In their most recent outing, the Manchester Collective are wowing audiences with Rosewood, featuring Scottish guitarist Sean Shibe. John Cage’s 6 Melodies starts us off with restrictive playing and a strict atmosphere of music making. Highly minimalist, Cage has given the players strict methods of playing and how many notes to be heard also. The concert takes it’s name from David Fennessy, now pluralised to Rosewoods. Inspire by an Italian church in Orkney, this delightful piece bringing the crisp air and stunning landscapes of the islands to life.
Kelly Moran offered up a touching personal note of bereavement and heart break in her Living Again. Some fine cello playing here aside Sean on electric guitar gave soft tones, a very pretty piece and not ashamed to admit it. The traditional piece La Folia, was given a sideways look with a fabulous reimagining from the whole quartet and Sean. Perhaps his arrangement both sums up these players who look back to the past and are still looking forward. Their was a vitality to this outing and they really knocked it out of the park. David Lang’s Killer felt a world away from his softer, modest work. This brazen, brash piece stunned with it’s jolting swipes and strikes, the guitar shining, the strings roaring. Majestic.
Emily Hall and her Potential Space started with Sean playing a violin bow on his electric guitar, something which impressed my plus one. This remained another fine premier, I was quite taken with it’s approach, the string starting off pizzicato and Sean getting many highlights, his talents and hunger for the experimental never wavering. This wonderful night wrapped up with a composer getting the popularity he always deserved: Julius Eastman. His Buddha, sees an egg like formation baked in the sheet music, with some performances lasting two hours. It was a slight affair, though it felt like a highly ambient version of this odd little piece. It never over stayed its welcome and left us highly satisfied with a fabulous night.
This golden concert is continuing proof of the Manchester Collective’s genius. See on tour!
Rosewood continues on tour to Saffron Walden, Nottingham, Leeds, Salford, Liverpool & London.
It’s only fair to take the time to look at these pieces as separate entities as, although as with the popular game we may have all played as teenagers, ‘Truth’ and ‘Dare’ go together hand in hand, these performances also offer the audience two different casts, a variety of plays and writers and a change in creative teams, all which must be applauded in their own right.
This concept has been built on Curtain Up, which was performed in September 2021, in response to the Covid pandemic. This production embraced many freelance artists and this time around, Theatr Clwyd has commissioned ten freelance writers to create ten brand new plays on the theme of ‘Truth’ or ‘Dare.’
Each of these brand-new plays is captioned in Welsh and English with the scripts being a mixture of English language, bi-lingual and Welsh language. It is so refreshing to consistently hear our native tongue throughout, yet it is easy to follow even for a non-Welsh speaker- and would be well suited to those learning Welsh.
We’ll begin with ‘Dare’ (mainly due to this being the first treat for audiences on this particular occasion). ‘Dare’ opens with ‘Barbie Butt’ written by Greg Glover and we go on to witness four other plays- ‘Show Us’ by Kallum Weyman, ‘This Time Next Week’ by Natasha Kaeda, ‘Annwn (Mold Gold)’ by Hannah Daniel and ‘And The Crowd Goes Boom’ by Bethan Marlow. It would be easy to give a summary of each play and choose the best bits but I encourage those reading this to go and experience ‘Truth or Dare’ for themselves as it’s clear that no one performance will be exactly the same each evening- not only dependent on the audience and their reactions but also down to the fact that audiences are encouraged to bring props for the actors to use in each play- changing up the delivery and the outcome of each piece every time! This provides a lot of laughter, not only for the audience but often for those on stage! Props during this evening’s ‘Dare’ range from a tin of Heinz baked beans to a fake, rubber poop! All of the performers must be praised, not only for their character work and scripted sections but also for their improvisation skills whilst dealing with an unknown item being inserted into the play with no prior warning!
‘Dare’ offered up so many laugh out loud moments- highlights being Geraint Rhys Edwards’ as ‘salesperson’ (absolutely hilarious and fantastic comic timing!) and Sara Harris-Davies’ poignant speech at the end of ‘This Time Next Week’- perfectly balanced reflection betwixt the brilliant comedy of the the rest of the piece.
After a slightly longer than usual break (which is a welcome change and chance for the audience to discuss what they have already seen as well as an opportunity to spin the ‘Truth or Dare’ wheel and pick the relevant card- my ‘Truth’ card asks ‘what is your guilty pleasure?!’ What a fun way to introduce some conversation starters to the interval!)
‘Truth’ commences with ‘One Stop Short’ by Alexandria Riley, ‘The Wake’ by Ceri Ashe, ‘Maternity Leave’ by Lucie Lovatt, ‘Bwygan’ by Melangell Dolma and ‘Two Parts Madness, One Part Mayhem’ by Christian Patterson. Where ‘Dare’ provides more laugh out loud moments, ‘Truth’ is more of a balance between sadness, darkness and ridiculousness! We move between themes of loss, bereavement, love and loneliness to the grand finale which certainly lives up to its name and is the icing on the cake! Again, there are lots of stand out moments and performances during ‘Truth’- Mirain Roberts and Lisa Jen Brown as feuding sisters who end up having to recapture a childhood performance from their days in the Eisteddfods at their mother’s wake to Francois Pandolfo as the over-the-top (but not TOO over-the-top!) grieving widow alongside Seren Vickers who just screams Rik Mayall! Again, audience props brought a unique flavour to each play- this time a window squeegee and a toilet roll amongst others!
‘Truth or Dare’ is a wonderfully entertaining evening at the theatre. A unique concept, an extremely talented cast and creative team and filled with moments of contemplation and plenty of giggles!
You can find out more information about the productions and book tickets here
‘Dare’
Cast Ashley Mejri Laura Dalgleish Jake Sawyers Victoria John Kieran Bailey Caitlin Drake Leilah Hughes Hefin Wyn Sara Harris-Davies Geraint Rhys Edwards
Creative Team Director – Francesca Goodridge Associate Director – Daniel Lloyd Company Stage Manager – Cassey Driver Deputy Stage Manager – Martha Davies Prologue Writer – Matthew Bulgo Set & Costume Designer – Millie Lamkin Lighting Designer – David Powell Sound Designer – Ben Morgan Casting Director – Polly Jerrold Producer – Jenny Pearce Production Manager – Jim Davis
‘Truth’
Cast Francois Pandolfo Mirain Roberts Gabin Kongolo Lisa Jen Brown Betsan Llwyd Londiwe Mthembu Elinor Larsson Catherine Morris Oliver Morgan Thomas Seren Vickers
Creative Team Director – Hannah Noone Associate Director – Juliette Manon Company Stage Manager – Alec Reece Deputy Stage Manager – Amy Wildgoose Prologue Writer Matthew Bulgo Set & Costume Designer – Millie Lamkin Lighting Designer – David Powell Sound Designer – Ben Morgan Casting Director – Polly Jerrold Producer – Jenny Pearce Production Manager – Jim Davis
WNO is filled with promise. With new singers emerging from our fine country, the company are on the quest to seek them out and give them the platform they deserve. For this newest recital, Dafydd Allen took the helm in a string concert.
Though programmed as a baritone, an introduction would state he has transposed into a tenor (at least for this programme). A selection of songs by Henri Duparc: Cinq mélodies Op 2, would be of great, evocative appeal and here Dafydd delivers. Though some strain with a few high notes and I assume some recital jitters may have come along, his voice does grab attention. Good acting must come into play for these songs, joy, anger, merriment et al, which continued in the choice of Hugo Wolf songs Mörike-Lieder. The last piece Abschied or Goodbye, has good fun and Dafydd seemed to enjoy himself. Light music from Eric Coates and Ivor Gurney, was sweet and a selection of Welsh songs also proves his native talents. Dafydd has so much to offer, though I do wonder about the singing range he will find himself in and no doubt, any vocal blips can be ironed out. We look forward to seeing more of him with WNO and further afield!
Soprano Isabelle Peters followed with a stunning selection of Debussy with Ariettes Oubliées. This was the real deal, no doubt here time with WNO giving her a lot of support and guidance. Further Richard Strauss and Brahms also thrilled, the German sounding good as well. Her voice just seems effortless in moments, airy and touching. Britten using Robert Burns, Spanish and Irish folk songs also felt like a treat, Isabelle proving see can sing in an array of languages and styles. Even some Rachmaninov at the end with Zdes Khorosho, had a vitality to it. An encore with both singers would be a duet from The Merry Widow, they seemed to have voices which moulded well for this soupy departure.
Hats off to both Dafydd and Isabelle for a lovingly sung recital that proves talent after talent.
There was a very vibrant atmosphere when we walked into the studio to see Es and Flo. The music they put on before it started had quite a Reggae feel and influence, and the set just blew me away. It was so beautifully done, because you could see the home and decor influences of the 80s, but you could tell it wasn’t set in the 80s, it had a bit of a modern feel. The set design by Libby Watson was amazing, in how they thought of every detail. There was a picture of Jamaica above the fridge, they had a kettle that they used many times during the show, and the milk from the fridge, they had wine on the kitchen counter, they had a sofa and a chair which had a mismatched feel and the books that lined the shelves behind them made up the intricate details and gave hints to the characters; they had a lot of travel books and a Spanish dictionary above a Collins English dictionary. They had an older-looking radio that was cleverly used at the start of the play, and the whole piece was very intimate and real, and the start saw Es putting on the kettle for tea, turning the radio on and letting it play something to do with the Conservative Party, and the opening line was ‘F***ing Tories’, which broke the ice in a funny and clever way, while introducing the characters’ beliefs and values.
Another thing that was very cleverly done with the set/ space was between scenes they would show images and sound clips from Greenham Common Women’s Peace Camp, because the characters first met there and they stood up for what they believed in. One of the songs they kept repeating the tune of was Frère Jacques, and the lyrics that they/ the women at the peace camp had sung were ‘we are women, we are strong, we say no, to the bomb’ and I think using that sound was connecting and emotional on another level. They projected these images onto a black curtain just above the stage, and in the second part, after using the projection to transition between scenes, they drew back the curtain to reveal another stage space for a hospital scene, which was so cleverly done because they didn’t have to change any of the set and it was still very much intimate and a slice of their lives.
The general story and the characters were so well created, that you felt emotionally invested in each one of their lives, and you could imagine their stories before, and possibly after, the plane that we were invited into. Even the character who seemed the most judgemental and nastiest character, had changed and you saw the life she had outside of Es and Flo and felt very sorry for her.
One of the best parts of the show was showing a lesbian couple on stage, which I think invited a wider range of audiences, and not being afraid to not just kiss, but ‘snog’ in front of the audience as well! Another part I loved about it, which links to society being judgemental of gay couples in the 1980s was that there were 5 characters in the cast, all women, so we didn’t actually have the perspective of a male character although two were mentioned (Es’s ex-husband and her son, who was Catherine’s husband), which I thought was very clever.
Some of the best shows I have seen have been in ‘small’, intimate spaces, and I think that’s because you really get immersed in the show because it’s so close to you, and you can empathise with the characters a lot more that way.
I really think that I have just witnessed a truly brilliant piece of theatre (and you could too!) that will become very popular, and reach far and wide. Not only did it have a good story, curtesy of the Playwright, Jennifer Lunn but the characters were multi-dimensional, the Director, Susie McKenna had a great vision as well as the set designer, and every other factor contributed to it being an amazing show, so I urge you to hurry down to the Wales Millennium Centre while you still can.
You can find out more about the production and book tickets here
Perhaps overshadowed by later artists, Donatello wows in many ways. The sculptures remain highly polished and from the era of the 15th century being well before his time.
The V&A have take it upon themselves to grace London with a wonderful show of his work, though looking at the details of a lot of the pieces, only so many are officially linked to the master. A majority of work is attributed to him, or from his school, or perhaps later loving tributes, what is actually his remains uncertain. Though his genius is proven in his David, a world away from Michelangelo’s more famous statue. David here is more androgynous, the head of Goliath slumped below him. David stands proudly, his left arm resting confidently on his hip. This was the start of the exhibit and there were many more joys to see.
Of note were the fellow artists around the time of Donatello. A huge head, God the Father by Beltramino de Zuttis da Rho, made from copper gilded and silvered remains a staggering vision. It’s size is imposing and the vivid details are also fascinating, tuffs of hair and beard aside, wrinkles and slightly open lips. How well persevered the marble bust of Donatello’s doctor Doctor Giovanni Chellini by Antonio Rossellino remains. Donatello’s Reliquary bust of San Rossore, is bronze though is a typically gilded site you’d see for a reliquary in a cathedral. It has a remarkable pull to it commanding attention away from the other busts around it.
The Sarcophagus of St Justina from the workshop of Gregorio di Allegretto is a fine example of perspective. With upcycling of this Roman sarcophagus, this was once believed to have been by Donatello and makes the female body match the length of it with feet spread apart and shoulders wide. This marble wonder also sees angels carved upon its side ends were by another craftsmen. Giovanni Pisano also had a fetching marble piece of Virgin and Child: turn to the left of it and both Mary and Jesus gaze at you almost judgementally. Donatello’s milky white marble relics are also staggering. One phenomena sees Mary as if she slammed her nose against the baby Jesus, a vision of true beauty. His bronze statue Attis-Amorino sees the Pan like fella stomping on a snake and gesturing with his fingers also OK signs. This is certainly a real highlight of the show, I saw a few people spend time with it and marvel upon it.
Two angels from a tomb by Michelozoo di Bartolomeo also had a lot going for it, their preservation also note worthy. As you go on a huge horse head, St George, a Crucifix and St Maurelius stunt the viewer as the exhibit continues. These are the show stopper sculptures and perhaps the main reason to come and see this. Even a drawing believed to be my Donatello of a section of The Massacre of the Innocents, sees vidid eye markings and horrible facial expressions.
Though a painting by Giovanni Bellini of Dead Christ supported by two angels is awkwardly place in a corner of a wall where you cant get to take it in, its positioning made it hard work. The immaculate, angular revelation of the Lamentation over Dead Christ by Bartolomeo Bellano also felt way ahead of its time and could have easily been by David Jones. The creases in the shrouds cannot be hyped use enough, I was ecstatic. The last rooms set tributes, influences and even fakes all turning to Donatello as a guide. An arch in the wall makes you look back at the David we started with and we see the Victorians develop a love for this Italian master.
Lovers of sculpture shouldn’t think twice about seeing this show.
Rock of Ages, fit for the stone age or a timeless classic?
The 1980’s is an ideal setting for a jukebox musical. For many it is the heyday of glam metal bands, Styx, Journey and Bon Jovi among others and you can take your pick from any number of power ballads. Would this musical be an excuse for an extended playlist of Metal’s favourite songs or would it have some substance to the story?
It is the storyline that could be a problem. Many in this genre of theatre are fairly artificial and predictable and at first glance Rock of Ages falls into this trap. There are two starlets seeking to make it on Los Angeles’ famous strip who meet and fall in love. In their ups and downs they confront the reality of a rockstar lifestyle and the fate of many young hopefuls who tried to succeed only to see their hopes dashed.
There is however, more to this musical than that. The first act felt stereotypical, but the second blossomed into an unexpected parody. It delighted in poking fun at the characters and breaking expectations. My favourite was where the business tycoon revealed a secret dream of designing formal wear for pets. At times it developed into farce, the aging rocker retiring and opening a llama farm in Mexico where he would teach the llamas to swallow and not spit.
One welcome aspect of the performance was the willingness to break down the fourth wall and relate directly to the audience. Most prominent in this was Kevin Kennedy as Dennis Dupree, a rocker turned sound engineer who narrated the play and sought to turn at least one member of the audience into a groupie. This added to the most welcome comic touch in the second act.
This farewell (at least for the moment) tour is a consummate production as you would expect having come from the West End. The set is dazzling, the choreography energetic and complimented the action really well rather than being an annoying interlude. Pride of place goes to the three piece band who, as well as being fittingly loud, were excellent with plenty of screaming guitar solos and thunderous drum rhythms. To criticise, at times the loudness of the music and the quick pace of the production drowned out the dialogue and lyrics in the songs. This made the production, especially in the first act hard to follow.
Would this musical warrant a comeback tour? Some of the songs were great to hear again and it is good to see a production laugh at its own topic matter. It would also suit the rock scene, where it is not unknown for bands to break up and reform several times, so such a prospect should be welcomed. Going by the strength of the standing ovation at the end, this audience would enjoy a return to the stage in the near future.
Joe Pera: Spring in the Midwest and Rustbelt PT IV – Spring in the UK & Europe
Out of all the comics around today, Joe Pera might just be one of the most unique. His gentle comedy stylings might not be to everyone’s taste, though those that do simply love him. After viral success and a HBO series lasting three seasons, he seems unstoppable. Having not been seen in the U.K. since 2016, his new stand up tour comes with these many triumphs on is shoulders.
It remains the subtlety he brings to his act that makes it so funny. Earnest and frank observations would make him appear twice as old as he looks, perhaps even three times older. His gait, posture, hand gestures and accent might make you feel like you’ve time travelled to the 1950s. He looks like he might fall over, his back slightly bent as if he has done heavy lifting all day. It’s very easy to fall in love with him, he cannot be seen as anything but adorable.
Now, I never expected to be riffing with him during his performance. I was dubbed the guy from Wales and we have many a good back and for, Joe even coming out of character a few times, lost in my remarks and swipes. I have to say I didn’t let myself down, I just embraced the energy of the night, this being a London audience I wanted to let them know they had some Welsh in. Joe admitting his recent comparisons to Jeffrey Dahmer on TikTok seems to loom over him, the image of a densely accented, softly spoken, blonde, glasses wearing man cannot be denied. Welsh water came up for some reason and I also recall a conversation about The Sopranos TV show. What a joy! I blame the wine…
It remains the jolt of the old school with Joe, finding beauty in the simple things in life, the mundane, everyday sort of experiences and encounters. This is a spiritual experience for the soul, the genius of this comedian lies in the pacing, volume control and of course, soft wit.
He cleverly subverted expectations by ending with a fairly filthy and shocking monologue, something I never thought would pass his lips. The love of his United States is always with him, though in his tender own way of expression. We could learn a lot from him out of life.
I do have to wonder what would have been the act more had I not embraced the vibe of the night, Joe seems to work an audience very skilfully. Speaking to him after he seemed delighted in the good ribbing we both gave each other. He said their was a chance he could have performed in Cardiff in a festival, which was an exciting prospect. We hope he can make it to Wales next time.
I award this show 5 stars or as Joe would say himself: “10 OK’s…..”
Many thanks to Soho Theatre for letting me see Joe’s final performance in London.
Joe Pera continues on tour to Bristol, Sheffield, Birmingham, Manchester, Glasgow, Europe & the U.S.
The most wonderful concert occurred at St Martin’s in London. German baritone Benjamin Appl wowed with a fine evening of songs that will remain an unforgettable vision.
Starting with the UK premiere of David Lang’s ‘flower, forget me’, we had a ghostly atmosphere that was heavily inspired by the Schubert we would hear after. Its floral ambiance from all the poems by Wilhelm Müller that Schubert did not use for the latter cycle. It’s all very subtle and typical Lang. Both Appl and Lepper quite subdued for most of it, strange feelings of pain and disappointment predominate. Few notes are played by Lepper, what appears to be over thirty of Schubert songs in quotation form. Appl is soft and smooth here, his English showing very little of an accent. This new work should find it’s place with the now popular Lang party.
Straight into the Schubert with his Die schöne Müllerin, the bulk of the evening. These twenty songs prove the composers mastery over the lieder. The evocative sights are of nature, love and loss remain almost unbearable in their intensity. I was amazed at how brilliant Appl made things, he seems to eat and sleep these songs. I spent little time with the English translation, I simply wanted to watch him and his fine acting as well. It was his adorable little smile, his snarling, his teary turns that got to me. The song Pause, The Huntsman and the finale The Brook’s Lullaby remained as highlights, though numerous passages did also stand out.
This was the real deal in many respects, Appl seemingly taking the baton from singers like Dietrich Fischer Dieskau amongst others. Simon Lepper remains a staggering pianist, who impresses in everything he does. Even a moment lost between the sheets, he was able to find his footing, as Benjamin held a note patiently. The chilly air of the church would give Benjamin his own brief phase of coughing though nothing intruding upon his singing and he kept it well under wraps.
In what might be the most strange and wonderful concert programme seen at Wigmore, Claron McFadden & Alexander Melnikov gave us an education in avant-garde vocalise. What a treasure of an evening, Claron in her solo moments shone, Alexander proving a stunning accompanist as well as piano soloist.
John Cage’s Aria is a quirky few minutes of chattering, squeaking and sneezing. It is amazing for its liberating stance for the singer, even La Traviata gets a reference. A thread of bizarre acapella vocal work would be heard later as well. Prokofiev’s 5 Melodies have some lovely moments for both, though can fall into that mawkish aspect that a vocalise can sometime get trapped into. Though I found moments to be a joy, Claron plunging head first into everything she does. Luciano Berio sees another glorious vocal encounter in the vain of Cage and his gang. There is more scurrying here, hand over mouth vibrations and whispering. It is, as you might think a mighty little thing to hear live.
Berio’s singer wife Cathy Berberian, had her own turn with Stripsody. Here the singer is shown graphic comic panels and asked to deliver the sounds they see on the page. In the same vein as Cage and Berio, you get the idea but understanding the ideas behind these pieces, things which I have a lot of good to say about though some might roll their eyes. The now late Oliver Knussen got a collective of Whitman Settings. Poems from the American writer. Odd, angular piano meets the elaborate line of the verse, Claron really bringing out their best qualities. Perhaps a less interesting part of the night, though I did still find it intriguing.
Schnittke’s Improvisation and Fugue remained an eye bulging encounter. All the right notes were struck here, the series nature of Alexander coming into his own in what feels like a terror of a piece to play, maintaining a swell chromatic scale that remained enticing. A little flutter form Erwin Schulhoff and his Sonata Erotica saw more fun with Claron and Alexander got to pour water into a metal punch bowl mimicking the sound of a man urinating. This felt like another piece from what is the Dada era and left an impact.
George Crumb’s Apparition: Elegiac Songs and Vocalises ended the programme and made for another discovery of the late, great American composer. More Whitman, the plucking of piano strings and an all round sense of the ethereal rang through the piece. The moment when Claron turned to sing right into the piano was simply magic. A difficult piece by some means, though it had a folk like charm and theatrical flare that made me smitten with these two.
Two encores left us well appeased. Please come back!
I wanted to review this production because I was intrigued to see a blockbuster movie translated to a stage in Cardiff as I couldn’t quite imagine it.
The show gets off to an explosive start with our lead character – diminutive superstar Rachel Marron (former Pussycat Doll, Melody Thornton) – on stage belting out a montage of Whitney’s biggest hits and sets the scene for a production full of big voices and big hits that doesn’t disappoint.
The storyline is kept mercifully simple and true to the original film, which I always prefer, and the production is peppered with certain key scenes and memorable dialogue extracts from the film. I really liked the staging – I wasn’t sure how they would convey the opulence of a Hollywood mansion on stage, but it was done subtly and effectively, giving a suggestion of luxury without the need for complex sets. Personally I felt that the lead character’s casual-wear costumes weren’t reflective of what a wealthy superstar would wear – yes it would be casual, but made of luxury fabrics and flattering to her stature rather than the slightly unflattering, asymmetric cardigan reminiscent of ‘lockdown wear’! Frank Farmer (Ayden Callaghan) however, was perfectly attired for the part and his gentle swagger and body language reflected the quiet confidence of the Kevin Costner character well. I have to mention the final scene of the first half. Rachel and Frank are on a date – a scene which brings a bit of humour and realism to the Hollywood bubble, and I thought the staging and lighting for this scene was inspired. As the couple’s relationship moves from animosity to romance – the gritty bar and tipsy onlookers melt away and we are transported with the couple to an evocative, starry wonderland – perfect!
At the interval, both my friend and I agreed that we thought Emily-Mae (playing the sister – Nikki Marron) actually had a voice more suited to Whitney classics than Melody Thornton, who I felt had a more ‘musical theatre’ voice (I didn’t know until after the show, that she had been a pop star in her own right). Emily-Mae’s vocals were very strong and she was very convincing as the talented, overlooked sister living under the shadow of her sister’s fame. In fairness to Melody Thomas, both my friend and I agreed at the end that she had been stronger in the second half and totally nailed the final song – the one that really counts in this production – and lets be honest – anyone that can carry off a Whitney classic has an exceptional range and great vocal control! Judging by their reaction, the rest of the audience certainly agreed.
All in all I really enjoyed the show. For those people (like me) that have some difficulty in relaxing at musical theatre this is the perfect production – part pop-concert, part-play with songs that most people will recognise and are integral to the story. Strong song and dance routines, a humorous interlude, convincing romance and heartbreak and even a heart-stopping surprise, give this production all the ingredients an audience might want for a good night out.
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
(5 / 5)
(4 / 5)
