain’s name this year…and that’s coming from someone who lives in Rhyl!)
The costumes get bigger and better every year (as does Phylip Harries’ Panto Dame chest!) From the beautiful bohemian regalia of Billie Eyelash, the Fairy (another inspired name!) to the sublime and ridiculous Botticelli inspired Birth of Venus costume donned by Dame Gwladys Goose- a huge hand must go to Adrian Gee whose designs are simply show-stopping!
There is something for everyone when it comes to the music and choreography in this production. We’re treated to a version of Beyonce’s Texas Hold ‘Em but with a rather amusing lyric amendment…’This ain’t Wrexham (ooh!), ain’t no hold ‘em (hey!)’, a rip-roaringly appropriate Shake Your Tail Feather and a beautifully performed take on Snow Patrol’s Chasing Cars which is surprisingly moving.
Once again, the cast enthrall us with their capabilities as performers; line dancing one moment then rocking out on guitar the next, tackling some tricky dialogue before heading off to grab their saxophone! Incredible! And the reason, for me, that Theatr Clwyd’s panto is head and shoulders above the rest! No reliance on ‘celebrity’ names, just pure talent!
This production is superbly cast, each bringing their character to life with energy, powerful vocals and spot-on comic delivery. Phylip Harries’ once again shines as the Dame (it will be a sad, sad day when he decides to throw in the boob pads!) but special mention must go to Celia Cruwys-Finnagan as Mari Goose- standing at about five feet tall, this pocket-rocket has a powerhouse voice, sparkling charisma and sheer professionalism in spades! Director Daniel Lloyd is very much missed on stage, having been a pivotal part of Theatr Clwyd’s pantos for many years. However, his experience and expertise on stage mean he is all the better at knowing what works and what doesn’t as a director, and that paired with the witty and original writing of Chris Patterson can only be a recipe for success.
Mother Goose is quite literally the mother of all pantos- it’s got everything, from a brilliant script, a stellar cast and the perfect balance of wit, sentiment and tradition with a sprinkling of Christmas cheer. The new theatre has been christened and what a fabulous beginning to its story! Here’s to the next chapter for Theatr Clwyd!
Theatr Clwyd, Mold
December 6th, 2024 – January 19th, 2025
Writer: Chris Patterson
Director: Daniel Lloyd
Set & Costume Designer: Adrian Gee
Assistant Director: Ellie Rose
Musical Director: Tayo Akinbode
Casting Director: Jenkins McShane Casting CDG
Lighting Designer: Johanna Town
Sound Designer: Ian Barnard
Choreographer: Jess Williams
Company Stage Manager: Alec Reece
Deputy Stage Manager: Edward Salt
Assistant Stage Manager: Emma Hardwick
Wellbeing Facilitator: Hester Evans
Cast includes Dan Bottomley, Joe Butcher, Celia Cruwys-Finnigan, Imad Eldeen, Phylip Harries, Alice McKenna, Ryan Owen, Steve Simmonds, Chioma Uma, Georgina White
Running time: Approximately 2 hours and 20 minutes (inc. interval)
Cleddau was not without its faults. But the latest Welsh crime drama on S4C had enough to entice viewers back for more. Each new addition to the Welsh-language channel’s catalogue needs to bring something new, fresh and exciting, such is the proliferation of the genre since Y Gwyll / Hinterland. And while there are well-trodden tropes in this latest series, there are also moments of nail-biting tension, surprising twists, and interesting character portrayals.
Elen Rhys plays Ffion, one half of a detective duo whose fairly unique quirk is that they used to be an item. Before Rick, played by Richard Harrington, had an affair with nurse Helen (Rhian Blythe). Ffion left in the aftermath, but returns a decade later to help solve the case of a copycat murderer. The two are paired back together, and there are no surprises as to how their relationship develops. But despite this stereotypical storyline, it is used to good effect to portray Rick as a rather manipulative and controlling character. Themes of trust and truth play out between the two but spread into the lives and stories of other characters around them. Including the man charged with the original murders, Paul Harvey, played with cold, calm villainy by Ian Puleston-Davies; and his wife Anna (a deceptively vulnerable Eiry Thomas).
There are elements of Sherwood and The Killing in its carousel of potential suspects from a close community all-too-familiar with original events. Both Gwydion Rhys (as Ryan Moss) and Matthew Aubrey (as Mel Owen) give excellent, if not highly conventional, portrayals of troubled men accused of the latest killing. Such typical character types offer nothing novel. Just as the shots of Jamie Tilston (Sion Alun Davies) beforehand spoil the on-screen revelation of his real identity. However, scenes like the school shooting in episode two, the showdown in the cellar and everything that comes before it in the final episode, ensure that Cleddau maintains the interest and excitement of the viewer. It is these sections that offer up real suspense. And as the series edges nearer to revealing the killer, threading all the characters together to build real tension, one feels validated in sticking with it through the less intriguing stuff.
For all its flaws and predictability, Cleddau also has its fair share of the edgy and enthralling. It is a shame that such moments are not too many to make this series a real thriller. But it is a crime drama with enough unexpected turns to perhaps claim itself as a murder mystery. Either way, if you’re prepared to persevere with it, the end is worth the wait.
Click here to watch the full series on BBC iPlayer.
No story about the Holocaust is ever the same. We think we know the basics, we know what happened and continue to be appalled. But story after story comes to us, with each being ever so different to the last, each so horrific and heroic and unfathomable.
The Happiest Man on Earth, based on the best selling memoir by Eddie Jaku, a holocaust survivor, is brought to the stage in this fantastic one man show. From childhood to adulthood, we are taken through Jaku’s life from the happiest to the most horrific.
Kenneth Tigar who plays Jaku, firstly comes in and interacts with us, ad-libbing on the spot and not only making us comfortable but also chuckle. He is friendly and lovely and this sets us up, within a cocoon of security, for him to deliver the spine tingling tale. Tigar somehow delivers the entire, highly theatrical production with a way that feels like he is speaking to each of us individually. He makes eye contact, letting us see the range of emotions, deep from his soul. It’s so easy to forget, this isn’t his story. He delivers it so vulnerably, so intimately and so candidly.
While Tigar is the only performer, sometimes switching from himself to other characters with subtle voice and physical changes, the set and the making of different locations and atmosphere is represented through minimal staging and a range of soundscapes and lighting. It does the right amount of adding to Tigar’s performance but also elevating it theatrically. It gives you shivers and envelopes you within these different spaces and transports you to the range of humble places to the depths of hell.
The Happiest Man on Earth is a fantastic production, delivering a high theatrical performance without taking away the main essence and reality of Eddie Jaku’s life. This is not only down the the fantastic and subtle staging but also to the personable performance by Kenneth Tigar.
As the lights dim and the first notes play, the audience is instantly pulled into a wave of energy and emotion. The room buzzes with anticipation, knowing this is more than a performance—it’s an experience. Hamilton isn’t just a musical, it’s a look at America’s evolving identity, its history, and legacy complexities.
The stage, simple yet full of movement, becomes a character itself. With purposeful choreography and smooth transitions, it reflects Hamilton’s fast-paced life and the revolution he sparked. As the cast moves with energy, the audience feels drawn in, no longer just watching history but experiencing the ambition, ideals, and struggles that built the nation.
Lin-Manuel Miranda breathes new life as a vibrant, modern story of Alexander Hamilton, a relatively overlooked Founding Father, crafting a narrative as bold and innovative as Hamilton himself. By blending hip-hop, R&B, and traditional Broadway, Miranda mixes history with a modern twist, creating an energetic retelling of America’s origins that feels both relevant and engaging, allowing audiences to connect with the story. Its true brilliance shines through its diverse cast, portraying America’s founders—a powerful reminder that history belongs to everyone. The lyrics are sharp, clever, and deeply emotional. Songs like “My Shot” and “The Room Where It Happens” delve into ambition and power, while “Burn” and “It’s Quiet Uptown” deliver raw, heart-wrenching moments.
The show is a feast for the eyes and the heart. The rotating stage adds depth and symbolism, representing the continuous flow and ever-changing perspectives of history. The performances grab you and don’t let go, Sam Oladieinde’s Burr keeps us hooked, making us question if he’s the villain or just tragically human.
Miranda’s Hamilton is a force of nature, leaving us breathless with his unstoppable energy. Billy Nevers steals every scene, switching from the flashy Jefferson to the lively Lafayette with effortless charm. King George III pops in now and then, stealing the show, with Daniel Boys nailing it in gloriously over-the-top camp style.
It’s rare to see a hip-hop musical with impressive choreography, rap battles, and locking, especially one done so well that it makes you want to get up and dance. It was great seeing Cardiff’s, Levi Tyrell Johnson performing in the ensemble.
Shaq Taylor was exceptional as Hamilton, bringing both strength and moments of humour to the role. His commanding stage presence was undeniable, but it never overshadowed the equally impressive cast. The audience’s applause and whoops of delight after every song reflected the high energy and joy the cast brought, showcasing their talent and strong camaraderie. Maya Britto’s portrayal of Eliza was powerful and emotional, especially in “Burn,” where she conveyed deep anger and betrayal. In the reprise of “Stay Alive,” she perfectly captured the heart-wrenching grief of a parent losing a child, leaving the audience profoundly moved.
The real magic of Hamilton goes beyond the performances and music—it’s how it makes us feel deeply connected to the characters and their struggles. We see our own ambitions in Hamilton’s relentless drive, our regrets in Burr’s hesitation, and our grief in Eliza’s heartache.
Hamilton is one of the best musicals I have ever seen. If you haven’t already got tickets run to get them now, you’ll be swept away!
Taking two children (11 and 12) to see a production of the Dickens classic ‘A Christmas Carol’ and knowing nothing about the production was a risk. I’d heard it was quite long, I was worried it might be very dour and maybe the language would be inaccessible for youngsters. I’ve also experienced other Christmas productions which were quite ‘arty’ interpretations of classic tales (e.g. The Lion, The Witch and The Wardrobe – when during the interval I heard a child ask their parent ‘Mummy what’s an Aslan’?) and clearly went way above their heads. So, I was fairly surprised to see a variety of instruments on and before the stage as we came into the comfortable auditorium. I was also reassured to see a detailed set of a traditional snowy, Victorian street scene, as I’d feared a minimalist, abstract set that might not convey the oppressive Dickensian atmosphere. The opening seconds of the performance also did not disappoint – a dramatic musical flourish and a burst of coloured light revealed the silhouette of our ‘protagonist’ complete with tilted top hat and heavy winter coat. And that readers, was the end of all the traditionalism……
‘He’ was not a he at all – this Cardiff dwelling, Ebenezer Scrooge (or Ebbie) is a cello-playing, powerhouse of a woman with the stature and stage presence to intimidate all but the bravest of souls. Hannah McPake strides around the stage, glaring and hollering at anyone who tries to drag her into the spirit of Christmas and merely laughs at the impending threat of her three night-time visitors.
It’s difficult to know where to start reviewing the rest of the cast – each of them taking on at least two but most often four or five other characters through-out the show – but undoubtedly what they all have in common is an abundance of talent! It is honestly breathtaking the quality of the acting, singing and musical skills we were treated to by this accomplished cast. We had a harp, an accordion, a saxophone, we had puppets, we had slapstick comedy, tears and anguish, romance and West-End quality voices from a cast of only 8 and there wasn’t one amongst them that didn’t add to the richness of the experience we had in the Sherman Theatre that evening.
The subtle beauty of the ghost of Christmas past (Catrin Mai Edwards) – beautiful Welsh vocals and evocative storytelling had me transported to Victorian Cardiff and entranced. Then, listed only as ‘Apprentice Actor’ in the programme, our hearts were all broken by the perfect tones of Madalena Juma as Ebbie’s Mum forced to give him up as she was sent to the Workhouse. ‘Apprentice’ she may be, but she is definitely mastering her craft most ably as she held her own amongst this accomplished company.
After the emotion and the drama of the past, and still laughing in the face of her past crimes and misdemeanours, Ebbie and the audience are confronted with (or maybe ‘assaulted by’) the Ghost of Christmas Present…..what can I say about Owen Alun as the Ghost of Christmas Present? There are no words – suffice to say that EVERYONE needs a ‘Ginger North Walian’ in their lives at Christmas (and frankly all year around!). No spoilers here – you have to experience it!
In a very modern backstory, we got insight into the reasons behind Ebbie’s notorious miserliness and the drama was built as we thought the Ghost of Christmas Present had finally cracked through her hard shell and Ebbie would be saved from the torment and chains endured by her former business partner Marley, but alas she soon slipped back into her old ways. Bring on the mighty Ghost of Christmas Future!
The creativity of this production is wonderful – the four ghosts (including Marley of course) could not be more different – they are humorous, enchanting, ridiculous and terrifying and take the audience on a rollercoaster of emotion through-out the nearly two-hour production. There is so much attention to detail in the set, the costumes, the vulnerable delicacy of the puppet children, the music and the songs – it combines to make a perfect evening. Last Christmas I had the pleasure of seeing Disney’s Aladdin at another venue in Cardiff – the big budget spectacular was incredible and left me feeling joyous and uplifted, but I can honestly say that the exuberant feeling as I jumped to my feet to explode into applause with the rest of the audience after this production, was absolutely no less life-affirming and the first thing I did when I got home was have a look to see if there are still tickets available to go again! This is pretty much a first for me – I don’t think I’ve seen any production twice in my life! It was heartening to hear that my 11-year-old son and his friend loved it to, and he’d also be willing to spend another evening in the company of this incredible cast! Oh, and if you’re wondering who his favourite character was?…….That well-known Dickens character – the business bauble! You’ll just have to go and find out for yourself!
A new ensemble to discover. Some familiar faces along the way. New work and experimental master abound. Helen Grime and her Seven Pierrot Miniatures took fitting poetry not used in the later Schoenberg as the bedrock for this. Pierrot being the clown icon of the Commedia dell’arte character from Italian culture is the foundation for half the programme. Grime’s music here is fluffy, strange, almost evocative. A premiere from Piers Hellawell…Woodsmoke. This would be Robert Plane on clarinet, best know to Welsh (and BBC Proms) audiences as leader of the instrument for BBC NOW and Tim Horton on piano. A harsh work, still very much in a rigid form, though alert and heightened with fine furies from both players.
It would be Brahms to cleanse the pallet, that of his Trio for Clarinet, Cello & Piano in A minor. Unlike his other pieces, Brahms has an effortless idea after idea in this trio. The melodies flow and are at ease with the three players. Whilst Plane lead in many ways, cellist Gemma Rosefield also found alluring offerings, the writing for her instrument she seemed to truly savour. Those of you who know me might scoff at Brahms, yet when he does it right (in such instances like a piece like this) there can be magic and an accessible scope.
Lastly for what I was here for: Schoenberg’s Pierrot Lunaire. Soprano Claire Booth has recorded this with the Ensemble to glowing reviews, so expectations were high. This is Schoenberg before the tight Twelve-tone technique he would be most famous for. What this is however is a bizarre, vivid, uncompromised set of songs with a singer who talks, as opposed to singing proper. This ‘sprechgezane’ changes little over it’s more than twenty movements, only altering in temperament, volume and enunciation. For the early years of the 20th Century, its bonkers and a thrill to those willing to respect it. The ensemble play with expressive density and allure, Booth savouring this peculiar piece with sharp set of performative skills throughout. A plus one not akin to this as much asked me during: “Why is everything in German so intense??” That cannot be denied.
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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