Tag Archives: S4C

Series Review, Cleddau, S4C, by Gareth Williams

December 1, 2024 Gareth Williams Leave a comment

(3 / 5)

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.

Film & TV

Review, Creisis, S4C, by Gareth Williams

May 4, 2024 Gareth Williams Leave a comment

(4 / 5)

I can think of many television dramas which feature mental health as a theme or part of a storyline. But to have it at its core makes Creisis a rarity. The facts which appear at the end suggest that it’s grounded in real-world evidence. The complexity of the protagonist Jamie’s journey over the course of six episodes points to a verisimilitude that takes no shortcuts. This is public service broadcasting at its most powerful and important: informing and educating through entertainment to shed light on an experience in an authentic and engaging way.

Gwydion Rhys embodies his leading role with a stereotypical form of masculinity in which cracks are slowly exposed and the façade gradually crumbles. He confidently addresses the camera in a gracious nod to Anfamol in the opening episodes. But these become few and far between as he turns from explanatory narrator into observed patient. The subtlety with which the audience gaze changes to focus more intensely on his own mind forms part of the potency which gives Creisis its cutting edge. And as it does, the line between imagination and reality, truth and fiction, becomes cleverly blurred. Before this, there is a gradual but increasingly noticeable descent, with clear effects on his family, neighbours and colleagues. The glass shards which disseminate his body in the title sequence come to be prescient in more ways than one. This really is an examination of the ailing mind.

Wife Janette is clearly long-suffering but also devoted. Sara Gregory plays her with strong will entwined with compassion. Line manager Huw (Arwel Gruffydd) is mixed with similar: a serious exterior masking a soft inner soul. There is overwhelming concern from all his fellow staff members which dissipate their quirky mannerisms once Jamie is brought into the Mental Health Unit not as an equal but under their care. Head of Service Natalie (Hannah Daniel) is the only one who is close to being a two-dimensional character. Daniel displays a villainous intent that contributes to Jamie’s state of mind to the extent that she almost becomes a caricature. Even best friend Barry, who is not quite what he seems, is granted emotional versatility by Alex Harries in order to illicit both sympathy and anger from the viewer. Meanwhile, Melvyn and Mary offer light relief through their sweet relationship marked tragically by dementia. Wayne Cater and Rhian Morgan may be part of a subplot but contribute beautifully to the whole with performances that are suitably ordinary and, as a result, wonderfully apt.

What seems to drive Jamie is a desire to fix things, including people. He is chaotic, innovative, reckless and passionate in his attempts. But in the end, he must acknowledge that he is broken himself, in part because he believes that he could and should have fixed another. Grief is both the cause and effect here, revealed in such myriad ways within the context of everyday lives that it touches on some form of accuracy. Not that experience can be boiled down. But in the individual story lies something of the universal. This is what Creisis seeks to capture, and it does so rather well. Mental illness is taken seriously and is never curbed by expectation. Including in its finale, when instead of the usual heartwarming finish, it introduces an open-ended curveball that continues its commitment to realism.

There is much to learn and appreciate here. Creisis demonstrates the art of skilful and well-researched writing to make this one of the best explorations of mental illness in modern television.

Click here to watch the series on BBC iPlayer.

Film & TV

Review, Pren ar y Bryn/Tree on a Hill, S4C/BBC Wales, by Gareth Williams

April 20, 2024 Gareth Williams 1 Comment

(4 / 5)

“Hell’s Bells” is the phrase that sticks from Pren ar y Bryn / Tree on a Hill. “Bingo” too. Both are utterances of Clive, a quirky character, played by Rhodri Meilir, who is representative of this offbeat drama. Filmed in Welsh and English, the former went out on S4C around Christmas whilst the latter appeared on BBC Wales from Easter. And though both are fairly similar, there is something about Cymraeg that offers an eccentricity not quite matched in its Saesneg counterpart.

Right from the start, the programme is off-piste. The presence of a model village is symbolic of a dream-like quality that permeates into the lives of Penwyllt’s real-life inhabitants. The brass and percussion instruments of the soundtrack, resembling arhythmic, improvised jazz, add to its oddness with their chaos. It is at once tragic and comic – a duality that runs through the series like a winding river. The titles are reminiscent of a B-movie; and indeed, complete with the music and faded colour palette, could have easily come from the 1950s. The addition of a rather outlandish murder plot and several strange occurrences mean that, in some ways, Pren ar y Bryn / Tree on a Hill is quite unique in the contemporary TV landscape.

It would be no surprise to find The Singing Detective as an influence upon the creators of this drama. It is certainly very different to the more serious and sombre work of producer Ed Thomas (Hinterland, Bregus). Here, he takes the elements of a classic whodunnit and turns them inside out. He borrows from the absurd of sitcom, the emotion of kitchen sink drama, the aesthetic of arthouse film, and even a little from the genre of horror, to create not just a narrative but a whole world that is strange and surprising, silly and sinister. Meilir, for his part, brings a wide-eyed innocence to his role. Deadpan, emotionally understated, yet physically expressive alongside Nia Roberts, who is beautifully awkward as his wife Margaret. Richard Harrington is perhaps the only straight-talking member of the cast as Glyn, the catalyst on which this fabulous yarn unravels. Yet even he is used in a subtle exploration of mental illness that comes to define most of the characters here. Themes of loneliness and change and liberation all feature in a drama that is both brilliantly barmy but with surprising emotional depth. A dead body in a basement freezer is the best description (without giving too much away) of its sliding scale between the ordinary and surreal.

Watch Enid a Lucy, Dal y Mellt and Y Sŵn, even The Way, and you will find a penchant for the off-kilter, ironic, and darkly comic in Welsh drama. The spectral and otherworldly nature of realist pieces like Parch, Yr Amgueddfa and Gwledd also feel very representative of a certain aesthetic that continues into Pren ar y Bryn / Tree on a Hill. Such ingredients somehow work better when the Welsh language is weaved into them – something in its rhythm and pace and tone that differs from the English; that contains a sense of mystery and magic that forms part of the nation’s identity. In which case Pren ar y Bryn is recommended as the preferred watch. Though Tree on a Hill doesn’t miss out on so much that it can’t be just as enthralling.

Click here to watch either series (Welsh or English) on BBC iPlayer.

Film & TV

Series Review, Bariau, S4C by Gareth Williams

February 17, 2024 Gareth Williams Leave a comment

(4 / 5)

Bariau is the latest series to enter the realm of prison drama. With Time and Screw already making a mark in their respective ways, it is the turn of S4C to put a Welsh spin on the subgenre. Bariau follows the blueprint of the other two insofar as real-life stories inform the onscreen narratives. Verisimilitude is in vogue when portraying life behind bars these days. But while Bariau does not shy away from the dark realities, its soap-like presentation makes for palatable viewing.

The casting of Adam Woodward (Hollyoaks, Emmerdale) as Kit Brennan ensures that Bariau entertains popular appeal. He brings a slight melodramatic edge to this central villain, making him at once genuinely terrifying and ludicrously arrogant. He arrives with a real swagger, and fast becomes the controller of a wing that features a great cast of misfits. Glyn Pritchard is particularly good as the religiously-devout Peter, whose overbearing mother and anger management issues give some kind of insight into his incarceration. The focal point is Hardy however, played with a fascinating aloofness by Gwion Tegid. An air of mystery continues to surround him even as he becomes embroiled in the powerplay and blackmail of life in the cells. He gets dragged into Brennan’s world largely against his will, performing tasks with deadened emotion. He is intriguing to watch.

The relationship between George Lyle (Bill Skinner) and prison guard Elin (Annes Elwy) is fatefully believable. Brennan threatens them both with exposure unless they enact his plan, inevitably involving drugs. The way tension is built up by the searing music is nicely done (though a little too overbearing in episode five), especially in the final episode, where things come to a head in dramatic fashion. Not edge-of-the-seat thriller but still an enjoyable twist or two to keep glued to the screen. The bilingual nature of the show also adds a touch of finesse which plays into the reality of Wales’ prisons. It means overall that Bariau falls somewhere between Time’s grittiness and Screw’s humour: late-night soap opera, if you will, meant not as an insult but very much a compliment.

Watch the full series on BBC iPlayer here.

Film & TV

Series Review, Anfamol, S4C, by Gareth Williams

October 21, 2023 Gareth Williams Leave a comment

(4 / 5)

A Welsh adaptation of Fleabag seems quite superfluous in the face of Anfamol’s success. For this is a production that takes the best of Phoebe Waller-Bridge’s comedy and turns it into something original. First conceived as a stage play, the critical acclaim which it received has seen Rhiannon Boyle now adapt it for the screen. She has taken the frank, witty, dark and direct elements of her monologue and traversed them into a script that is punchy and pointed, hilarious and harrowing. The result is a five-part series that injects S4C’s schedule with something that is vivaciously fresh. Boundary-pushing at its best.

Bethan Ellis-Owen reprises her role as Ani, a forty-something single woman looking to become a mother on her own terms. Ellis-Owen brings a subtle sharpness to her emotions; able to portray dogged determination and inner brokenness with apposite aplomb. Her knowing side-looks to camera borrow unashamedly from Waller-Bridge; while the addition of fantasy sequences, particularly with exotic sperm donor Estevez, offer the kind of quirky aside that feels distinctly Welsh. (Think Parch or Enid a Lucy). There is a dark side to such visions however. For alongside the comic that, in part, comes from its overtness to sex and unabashed portrayal of the fertility process is the devastating effects of postnatal depression and the exacting reality of life as a single mum. Ellis-Owen manages to navigate these emotional shifts with ease; and in doing so, presents to us a character that is highly empathetic, and authentic in every way.

She is joined by a stellar support cast, of which Sara Gregory is the most prevalent. Playing Nia, a kind of nemesis to Ani, Gregory brings a chic strength to her character that cleverly masks a hidden life of sadness and despair. While publicly portraying herself as “Blueprint Mother” online, privately, Nia is struggling. Her birth-plan goes out the window; her marriage is distant, husband absent; and when Ani trolls her online, her success as an online blogger is left in tatters. But along with Ani’s seemingly perfect sister (played by Lowri Gwynne), the drama comes to a point where perfection is extinguished as a myth and vulnerability is celebrated in all its f***ed-up glory. Sticking two fingers up to the chauvinistic, infantile male sex at the same time, it becomes a powerful and thought-provoking piece on feminism, motherhood and mental health in the present age.

Anfamol continues S4C’s excellent batch of female-led dramas whilst offering something very different to what has come before. And though it may feel derivative of Fleabag, it is by no means a copy of it. It has its own distinct subject matter and significant narrative to tell.

Click here to watch the series.

Film & TV

Review, Y Sŵn, a Swnllyd/Joio/S4C film, by Gareth Williams

March 16, 2023 Gareth Williams Leave a comment

(4 / 5)

What a fascinating film Y Sŵn is. No sooner has its writer, Roger Williams, struck gold with cult horror Y Gwledd than his Midas touch turns to the marking of forty years of S4C with this: a striking production that is as offbeat and realist, telling the story of how the Welsh TV channel came into being. Featuring an all-star cast of Welsh natives who perfectly attune themselves to playing key public figures of the time, it successfully immerses itself in the optimism and rancour of Margaret Thatcher’s first-term as Prime Minister. Full of energy and a bursting palette of colour, it truly marks itself as a distinctly British yet uniquely Welsh film.

The aesthetic right from the get-go resembles that of Killing Eve. In big bold letters, we are introduced to CARDIFF. The year is 1979 and there is a rich seam of colour which paints a positive picture of urban Welsh life. Ceri Samuel (Lily Beau) works at the Welsh Office, taking us into a shiny Mad Men-style series of corridors and meeting rooms where we are also introduced to key players in the civil service and government. The clever contrast between the ebullient colour of the former and monochrome presentation of the latter quickly marks out the heroes and villains of the piece. It also represents the vitality and strength of a nation against a stuffy and outmoded political leadership. Other forms of pop art appear throughout to give the film a slightly off-kilter, comedic edge. This sets it apart from the more fictionalised social realism of films like Pride to become a self-referential melodrama that nevertheless manages to maintain a sense of seriousness in respect of the story it wishes to tell.

The fine balance between dramatic and comedic forms is supremely kept by the onscreen talent. Assisted by the magnificent make-up and wardrobe departments, each character stands at an acute junction between verisimilitude and caricature. Willie Whitelaw is perfectly realised in the bushy eyebrows pinned and preened on Mark Lewis-Jones’ face. Sian Reese-Williams ensures a finely-pouted, drably-accented portrait of a scruffy-haired Iron Lady. Rhodri Meilir could turn up his pristine English act no more as Welsh Secretary, Nicholas Edwards. They play the part of authority figures straight enough to make them believable whilst subtly exaggerating them to undermine the abuse of power which leads to their attempts to back down on a manifesto pledge to establish a Welsh language television channel. In contrast, Carys Eleri plays Ceri’s superior with an effervescent humour that makes her a sympathetic character. Eiry Thomas plays devoted wife Rhiannon with enough emotional heart that belies her stereotypical dress. And Rhodri Evan brings a warm smile and gentle demeanour to troubled protagonist Gwynfor Evans to ensure his battle against the political might of Downing Street and Whitehall is portrayed with sufficient weight so as not to become a trivial matter. This is an important story albeit told in a highly imaginative way.

*Rhodri Evan (Gwynfor Evans) and Sian Reese-Williams (Margaret Thatcher)*

Y Sŵn represents the very best of Welsh filmmaking, in both its content and production. The ending is a surprising yet interesting one, paying homage as well as subverting an oft-derided formula. Its effect is heart-warming, in such a way as to instil a sense of pride in Welsh identity, complete with self-deprecation and humour. It also speaks to the small budget with which it was made, creatively used and referenced in the 4:3 home-movie ratio. You wouldn’t know it though from its professional and glossy finish. Y Sŵn is a real labour of love which stands among the best in contemporary British cinema.

Y Sŵn is showing in selected cinemas throughout March 2023. Click here to find out more.

Film & TV

Review, Dal y Mellt, Episode One, Vox Pictures for S4C, by Gareth Williams

September 30, 2022 Gareth Williams Leave a comment

It could be that Dal y Mellt is S4C’s most ambitious drama to date. Episode one certainly promised much from a series that looks set to deliver. Adapted from the hit novel by Iwan ‘Iwcs’ Roberts, the narrative weaves mystery, comedy and crime seamlessly to create a world that is universally recognisable whilst being inherently Welsh.

The first thing to note is its scope. Dal y Mellt spreads across the country, taking in the busy streets of Cardiff and the beautiful vistas of Gwynedd in between visits to London Euston and Chester. Connections to Ireland via the Holyhead-Dublin ferry will come into play as the series progresses, making this a drama of ambitious scale. We are no longer confined to a narrative centred on small town Wales or even a singular region. Instead, Dal y Mellt combines the best of previous Welsh dramas to extend its reach to the whole of Wales and beyond. It does so not as a gimmick but in keeping with a kind of unspoken contemporary tradition of intimate character portrayals (Keeping Faith; Enid a Lucy), expansive landscape shots (Hinterland; Hidden), and a complex narrative web (Yr Amgueddfa; 35 Diwrnod). The cinematography, with its stylistic shots and trained lighting, ensures that it works by adding a touch of quality that underlines its movielike proportions.

Dubbed “a hoot of a heist”, there are already some familiar tropes that appear in episode one, including plans sprawled out on a table, secret meetings in an art gallery, and a car chase involving the police. What feels so fresh about this context however is that they’re given a Welsh spin. Gronw (Dyfan Roberts) holds down his drawings of a ship’s decks with a cup of tea and other items from his traditional farmhouse kitchen. The National Museum of Wales provides the backdrop to a conversation between wayward lad Carbo (Gwïon Morris Jones) and garage-owning gangster Mici Ffin (Mark Lewis Jones). Carbo drives through country lanes and takes a detour through some very muddy fields to get away from the cops. Each incident is tinged with humour which lightens the mood. The result is a series that is not gothic a la Peaky Blinders or violent like The Sopranos but nevertheless takes some of their ingredients and mixes it with a distinctly Welsh flavour. It means that the characters are all believable, reflective of their particular locations; and the story remains grounded even as the plot becomes more elaborate and outlandish.

*Mici Ffin (Mark Lewis Jones) a Carbo (Gwion Morris Jones)*

The characters of Mici Ffin and Les are worth particular mention from this first episode, Mark Lewis Jones and Graham Land making for an instantly likeable double act whose straight faces only add to their comedic value. The fluffy seats and dice dangling from the rear-view mirror of their Capri conjure up a Del Boy and Rodney type partnership which also expresses a lovable incompetence reminiscent of Horace and Jasper. Their dealings with happy-go-lucky protagonist Carbo are a delight to witness, the cheekiness of his responses toward them making him an affable rogue. Morris Jones brings a dexterity of emotion to the role to create a character of both confidence and vulnerability. It is a combination that wins admiration from the viewing public, no more so than in the final scenes, as we witness his fear and ingenuity play out whilst dangling from a forklift tractor. It indicates to Mici the importance of this lad in the events to come, events which remain very much a mystery at the episode’s end.

The eclectic soundtrack, with its reggae-inspired beats and operatic moments, reflects an expansive taste across genre, location and emotion. It is a drama of dark and light; witty and gritty; familiar yet full of mystery. Dal y Mellt is not easy to categorise, combining as it does various elements, but it definitely looks set to entertain audiences with a narrative full of adventure and intrigue. If Y Golau saw it go off the boil, this looks to be a series that brings S4C’s dramatic output back to something that represents their best.

The first episode will be broadcast on Sunday 2nd October 2022 on S4C at 9pm. You can then watch the full series on BBC iPlayer or S4C Clic.

Get The Chance is a social enterprise based in South Wales, working to create opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. To donate to our work, please click here.

Film & TV

Series Review, Y Golau, S4C by Gareth Williams

June 20, 2022 Gareth Williams 2 Comments

For such a highly-anticipated Welsh drama, Y Golau seemed to run the well-worn tracks of what has become the genre’s favoured train: the psychological thriller. Given its all-star Welsh cast, I expected something much more original and distinctly different from previous Welsh noirs like Hidden and The Pact. As a result, I felt underwhelmed by its decision to present yet another murder mystery, complete with the same familiar tropes as its predecessors. Not that there was anything inherently wrong with the production. It just simply didn’t thrill and engross in quite the way that it might have done had it not been in the guise of similar series that had gone before.

*_{Joanna Scanlan as Sharon (photo by Alistair Heap)}*

The typically rural setting and small-town cast of characters is one thing; but the desolate landscape, solemn music, and gloomy figures present yet another side to Wales that panders to the bleak and pedantic detail of the crime subgenre. Iwan Rheon plays the haunted convict who is released from prison having served a sentence for the murder of the daughter of Joanna Scanlan’s haunted mother. He returns to the town that is still haunted by the events of 18 years previously, his presence disturbing an uneasy peace which is exacerbated further by the re-appearance of Alexandra Roach’s journalist, who is looking for a story. The three of them give ample performances for what are very rare appearances in a Welsh-language outfit. Yet none command the kind of screen presence that has come to be expected of them. In particular, the animated spark that enlivens Scanlan and Roach’s appearance’ in No Offence is largely absent here. Instead, vacant stares obtrude their presentations such that it becomes difficult to make a significant emotional connection to their characters.

It is Ifan Huw Dafydd that gives the best performance here. He strikes a menacing veneer over his character Huw that is justifiably unsettling. It is no surprise that his growing presence onscreen and involvement in the central narrative coincides with the more compelling and intriguing parts of the drama. If anything, the return of his estranged daughter Shelley (played by Rhian Blythe) is the catalyst for the twists and turns that follow in the final two parts of the series. This is where Y Golau becomes gripping in a way that its shortcomings, up until this point, can be forgiven. It enters a similar phase to that of Yr Amgueddfa, whereby its web of disparate characters start to become interconnected, drawing the various strands of the narrative together to create a big grand finale. But whereas Fflur Dafydd manages to maintain interest in the opening episodes in spite of the expositional setting up of the story, Regina Moriarty’s script doesn’t possess the same hooks with which to retain the audience’s attention. The result is a requirement to persevere in order to be rewarded rather than being kept sufficiently entertained throughout.

https://www.youtube.com/watch?v=mMS_jEb5_ag

In the end, Y Golau aims a bit too high. Issues of abuse and power are dealt with admirably. The final episode ensures the series ends strongly. But I expected more from this drama, not least because of the roster of Welsh stars that appear in its cast. Scanlan, Roach, Rheon, Hannah Daniel, Aneirin Hughes and Sian Reese-Williams, all lend it an air of quality that meant expectations were high. To then find a characteristic S4C offering in the mould of an Ed Talfan production that didn’t quite utilise the talent involved left me slightly dissatisfied. As a result, Y Golau lit up the screen but wasn’t a roaring success.

Click here to watch the series on iPlayer.

Film & TV

REVIEW Rybish (S4C) by Barbara Hughes-Moore

May 11, 2022 Barbara Hughes-Moore Leave a comment

Written by Barry ‘Archie’ Jones (Dimbyd, Run Sbit), Rybish (‘Rubbish’) is an s4c/Cwmni Da comedy series which follows the crew of Cefn Cilgwyn, a recycling centre in North Wales. The centre is understaffed and overlooked, but though the team often disagree or fall out, they slowly become a family. The series premiered during the pandemic and was one of the only British series which carried on filming during lockdown. It’s subtle, kind, mischievous, melancholy – and hilarious.

*Clive (Sion Pritchard), king of detritus*

Its characters, and the actors who portray them, are the jewels in its crown. Sion Pritchard plays Clive, site manager and hero of the wasteland. Clive is a beleaguered but gallant leader, and while he might lose patience with his team, he would defend them with his last breath.

Mair Tomos Ifans plays Val, the warden of the waste. Always in her yellow jacket and Wales hat, not a lot impresses her, and I admire that. Dyfed Thomas plays Eurwyn, the sweetest man in the world, innocent yet wise; a gentle soul and healer of broken things. You might remember Dyfed from his iconic turn as Brian Lloyd Jones in the series Siop Siafins.

Rhodri Trefor plays Nigel, a soldier in his dreams, a layabout in his reality – though he soon becomes the kind of person you’d want by your side in battle. And last but not least, Betsan Ceiriog plays Bobbi, a college student searching for direction in life. Ceriog, in her debut tv role, is assured and strong – and I’m sure this is the start of a long and successful career.

Clive, Eurwyn and Nigel are like ancient Welsh figures lost in the modern age: a prince without a kingdom, a bard without an audience, a warrior without a battle. Bobbi is the muse who inspires them all to be their best selves. And Val is the sentry who guards the gate – or a druid, whose ways are mysterious to all save herself. With Bobbi in their lives, they all have something to fight for: she is the hope of future generations.

Writer Jones gets that a comedy’s joy resides in both in the specific and the universal. Rybish examines tradition and innovation, old and new; it finds excitement in the mundane, beauty in the unloved. Ironically, or perhaps fittingly, Rybish never throws anything (or anyone) away.

Series 1 a 2 are on Clic now.

Check out Gareth Williams’ excellent review here

Film & TV

ADOLYGIAD Rybish (S4C) gan Barbara Hughes-Moore

May 11, 2022 Barbara Hughes-Moore Leave a comment

Ysgrifennwyd gan Barry ‘Archie’ Jones (Dimbyd, Run Sbit), mae Rybish ydy cyfres comedi s4c/Cwmni Da sy’n dilyn criw Cefn Cilgwyn, canolfan ailgylchu yn y Gogledd. Mae’r canolfan yn brin o staff ac yn cael ei hanwybyddu, ond er gwaetha nifer o ddadleuon, mae’r criw yn araf yn dod yn deulu. Darlledwch y cyfres cyntaf mewn y pandemig, a Rybish ydy’r un o’r cyfres Brydeinig sy wedi ffilmio yn ystod y clo mawr. Mae’n gynnil, yn garedig, yn ddireidus, yn felangol – ac yn ddoniol iawn.

*Clive (Sion Pritchard), brenin y sbwriel*

Ei gymeriadau, ac yr actorion sy’n chwarae nhw, ydy’r gemau yn y goron. Mae Sion Pritchard yn chwarae Clive, rheolwr safle ac arwr y wastraff. Clive ydy arweinydd dan warchae ond dewr, ac allai golli amynedd gyda’i dîm, fyddai’n eu hamddiffyn â’i anadl olaf.

Mae Mair Tomos yn chwarae Val, warden y wastraff. Wastad mewn siaced melyn a het Cymru, dim lot yn gallu argraffi Val, ac rwy’n edmygu hynny. Dyfed Thomas yn chwarae Eurwyn, y boi melysaf yn y byd, diniwed ond doeth; enaid tyner ac iachawr o bethau toredig. Efallai eich bod yn cofio Dyfed o’i rôl eiconig yn y cyfres Siop Siafins, fel y gymeriad Brian Lloyd Jones.

Rhodri Trefor yn chwarae Nigel, milwr yn ei freuddwydion, lleyg yn ei realiti – er y daw yn fuan y math o berson y byddech chi ei eisiau wrth eich ochr chi mewn brwydr. Ac yn olaf ond nid yn lleiaf, Betsan Ceiriog yn chwarae Bobbi, myfyrwraig coleg sy’n chwilio am cyfeiriad mewn hi fywyd. Ceiriog, mewn rôl teledu gyntaf, yn gryf ac yn dibetrus – a ddwi’n siwr mae hyn yn dechrau gyrfa hir a lwyddianus.

Mae Clive, Eurwyn a Nigel sy fel cymeriadau hynafol Cymraeg, sy ar goll mewn oes modern: tywysog heb deyrnas, bardd heb cynulleidfa, rhyfelwr heb brwydr. Bobbi yw’r awen sy’n eu hysbrydoli i fod ar eu gorau eu hunain. A mae Val yn gwyliwr sy’n gwarchod y gât – neu derwydd, y mae ei ffyrdd yn ddirgelwch i bawb ond iddi. Gyda Bobbi yn eu bywydau, gallant gael rhywbeth newydd i ymladd drosto: hi ydy’r gobaith o genedlaethau’r dyfodol.

Mae’r awdur ‘Archie’ Jones yn ddeall bod llawenydd comedi yn gorwedd mewn y penodol a’r cyffredinol. Mae Rybish yn archwilio traddodiad ac arloesi, yr hen ac y newydd; mae’r sioe yn ffeindio cyffro yn y cyffredin, hardd yn y di-gariad. Yn eironig, neu ‘fallai’n addas, nid yw Rybish byth yn taflu unrhywbeth (neu unrhywun) i ffwrdd.

Gwyliwch Cyfres 1 a chyfres 2 am Clic nawr.

Darllenwch adolygiad gwych Gareth Williams o’r cyfres gyntaf yma

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