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Literature, Museums & heritage

“We have lots of fascinating, unique, and distinctive collections here, I am excited to share them with new audiences” An interview with Judith Dray and Mandie Garrigan, Library Services, Royal Welsh College of Music

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Top Judith Dray, Head of Library Services, RWCMD, below Mandie Garrigan, Libraries Assistant, RWCMD. Judith Dray Photograph © Edmond Choo Photography

In this interview, Director of Get the Chance, Guy O’Donnell chats to Judith Dray, Head of Library Services, Royal Welsh College of Music and Drama and Mandie Garrigan, Libraries Assistant, RWCMD. We discuss their roles at the College, access to the library, the Drama Association of Wales Collection and their latest recommendations!

What got you interested in the library service?

MG: I have a background in the performing arts and managing bookshops in Hay-on-Wye but more importantly my jobs have been customer serviced based which is required for this role. The library service here is a little different, it allows me to interact with our staff and students, but I’ve also been working with our archives and special collections (mostly the College Archives and The Foyle Opera, Rara Collection).

Working in the library also involves helping on projects, creating working systems and generally having a go at anything! I started managing the DAW (Drama Association of Wales) collection when I covered for a maternity post 5 years ago. I manage all the memberships, orders, invoicing and have catalogued the sets in the past.

JD: Like Mandie, I have a background in performing arts. I also have lots of experience working in higher education, both working with research collections and supporting learning. I originally came to the Royal Welsh College of Music & Drama (RWCMD) as an archivist in 2018 and then was seconded to Head of Library Services during the pandemic and became permanent in 2022. The role marries together my background in the performing arts with my passions for libraries and higher education. We have lots of fascinating, unique, and distinctive collections here: I’ve loved finding out about them and I’m excited to share them with new audiences.

The RWCMD library houses the Drama Association of Wales (DAW) collection. This is the largest lending collection of scripts in English in the UK and is available for hire to individuals and groups. Can you tell me more about the collection and how it’s used?

JD: The Drama Association of Wales formerly housed the largest lending collection of scripts in English in the UK. In 2014, the play text collection transferred to the RWCMD Library and is available for hire to individuals and groups. Mandie is the person who works most closely with the collection and the people and groups who borrow from it.

MG: The collection inherited some members when it came here, so when it arrived a membership scheme was set up where groups or individuals pay to become members. This allows them to have access to the collection and borrow plays. We have some University of the Third Age members, amateur drama groups, play reading groups and individuals who enjoy our plays. Over the last few years, Covid has changed the way people meet and groups are only just getting back together, so the service is now running again. We would like to develop the service over the next few years, and it is currently under review.

Michael Sheen patron of Drama Association of Wales and International Chair of Drama, RWCMD said of the collection “This drama collection is of hugely significant cultural value. It’s imperative that it’s saved for the nation. It seems fitting that it’s been rescued by the Royal Welsh College, and found its rightful home at the National Conservatoire of Wales.”

Michael Sheen, © Kiran Ridley Photography

Can the public access the RWCMD Library?

JD: We welcome community members to the RWCMD Library. It’s free to browse and members of the public can join in order to borrow items. There’s more information about joining online here and we welcome enquiries by email (library@rwcmd.ac.uk).

MG: Yes, anyone can join as Judith says, and you can now browse a portion of the DAW collection online. I think around 2,800 of the DAW plays have been catalogued now, mainly the sets.

With increased pressure on public funding many Library services have been cut or are under threat, why are libraries important to you and wider society?

JD: As an academic library, we are not facing the same existential threats as many public libraries have faced in recent times, but it is a worrying trend. Libraries are not just about lending books. At their best, libraries can foster communities; they can provide safe spaces; and they can promote equality and inclusion by giving free access to resources, computers, and equipment.

What was the last really great book that you read that you would like to share with our readers?

JD: Earlier this year I read Whole Notes: Life Lessons through Music by Ed Ayres. I’ve been recommending it to everyone and bought a copy for the RWCMD Library. It is about music, healing, the lived experiences of a transgender musician, teaching, learning and so much more. It also includes Spotify playlists which enable the reader to share in some of Ed’s experiences which I thought was a lovely touch.

MG: Not my last but I am reading Breath: A New Science of a Lost Art by James Nester which is also available in our library. I’m only on the first few chapters but it’s one of those books that can challenge your perception on something we all do. I enjoy books that question the way we think about our bodies and mental health. I am also very keen browser of our art and design books, one of my favourites being Stages of decay by Julia Solis, a book depicting various theatres/performing areas in dilapidated conditions which are strangely beautiful.

Theatre

Review Destiny, Florence Espeut-Nickless, Chapter Arts Centre by Rhys Payne

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out of 5 stars (5 / 5)

Those who don’t know me personally will not be aware but when I am not travelling the length and breadth of Cardiff discovering new pieces of theatre, I am a secondary school-level English teacher. Before becoming allocated to a certain school I had spent a few months being sent across Wales covering for teachers (across all subjects) who were absent and so I have a few years of experience of working with young learners. In my humble and potentially controversial opinion, I think that the young people of this generation are very misunderstood! Having learnt about the personal situations and personal journeys that some of my students have had to experience (including the break up of family units, losing loved ones, and dealing with violent family members among other things) at such a young age is so shocking! Now don’t get me wrong, sometimes they can be extremely disruptive and frustrating but when you think about what they have had to get through to just get to school but if I was in their shoes I don’t think I would even be able to turn up never mind sat quietly and complete all work to the best of my ability! The reason this show is so powerful is not only for it being about an all too common story for young women but also it is told by a character who you could easily bump into when walking through your local city centre!

Growing up I was lucky enough to avoid the urge of wanting to go out to a nightclub without being of the legal age. Don’t get me wrong there would be moments where I would ask friends or family to get me drinks in a bar or for a house party (which I am absolutely not encouraging) but the idea of clubbing under age was not something that particularly excited me. However, some of my friends would sometimes borrow other people’s IDs so that they could get into a nightclub which in all honesty would often make me feel uneasy. One of the many things that this one lesson production does excellently is capture the excitement young people feel before hitting the town on a night out including the sacred pre-drinks rituals that are silently passed down from generations before them. The play starts by showing Destiny as she is preparing for her first-ever night out despite being only fifteen years old. This night goes off with a bang as she feels the euphoric rush of slight intoxication mixed with the thunderous music/flashing lights as Destiny and her close friend enter Karma which is the hottest club in town! As the night progresses and the cheap drinks continue to our however this experience takes a turn for the worst as Destiny falls out with her best friend and decides to run away with a newly found lover she discovered in the club. In the passionate (and drunken) haze they decide that a car park would be the perfect place to solidify their love but are interrupted by two men who violently assault both Destiny and her partner with the former being not only physically but also sexually. As out titular character is dealing with this horrendous attack, her mother begins to become more and more distant leading to her having to move into a shared living space with a bunch of strangers and yet this continues her journey through college and still attempts to peruse her dreams!

‘Destiny’ the play is interestingly a one-person play that is entirely performed by the amazing Florence Espeut-Nickless who seems to excel under the pressure of being the only person on stage! If it was me I know that I would find the pressure of carrying an entire show extremely overwhelming but Florence did not seemed fazed in the slightest. This relatable character begins the show as an brash and extremely headstrong character but as the story progresses the audience grows to develop a massive sense of sympathy towards Destiny with everyone watching being pulled into the world being created in front of them. Florence Espeut-Nickless was able to really showcase her incredible acting abilities within this role with the West Country vernacular used by Destiny to the on-stage breakdowns perfectly captured by Florence through convincing hyperventilating and floods of tears running down her face. It sounds like a strange thing to say but this production was only an hour long but felt so good much longer but in a positive way. I had totally lost an concept of time and actually forgot that I was watching a piece of theatre that has been performed multiple times in succession. To me, the show transcends the idea of simply watching a play but instead you are watching a familiar characters unfolding in front of the audience’s eyes with a story that has become all to frequent in modern life.

Music

Review Krapka;Koma, Pixi Ink & Cholly, Exchange Bristol by James Ellis

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out of 5 stars (4 / 5)

Within the basement of the evergreen Exchange in Bristol lied a fabulous evening and an important fundraiser. Krapka;Koma from Lviv, Ukraine are on tour, with a stop in Bristol along with some lovely warm up acts, adding to the female led fun.

From London, Cholly started off the night with sweet vocals and an electronic sound hard to resist. With remixes of her cat and some keyboard tricks, she made for a fine opening act of electro pop. Pixi Ink, who has been on tour also, followed with a singing on a resplendent level, awash in it’s soulful luxury. Triphop might just be a new favourite genre for me. Even before the main line up I was really taken with these two artists.

Becky Boo was the VJ for the whole night, adding saturated layers of 90s CGI, cartoons and a vaporwave breeze. Along with the ethereal music, the video work really added an extra dimension to this intimate affair. The weight of the headlines act was felt by everyone present, musicians form Ukraine who are on tour as their country is plagued in war.

Billed as being further trip hop, jazz and electronica, this fitting billing could only affirm the the joy of their music making. How touching it was to see both these marvellous musicians create live music on stage in Bristol, the catchy and softly perfumed sounds filling the space. Even some additional brass was a real nice touch, bass lines and a electric pad drum kit also added to the pot, in their laid back fibre. I didn’t expect their set to be filled with just the right amount of feel good vibes that I think we all need at this harsh corner in our lives. Need I say more?

After their tour and Sofar Sounds concert, we hope a gig in their homeland can be real soon.

Music, Opera & classical, Uncategorized

La Bohème – a review by Eva Marloes

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photo credit Richard Hubert Smith

out of 5 stars (3 / 5)

The Welsh National Opera reproposes Annabel Arden’s 2012 production of La Bohème, set in the early 20th century. It is a straightforward interpretation of Puccini’s opera with a minimal and, at times, unimaginative setting. The WNO succeeds in offering a production that is skillful and entertaining. Strong performances bring to life the romance, tragedy, as well as comedic elements of the opera.

Rodolfo (Jung Soo Yun) and Marcello (Germán E Alcántara) are skint artists living in a cold attic in Paris. Rodolfo falls quickly in love with frail Mimì (Elin Pritchard), but their complicated relationship flounders under the pressures of poverty and Rodolfo’s guilt for making Mimì ill. In contrast, Marcello’s affair with coquettish Musetta (Aoife Miskelly) is passionate and often funny. The friends Schaunard (Mark Nathan) and Alcindoro (Alastaire Moore) add to the bittersweet comedy of the production.

Elin Pritchard, as Mimì, and Aoife Miskelly, as Musetta, shine giving by far the best performances. Pritchard, who was a superb Michäela in a past WNO’s Carmen, is graceful and powerful. She conveys a tender tragedy infused with love and loss. Aoife Miskelly, who previously delighted the audience as the Cunning Little Vixen, performs with brio, charm, and sophistication. Miskelly has a beautiful light in her voice.

Baritone Germán E Alcántara gives a powerful performance with. Jung Soo Yun has a beautiful tonality but limited range. Jung’s voice lacks the power needed to counter the orchestra. This is disappointing, especially after he gave a masterful performance in Les Vêpres Sicilliennes.

photo credit Richard Hubert Smith

The quartet of the two couples Mimì and Rodolfo, and Musetta and Marcello is effective though underwhelming. Mark Nathan, as Schaunard, and Alastaire Moore, as Alcindoro, give robust performances holding the scene in Act Four.

The WNO’s choir is impeccable, as always, with a strong stage presence. The orchestra, under the baton of Lee Reynolds, gives a solid performance. This production of La Bohème is let done by the rehashing of a past production lacking in imaginative interpretation and an overly minimal setting, which here includes video projections of birds and of snow.

Theatre

Barbara Hughes-Moore interviews Rhys Jennings on When Darkness Falls

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Get the Chance Community Critic Barbara Hughes-Moore speaks with actor Rhys Jennings, who is part of the touring cast for the When Darkness Falls. This spooky stage thriller is written by James Milton and Paul Morrissey, and is based around the legend of ‘Guernsey’s Ghosts’. The show is playing at the New Theatre Cardiff from 11 – 15 October (you can find out more about the production and book tickets here). Rhys chats about understudying the two lead roles, how the cast keeps it fun behind the scenes, and why you might just walk away from the show believing in ghosts yourself…

This interview has been edited for clarity.

Thank you for taking the time to sit down and speak with me today, Rhys.

Thanks, Barbara!

Tell us a little bit about When Darkness Falls.

When Darkness Falls is a two-hander ghost story set in the modern day but which brings up lots of stories of the past and hauntings and ghosts. It’s set on the island of Guernsey, so it takes all this local mythology and weaves it into a two act play over the course of one night. It aims to provoke debate about what ghosts are and what the paranormal is, but also with a few scares. It’s good fun!

So what is your role in the play and how did you get involved?

So I have a very interesting role. As I said, it’s a two hander and I am the solo understudy in this show. So it’s your classic two hander where you get an older and a younger actor so they needed someone halfway between through the two! It’s a very odd experience, actually: I’ve done a lot of understudying before, but this is basically an entire play, and you’re always on edge in case someone gets ill or is off, and up you go with not much rehearsal.

It’s really interesting, and it’s lovely to be part of such a small company as well, this is a very tight-knit group of people. We’re only a few weeks into the tour at the moment and everyone’s very close, and it’s a really fun company to be part of.

Peter Duncan and Daniel Rainford in When Darkness Falls

How do you manage to keep it fun behind the scenes when you’re in such a scary show?

I think the guys have really managed to just enjoy the text of it, because there’s lots of storytelling which could easily become very drab and dreary. It’s about two people interacting with one another, and how a story can trigger more memories. It’s been really fun to be part of that process and to be able to offer some input as well to the guys as they work.

Do you have a favourite role out of the two?

It’s tricky! Peter Duncan, who is famous for many things but many have a soft spot for his Blue Peter days, is playing the older part, and there’s an incredible young actor in his 20s called Daniel Rainford. So I think perhaps you’d put me in the younger part but I’m looking forward to one day playing the sort of roles Peter Duncan does. I do overall prefer the older role that is a storyteller and who has a bit of a mental breakdown throughout the course of the night. That’s more interesting to me, I think.

Have you performed at the New Theatre before?

I’ve performed in Cardiff before but never at the New Theatre! I’m really looking forward to coming to Cardiff, because I trained at Royal Welsh College of Music and Drama. It’s really nice to make a return visit because I haven’t done anything that’s come back to Wales for a good few years. I’m really excited to show the guys in the company around Cardiff.

Daniel Rainford and Peter Duncan in When Darkness Falls

What do you think Welsh audiences will take from the show?

While it’s set in Guernsey, it has a similar bucolic, rural feel and a lot of similar folklore and ghost stories. I think Welsh audiences will enjoy it for that. It’s quite a universal debate the characters are having over the course of the evening about what a ghost is: sometimes it’s repressed trauma and guilt, so a lot of that is very universal. It’s an interesting thing to watch.

Without spoiling anything, is there a particular moment you would want audiences to look out for?

That’s a really good question, because it’s one of those plays where audiences might think they know what’s going on – but if they pay attention they’ll be able to see the ending. It’s a bit like an Agatha Christie mystery: if you’re canny enough, by the end you get that real satisfaction of figuring out the ending. So listen and see if you can pick out a few of those themes that are repeated. Do a bit of detective work as an audience!

That’s a great challenge to give audiences! What do you think the secret is to make a good thriller in the theatre?

It is tricky! I think it’s all about suspense and rhythm, and also having two little stories going on: one where the audience might know a little more than the characters at certain moments and vice versa. It’s about who has the information, and you can gift that to an audience, make them feel that they know something that even the characters don’t. That can be really exciting for a thriller. Or you can have an object that has been in the background the whole play, and eventually pays off – in fact, we might have one of those in ours!

Peter Duncan and Daniel Rainford in When Darkness Falls

The last ‘spooky’ show I saw at the New Theatre was Ghost Stories, which was also made into a film – I didn’t sleep for a month!

I was involved in the film! I had a very last minute call from my agent asking me to fill in for an actor on the day of the cast readthrough. I’m still fairly early in my career, and I’m not in the finished film, but I was reading lines with Martin Freeman and all these amazing actors. I don’t know how I managed to get a ticket into that room, but that was a great experience.

So you were like a ghost: an unseen presence that kept the whole thing going?

Yes! I like the acting profession for all these strange little moments you have – it’s never boring. I straddle a bit of writing, a bit of acting and voiceover, and I like constantly dipping my toe into different things. You get all these strange, wonderful little anecdotes.

Does being involved in such different mediums – film, voiceover, theatre – give you different shades of ‘acting’?

Yes, and the things you learn from one thing help you in another. I got very into puppetry for a while and toured the world doing it, and it’s only much later when you’re doing something more text-based, that you suddenly realise the connections. Through the course of your career start putting things together in unexpected ways. It’s really fun. We’ll be performing in Guernsey a couple of weeks after Cardiff, and it’ll be interesting to see what different audiences react to. Different places have a different sense of humour. I’m really excited to see how Cardiff audiences will respond to it!

Daniel Rainford in When Darkness Falls

Is there something that really surprised you about being part of this show?

In the early part, I thought it was going to be very lonely as there’s not many people backstage. And while it can be lonely at times, I’m surprised by how much warmth and humour there is; a real camaraderie to the show and I feel very included in that. Theatre can sometimes be quite hierarchical: my first job was understudying in a show that had enormous stars all the way down to new graduates fresh out of Drama School, and there was quite a lot of hierarchy to that. Here, though there’s a difference in age between all of us, it feels like we’re working on this together. Especially after everything we’ve been through the last few years, it’s nice to be part of a family again.

What’s it like working with a household name like Peter Duncan?

I’m not quite in the generation that grew up with Peter, but in my generation of Blue Peter presenters they would talk about his adventures, like him scaling Big Ben. There are lots of stories and ancedotes that Peter is just brilliant at: listening to him, you get the sense that Peter would go over to someone and say ‘I’ll give you a Blue Peter badge if you help my friend’. It feels like a skill we could all do with!

What’s coming up for you after this tour?

I’ve spent a long time writing a musical called The Wicker Husband, which opened at the Watermill Theatre earlier this year, and hopefully it will have a future life as it’s a beautiful thing. Do keep an eye out for it: it’s about an old basket maker deep in the swamp who weaves creatures out of wicker who come to life, and he weaves a beautiful husband for a girl who everyone thinks is ugly, so much so that she thinks herself that she’s ugly. Throughout the course of this beautiful musical, she learns that there’s no such thing as ugly; that ugliness isn’t something you can see.

Three words that sum up When Darkness Falls for you.

Surprising, suspenseful, curious.

Do you believe in ghosts?

Do you?

Yes.

Do you really? That line actually pops up in the play.

Do you think that audiences will believe in ghosts after this show?

I think those that are skeptical will be more open to the idea that ghosts can mean. ‘What are ghosts?’ is an interesting question to go in with.

Thank you, Rhys – we can’t wait for the show!

Opera & classical

Review BBC National Orchestra of Wales, St David’s Hall, Cardiff, Barbara Michaels

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Piano Concerto No 3 by Sergey Rachmaninov

Soloist: Yeol Eum Son

Conductor: Ryan Bancroft

out of 5 stars (5 / 5)

A star performance of Rachmaninov’s third piano concerto – said to be one of the most difficult and challenging of piano concertos in the concert pianist’s repertoire -by the multi-talented South Korean pianist Yeol Eum Son was the choice of the BBC National Orchestra of Wales for their opening concert of the season. Performed to a packed audience at St David’s Hall in Cardiff last night. (October 6th) and broadcast on BBC Radio 3, what a night it was! A diminutive figure in a black evening dress, soloist Yeol Eum Son gave those fortunate enough to secure a ticket an evening to remember. This powerful concerto, composed in 1909 but not given full acknowledgement until several years later, then becoming increasingly popular in the 1930’s when it was performed to great acclaim by Vladimir Horowitz, was given a supremely sensitive all-embracing performance throughout by Yeol Eum Som.

The opening movement, Allegro ma non tanto, was interpreted with sensitivity and skill, with Yeol caressing the keys as a lover might caress his or her beloved, to change into a powerful full throttle engagement with the keyboard. With her fingers flying so fast that at times the sight of them became a blur, this tiny almost unbelievably slender young woman switched effortlessly from the gentlest of melodies to the powerful octave-spanning moves that make this concerto a concerto to be feared for some soloists., thus making this performance a rare and special occasion. Yeol Eum Son’s ability to control and shape every poetic nuance – much in evidence in the great solo cadenza – plus her fearless and bravura attack on the most difficult of passages is awe-inspiring.

For the Intermezzo: Adagio-un poco piu mosso – a set of variations by the orchestra alone gives temporary rest to the soloist, notable among these at this performance being the short flute solo, performed with feeling despite its brevity, followed by solos from oboe, clarinet and horn. Then the piano bounces back with a powerful yet melodic attack on the keys ferocious in its brilliance, segueing seamlessly into the Finale Alla breve and a vigorous ending.

Full credit to the BBC National Orchestra of Wales under the direction of their leader first violinist Lesley Hadfield. The rapport between the soloist and the conductor Ryan Bancroft, who have worked together many times was extraordinary and no doubt contributed to the high standard of a performance that had the audience shouting for more and bringing the soloist back four times. Broadcast on BBC Radio Three, this memorable performance gave its audience and those who listened at home, a night to remember and an opening night that bodes well for this great symphony orchestra during the coming season.

Please note due to ill health, Barbara reviewed only the first half of the performance.

Coming next:: Mahler’s Symphony No. 9, conducted by Markus Stenz . Thursday, 17/November, 2022, at 7.30 pm at St David’s Hall, Cardiff.

Music, Opera & classical

REVIEW BBC National Orchestra of Wales: ‘Romance & Riots’ at St David’s Hall by Barbara Hughes-Moore

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Cardiff Classical 2022-23 opened with a bang last night at St David’s Hall with two of the most raucous, romantic and indeed riotous concertos of the last century. The opening concert, entitled ‘Romance and Riots’, featured Sergey Rachmaninov’s sumptuous Third Piano Concerto and Igor Stravinsky’s Rite of Spring – two orchestral works by two celebrated Russian composers, written just four years apart, and yet they couldn’t be more different.

Led by American conductor Ryan Bancroft and performed by the BBC National Orchestra of Wales with German-based South Korean pianist Yeol Eum Son, the concert traverses multiple (often contrasting) sounds, rhythms and stories, and paints these classic concertos in gorgeous new colours.  The NOW perfectly captures the dramatic dynamic contrast and sheer epic scale of the music, while Bancroft and Son give incredibly precise, passionate, and characterful performances.

As a conductor Bancroft guides the orchestra through the character and emotion of the piece, making it just as exhilarating a physical performance as it is a musical one. Son is an extraordinary soloist and an immensely expressive performer, drawing the audience in with every movement, from the intense, juddering chords to the glimmering crescendos. There is a real power to her performance that meant that the audience was feeling every note and emotion of the piece right along with her.

And what can be said of The Rite of Spring that hasn’t been said already? As Jonathan James mentioned in an excellent and memorable pre-show talk, to say that the piece caused something of a stir in its 1913 debut is quite the understatement: the avant-garde music – stoked by political and class discontent – caused a riot in the theatre, with the dancers and musicians gamely playing through the mayhem right until the final bars. The piece itself is, as James explained, “order disguised as anarchy”; a volcanic, visceral retelling of a young woman who dances herself to death to appease the gods of Spring. Its epic discordance and jazzy polyrhythms would go on to inspire future composers from Gustav Holst to Bernard Hermann – but the original remains as shocking today as it was a century ago.

This is pianist Yeol Eum Son’s first time working with both conductor Ryan Bancroft and the BBC National Orchestra of Wales. She performs next in Madrid, performing Ravel’s Concerto for the Left Hand in D major on 20-21 October, before heading back to Cardiff’s RWCMD to perform Stravinsky once more – this time, the Firebird Suite – along with pieces by Lekeu, Hirtz, Janáček and Kapustin, which sounds like the perfect complement to tonight’s programme.

NOW can be next seen playing the 1001 Arabian Nights family concerts in Cardiff and Swansea, before performing Bach, Liebermann and Schmidt at the end of the month and Elgar’s Cello Concerto in November. Bancroft next conducts the Malmö Symphony Orchestra in Sweden, playing pieces from Dvořák, Copland and Netzel, the latter two with Peter Friis Johansson on piano.

What a start to the Hall’s 40th anniversary year!

Theatre

The Urdd continues to lead, nurture and influence across the arts

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Branwen Davies appointed to lead the re-established Urdd Youth Theatre Company.

Today (6 October) Urdd Gobaith Cymru announce Branwen Davies as the Urdd Youth Theatre Coordinator. Branwen will lead the organisation’s re-established Youth Theatre Company, which is credited for creating opportunities and introducing young people to the arts as they discover the world of the theatre.

As the Urdd enters the final act of its centenary year, Wales’ largest youth organisation is looking forward to the future by re-launching the Urdd Youth Theatre Company. Thanks to a £1 million* investment by the Welsh Government, the Urdd Youth Theatre Company will offer new opportunities to young people aged 16-25 across Wales who have an interest in any aspect of the arts.

Today, under the experienced and creative guidance of Branwen Davies, the Urdd invites young people aged between 16-25 to register their interest to join the Company.

Branwen Davies, Urdd Gobaith Cymru Youth Theatre Company Coordinator said:

“Over the years many have benefited from and enjoyed being part of the Urdd’s Youth Theatre productions, gaining life-long experiences that have helped shaped their careers.

As part of the Urdd Youth Theatre Company, I’m looking forward to offering exciting and invaluable experiences to young people who are interested or curious about all aspects of theatre – performing, designing, stage management – there’s something for everyone. I want to give young people who have an interest but no previous experience in the arts an opportunity to explore and gain new skills. Collaborating with experts and specialists from across the arts will be both fun and challenging as we work with young people from across Wales to stretch horizons, build confidence and gain news skills.”

The Urdd Youth Theatre Company was first established in the 1970s and has been credited for nurturing and influencing talent across the arts. Over the years the Company has created a strong portfolio of original stage productions, offering young people the chance to perform and tour across Wales whilst developing their skills

Sian Eirian, Urdd Eisteddfod and Arts Director said:

“It is a great privilege to announce the appointment of Branwen Davies as the Urdd Youth Theatre Company Coordinator. The centenary has been an exciting year for the Urdd as we celebrate our history and roots, but it’s also an opportunity to grab new and future opportunities for our young people in the Welsh language.

Over the years Urdd Youth Theatre Company has influenced and provided a strong foundation for thousands of young people, with many names carving a successful career in the theatre. On behalf of the Urdd, I am proud to re-launch the Urdd Youth Theatre Company and look forward to seeing the Company grow under Branwen’s leadership.

Branwen brings a wealth of experience to the Youth Theatre Company. Branwen’s name and talent is recognised across the arts; she has extensive experience working with Theatr Genedlaethol Cymru, the National Dance Company of Wales, and most recently as Literary Manager at the Sherman Theatre. Branwen has also been a Theatre and Performance lecturer at universities across Wales. I know that Branwen will create amazing opportunities for members of the Urdd Youth Theatre Company and I would encourage anyone between the age of 16-25 to register their interest and join the team.

I would also like to thank the Welsh Government for their financial support of £1 million over five years which has enabled us to realise the dream of re-establishing Urdd Youth Theatre Company.”

Theatre

Yr Urdd yn parhau i arwain, meithrin a dylanwadu ym myd y theatr

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Yr Urdd yn penodi Branwen Davies i arwain ail-lansiad Cwmni Theatr Ieuenctid.

Heddiw (6 Hydref 2022) mae’r Urdd yn falch o gyhoeddi penodiad Branwen Davies fel Trefnydd Theatr Ieuenctid yr Urdd wrth i’r Mudiad ail-lansio’r Cwmni dylanwadol gan estyn cyfleon newydd i Gymry ifanc ym myd y theatr.

Wrth i’r Urdd ddechrau act olaf blwyddyn y canmlwyddiant, mae’r Mudiad yn edrych ymlaen i’r dyfodol drwy ail-lawnsio Cwmni Theatr Ieuenctid yr Urdd. Diolch i fuddsoddiad o £1 miliwn* gan Lywodraeth Cymru, bydd Y Cwmni yn cynnig cyfleon newydd i Gymry ifanc sydd â diddordeb neu chwilfrydedd ym mhob agwedd o fyd y theatr.

Dan arweiniad profiadol a chreadigol Branwen Davies, mae’r Urdd yn gwahodd bobl ifanc rhwng 16-25 oed i gofrestru eu diddordeb i ymuno â’r Cwmni.

Dywedodd Branwen Davies, Trefnydd Cwmni Theatr Ieuenctid yr Urdd:

“Yn y gorffennol mae sawl un wedi manteisio a mwynhau bod yn rhan o gynyrchiadau’r Theatr Ieuenctid a’r profiad wedi aros yn y cof.

“Rydw i’n edrych ymlaen i gynnig profiadau cyffrous ac amhrisiadwy i bobl ifanc sydd â diddordeb neu yn chwilfrydig am bob agwedd o’r theatr – perfformio, cynllunio, rheoli llwyfan – mae rhywbeth i bawb. Rydw i’n awyddus i roi cyfle i bobl ifanc sydd ddim wedi cael profiad blaenorol ond sydd a diddordeb ac sydd a rhywbeth i gynnig ac a fydd yn buddio o’r cyfle. Mi fydd cydweithio â phobl ifanc o wahanol ardaloedd o Gymru dan arweiniad arbenigwyr cyffroes ym myd y theatr yn ymestyn gorwelion, magu hyder, agor meddyliau yn her ond hefyd yn hwyl!”

Mae Cwmni Theatr Ieuenctid yr Urdd wedi meithrin a dylanwadu talent ar hyd y celfyddydau ers yr 1970au.  Dros y blynyddoedd mae’r Cwmni wedi creu portffolio cryf o gynyrchiadau llwyfan gwreiddiol, gan gynnwys Y Brenin Arthur, Jwdas Iscariot, a’r Opera Pishyn Tair. Ers yr 1970au mae’r Cwmni wedi cynnig cyfleon amhrisiadwy i filoedd o Gymry ifanc ar draws y wlad, ac wedi bod yn lwyfan cychwynnol cadarn i rai o enwau disglair y celfyddydau heddiw. 

Dywedodd Sian Eirian, Cyfarwyddwr Eisteddfod a Chelfyddydau’r Urdd:

“Braint o’r mwyaf yw cael cyhoeddi penodiad Branwen Davies yn Drefnydd Cwmni Theatr Ieuenctid yr Urdd.  Mae’r canmlwyddiant wedi bod yn flwyddyn hynod o gyffrous i’r Urdd wrth i ni ddathlu ein hanes a’n gwreiddiau, ond mae hefyd yn gyfle i fachu cyfleoedd newydd i’n pobl ifanc yn yr iaith Gymraeg i’r dyfodol.  

“Dros y blynyddoedd mae Cwmni Theatr Ieuenctid yr Urdd wedi meithrin sgiliau, dylanwadu a chreu sylfaen gadarn i filoedd o bobl ifanc – gyda sawl enw yn llwyddo i greu gyrfa lwyddiannus ym myd y theatr.   Ar ran yr Urdd mae’n fraint gennyf ail-lansio’r Cwmni Theatr Ieuenctid ac rwy’n edrych ymlaen i weld Y Cwmni yn tyfu dan arweiniad Branwen. 

“Daw Branwen â chyfoeth o brofiad i’r Cwmni.  Mae enw a thalent Branwen yn nodedig ym myd y celfyddydau, ac mae ganddi brofiad helaeth o weithio hefo Theatr Genedlaethol Cymru, Cwmni Dawns Cenedlaethol Cymru, ac yn fwyaf diweddar fel Rheolwr Llenyddol Theatr y Sherman.  Mae hi hefyd wedi darlithio yn y maes mewn Prifysgolion ar draws y wlad.  Gwn y bydd Branwen yn creu cyfleon anhygoel ymhob agwedd o fyd y theatr i aelodau Y Cwmni, ac felly rwy’n annog pob person sydd rhwng 16-25 oed i gofrestru eu diddordeb ac ymuno â ni.

“Hoffwn hefyd ddiolch i Lywodraeth Cymru am eu cefnogaeth ariannol o £1 miliwn dros gyfnod o bum mlynedd sydd wedi ein galluogi i wireddu’r freuddwyd o ail-sefydlu Cwmni Theatr Ieuenctid yr Urdd.”

Musical, Theatre

REVIEW The Osmonds: A New Musical, New Theatre by Barbara Hughes-Moore

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For The Osmonds, family isn’t just important: it’s everything.Hailing from a small town in Utah, they shot to the stratosphere during their tenure on The Andy Williams Show in the 1960s and have kept climbing the charts ever since. Having sold over 100 million records, The Osmonds became household names, known for their clean-cut image and teen idol status – and now, Jay Osmond himself is bringing their story to the stage in a brand new musical which is currently touring across the UK.

Directed by Shaun Kerrison and choreographed by Olivier Award-winning Bill Deamer, this “living memoir” charts the rise and fall (and rise again) of the legendary all-singing, all-dancing supergroup. Written and produced by Jay Osmond, who not only played drums in the band but co-wrote and choreographed many of their songs, the musical crams 50+ years and 30+ megahits in just over 2 hours. It’s a nostalgic, whirlwind tour through some of the most memorable tracks of the 60s and 70s, from Puppy Love to Crazy Horses.

Mentored by Walt Disney, Chuck Norris, and Elvis Presley, the Osmonds were finding their feet in the industry at the same time that they were finding their feet as young men. As the Osmonds’ brood grew so did the Osmonds brand, with youngsters Donny, Marie and Jimmy embarking on their own successful solo careers. While family was paramount to them,it wasn’t always easy, as we see from George Osmond’s (Charlie Allen) militaristic parenting style. In a clever twist, the Osmond brothers and their younger counterparts often share the stage here, with the older incarnations of the characters looking back on pivotal moments in their youth and – in one of the show’s most effective and affecting scenes – actually perform a song with their younger selves.

The cast is superb across the board. As Jay Osmond, theincredible Alex Lodge leads the ensemble with aplomb, breaking the fourth wall and bringing the audience in on the jokes and the dance routines. It’s clear that the cast share just as special a bond as the Osmonds themselves: Henry Firth as Wayne (stepping in for Danny Nattrass), Tristan Whincup as Donny (stepping in for Joseph Peacock), Ryan Anderson as Merrill, and Jamie Chatterton as Alan, all bring energy, verve and style to their performance of Let Me In, One Bad Apple, and Yo-Yo. While the set (though eye-catching) could maybe benefit from little more inventiveness, and the pacing could be stronger in parts, the stellar performances make this an absolute must-see.

Georgia Lennon lends a little bit of country to Marie Osmond’s ballad Paper Roses while Lyle Wren performs a hilarious version of Jimmy Osmond’s novelty hit Long Haired Lover From Liverpool. Huge kudos must go to the supremely talented actors playing the young Osmonds: Nicolas Teixeira, Oliver Forde, Jack Sherran, Louis Stow, and Lonan Johnson.Their pitch-perfect harmonies are absolutely sublime, and theduet getween young Donny (Teixiera) and Andy Williams (Dance Captain Matt Ives, stepping in for Alex Cardall) was an adorable highlight. (Ives also plays about twenty other characters, all equally distinct and all equally brilliant).

The sincerity of the Osmonds has always been a key part of their appeal – “we call them friends, not fans”, Jay says – and his decision to premiere the show in the UK was inspired in no small part due to the Osmond-mania that met them in Blighty, with admirers climbing up flagpoles and abseiling down hotels just to get a glimpse of the brothers. And on this particular leg of their UK tour, disaster struck when due to sickness/injury, they happened to be nine cast members down on the opening night of their Welsh premiere (even Jamie Chatterton, who plays Alan, had to be cleared by physio to perform due to an injury). So they had to make a hard decision: cancel the show, perform it as a concert, or put on the show with a reduced cast. The decided that the show must go on – and I’m thrilled that they did, because they gave the performance of a lifetime. If you want to Love Them For A Reason, you couldn’t have a better one.

The Osmonds: A New Musical is playing at the New Theatre Cardiff from Tue 4 October – Sat 8 October