Theatre in Wales

Plays and dance productions in Wales since 1982...

Heledd Bianchi

 

We have information on 5 plays by Heledd Bianchi . Click on the play name to access any reviews in out archive. Click on the company's name to read their details on this web site

 

Bi-ling Burlesque First presented in 2007
by Theatr Bwcibo

synopsis:
“Bi-ling Burlesque” (a play on the word Bilingual) will bring an entertaining and colourful bilingual show in the spirit of Burlesque as it was in its heyday. There will be dancing, singing, and a poking of fun at a number of familiar institutions and organisations which exist in Wales.


Gan ddilyn ysbryd yr hen sioeau ‘Burlesque’, bydd perfformiad Theatr Bwci Bo “Bi-ling-Burlesque” yn weledol a lliwgar, yn defnyddio artistiaid profiadol a dawnus, ac yn cynnwys canu, dawnsio, sgetshis doniol a dychanol.

Night Chronicles First presented in 2005
by Theatr Bwcibo

synopsis:
“As we sleep the dream warrior and goddess, Hecate comes to us and uses her magical powers to awaken our souls and sharpen our senses. “

Karl Jung believed a dream content uses symbolic language. He proposed that a dream expresses collective racial unconscious memories and instincts shared by all people. These are basic ideas that are themselves symbols. These include the hero, monster, mother, father, mandala, sacrifice and the mask.

Jung also believed that dreams, when correctly interpreted could accurately predict the success or failure in the way that mankind succeeds or fails in life

Sigmund Freud believed that dreams worked on two levels. A straight-forward level showed events in dreams as remembered. However, in the latent level objects and actions dreams symbolize sexual and aggressive feelings and ideas that are repressed.

The Babylonians divided dreams into two categories. They believed good dreams were sent by the Gods and bad dreams were sent by demons.

The Egyptians believed that the Gods showed themselves in dreams.

Many North American Indian tribes believed that dreams revealed the hidden wishes of the soul.

In a fast moving  technological, society in which mankind is swept along like a hurricane, most people  are increasingly beginning to feel that  they don’t have the time or enough self confidence  anymore  to rely on their intuitive  instincts or individual aptitude when making  decisions. People rely more on other people they term as “experts” to make decisions for
them, e.g self help groups, counsellors, politicians. It follows therefore that (taking it to the extreme) such “nannying” might pose a threat to that “shared collective racial unconscious memories” which Jung suggests we share as human beings and we are all destined therefore to live like “lost souls” in a world such as George Orwell prophesised in his novel “1984”

Night Chronicles, through Cabaret, elements of Greek Theatre and Theatre of The Absurd will take us into the realms of dreamtime where Hecate, the Goddess of dreams nets this “shared collective racial unconscious memories”. In Hecate’s kingdom there are no boundaries and all souls awake.

This one-woman show, performed by Heledd Bianchi will appeal to a wide audience as it deals with themes which are timeless and universal, i.e where the forces of darkenss and light and good and evil battle against each other. But who will win?

Catrin Glyndwr First presented in 2004
by Theatr Bwcibo

synopsis:
Written and performed by Heledd Bianchi

English adaptation by Diana Bianchi

Directed by Huw Garmon


A one woman show available in both English and Welsh which relates the story of Catrin, Owain Glynd?r's daughter who was imprisoned in the Tower of London and died there with her children and Glynd?r's wife. Catrin's children, through her marriage to Edward Mortimer, were potential heirs to the throne of England. They are buried in St Swithin's Church in London.

The year is 1409 and Catrin Glynd?r, her mother and children are incarcerated in the Tower Of London. Owain Glynd?r’s turbulent revolt is at an end and Catrin’s anxiety, aspirations and overwhelming love for a family and country bring her to the very brink of madness.

Through dramatic scenes, music and dance, Heledd Bianchi relates the story of Catrin Glynd?r, who  lived and died during one of the most turbulent periods in Welsh history.

In 1405, Owain's son Gruffydd had been taken as a prisoner to the very same place and had perished there. There are no records to show where he was buried. In 1409 Catrin, her children and her mother suffered the same fate. There was no chance that they would ever be freed for the reason that her sons through her marriage to Edward Mortimer were in line to the English throne. However, in their case, records show that they were buried in the cemetery of St Swithin's Church, London. Unfortunately the church was burned to the ground during the Great Fire of London in 1665, and during the Second World War, the second church which was built after 1665 was also destroyed.

At one time there were plans afoot to develop office blocks on the site, however after much campaigning by Welsh people, plans were dropped, and today a memorial stone has been erected to commemorate Catrin, her children and her mother. The memorial is also dedicated to women and children all over the world who are the victims of violence and war.

Most people have some knowledge about Owain Glynd?r, but hardly anyone knows, or has even heard of Catrin because historical information about her life is very sketchy .

In this one woman show, Heledd Bianchi brings the character to life so that we can learn something about Catrin as a woman who was born into one of the most important periods of Welsh history, as daughter to one of the most important Welsh Rulers and as a mother, who because of who she was died at the hands of an English king.

This show is timely for it can be viewed both in an historical as well as a contemporary context in as much it portrays the suffering and oppression of women and children all over the world during war and conflict. This show will appeal to a wide audience, and especially targets GCSE and A Level students.


CATRIN GLYNDWR REVIEWS

The year is 2004. We are in a former chapel in Machynlleth, a few weeks before the celebrations to mark the sexcentenary of Owain Glynd?r's Parliament. A woman in mediaeval costume takes the stage - and holds our attention for 80 minutes, helped by nothing more than simple but dramatic lighting and some arresting sound-effects.
Heledd Bianchi is the actress, interpreting her own script about Glynd?r's daughter, Catrin. The powerful English aristocrat Edmund Mortimer was captured by the Welsh in June 1402; five months later he married Catrin.

This was a valuable alliance for Glynd?r and posed a considerable challenge to King Henry IV and his Lancastrian dynasty.

But Catrin paid dearly for being a pawn in this brutal power-struggle.

When Edmund died during the siege of Harlech, his wife and children were taken to the Tower of London
where they died in mysterious circumstances in 1413.

From the confines of her cell, Catrin looks back over the peaks and troughs of her eventful life. To convey these images and emotions Heledd Bianchi uses literature ranging from the 6th and 7th centuries through to a song of the women on Greenham Common. This helps to give Catrin's experiences a wider reference
symbolizing inter alia the joys of motherhood and the anguish of war.

Huw Garmon's direction has a Brechtian intensity, which means that this monologue is not for the faint-hearted or the couch-potato. The piece conveys the cruelty and discomfort of the Middle Ages, and shows a woman at the very edge of insanity. Especially effective are the moments when Heledd uses mime to suggest that she is craning at the window of her cell, desperate for sights and sounds from the outside world.

'Catrin Glynd?r' is an important story, forcefully told. It deserves a wide audience and should certainly be considered for treatment on film or television.

Andrew Lambert (Machynlleth)    

“Heledd Bianchi unquestionably performs with a lot of passion and emotion, and wears her Welsh heart on her sleeve.”  (Three Weeks eDaily – on the inside 11th August, 2005)

“A worthy play about Catrin Glynd?r, imprisoned in the Tower of London in 1409 after her father Owain’s uprising against the English. Catrin is passionately portrayed by Heledd Bianchi”
(The Scotsman, Thu 18 Aug, 2005)



‘Sgrifennwyd a Perfformwyd gan Heledd Bianchi

Addasiad Saesneg gan Diana Bianchi

Cyfarwyddwyd gan Huw Garmon


I goffau chwe chan mlynedd ers i Owain Glynd?r gael ei goroni’n Tywysog Cymru a sefydlu y Senedd cyntaf i Gymru yn Machynlleth yn 1404, mae Heledd Bianchi yn cyflwyno sioe un fenyw sy'n adrodd hanes ei deulu ( yn bennaf ei ferch) a gafodd eu carcharu yn Nh?r Llundain yn ystod gwrthryfel Owain Glynd?r yn erbyn Brenin Lloegr. Mae’r sioe ar gael yn y Gymraeg a’r Saesneg

Mae Heledd Bianchi, trwy cameos dramatig, can a dawns yn cyflwyno hanes ei
bywyd fel merch i Owain, ei safle fel menyw yn y gymdeithas a oedd ohoni pryd hynny, ei charchariad, a marwolaeth y teulu yn Nh?r Llundain.

Ym 1409 cafodd gwraig Owain Glynd?r, ei ferch Catrin a’i wyrion eu carcharu yn Nh?r Llundain. Cafodd Gruffydd, ei fab ei garcharu yno ym 1405 a dyna lle bu e farw, ond does dim cofnod o le gafodd e ei gladdu.


Yn achos Catrin a'r gweddill o'i deulu, y mae cofnodion sy'n dweud bod Catrin a'i phlant wedi'u claddu yn eglwys San Swithin yn Llundain. Yn anffodus, cafodd yr eglwys ei ddinistrio yn y Tân Mawr ym 1665, a
dinistriwyd eglwys arall yn yr un lle yn yr Ail Ryfel Byd. Ar un adeg roedd cynlluniau ar y gweill i adeiladu swyddfeydd ar y safle ond ar ol ymgyrchoedd gan nifer o Gymry, achubwyd y tir a heddiw ceir yno colofn
goffa i Catrin, ei mham a'i mherched.


Gwyr pawb rhywbeth am hanes Owain Glynd?r, ond prin ydy'r gwybodaeth sydd gennym am ei deulu .
Y bydd y sioe yn unioni'r cam drwy adrodd yr hanes colledig hwn.

Y mae natur y perfformiad hwn yn cyflawni'r amodau a ymddengys o dan adran amrywioldeb ddiwylliannol a rhyw. Bydd y perfformiad yn cyflwyno Catrin yn

Ferch i Owain Glynd?r, Tywysog Cymru - Sefydlwr y Senedd cyntaf yng
Nghymru.

Fam a welodd ei theulu yn marw o newyn yng ngharchar mwyaf adnabyddus
Lloegr

Fenyw mewn cyfnod lle roedd gwraig yn cael eu thrin fel eiddo'r g?r

Y mae’r sioe yn amserol ac y bydd yn apelio at drawstoriad o bobl yn ein
cymdeithas. Rhodder pwyslais arbennig ar ddatblygu cynulleidfa o d?f yr
ifainc, yn enwedig disgyblion TGAU a LEFEL A.


ADOLYGIADAU CATRIN GLYND?R


Seiliwyd y sioe un ferch hon ar hanes Catrin, merch owain Glynd?r, a gafodd ei charcharu yn Nh?r Llundain yn ystod gwrthryfel Glynd?r yn erbyn Brenin Lloegr.

Llwyddodd Heledd Bianchi i gyfleu hanes Catrin trwy gyfres o ganeuon, dawnsfeydd a chameos dramatig, Fel pawb arall, ychydig a wyddwn am hanes teulu Owain Glynd?r ac roedd gwylio’r perfformiad hwn yn fodd i gael mewnwelediad empathetig iawn. Portreadwyd ei bywyd fel merch i Owain, ei safle fel merch yn y gymdeithas a oedd ohoni bryd hynny, ei charchariad, a marwolaeth y teulu yn effeithiol iawn.

Roedd ôl ymchwilio manwl ar y sgript ac roedd y symud slic o un cameo i'r llall yn gelfydd iawn. Roedd y caneuon yn ychwanegu at y dwyster a'r dawnsio yn cyfleu teimladau Catrin mewn modd cyffrous a theimladwy.

Trueni na fuasai mwy wedi cefnogi’r perfformiad hwn, yn enwedig yn Harlech lle mae cysylltiad mor gryf a dathliad arbennig eleni. Os cewch gyfle i'w weld ewch da chi i chwithau gael dysgu mwy am deulu un o’n harwyr mwyaf ac i fwynhau perfformiad yr actores ddawnus hon.

Janet Mostert
(Athrawes, Ysgol Ardudwy, Harlech)


2004 ydy'r flwyddyn. Di ni mewn hen gapel ym Machynlleth, wythnosau cyn dathliadau 600 mlynedd ers Senedd Owain Glynd?r. Mae merch mewn gwisg
canoloesol yn ymddangos ar y llwyfan - ac mae Heledd Bianchi'n cadw ein
sylw am wythdeg munud, heb fwy na golau syml ond dramatig ac effeithiau
s?n i helpu.

Andrew Lambert (Machynlleth)    


Nid oes llawer o wybodaeth hanesyddol am fywyd Catrin Glynd?r, merch Owain Glynd?r, ond nid yw’r ffaith hon wedi atal Cwmni Bwcibo rhag creu drama gryf, pwerus a diddorol iawn am ei bywyd hi.

Rydym yn ymuno â Chatrin yn Nh?r Llundain, lle mae hi wedi cael ei charcharu ar ddechrau’r pedwerydd ganrif ar ddeg. Monolog yw’r ddrama hon, gyda’r actores Heledd Bianchi yn chwarae Catrin.

Mae hi’n teithio trwy bob emosiwn yn y sioe. Mae hi’n poeni am ei thynged hi ac am ddyfodol ei theulu; mae hi’n rhoi melltith ar y rhai sydd wedi ei charcharu. Mae hi’n crio; mae hi’n gwaeddi; mae hi’n gweddïo. Ond mae hi’n cadw’n bositif am y sefyllfa yng Nghymru – “Nid oes lladd ar ysbryd, rhaid i’r frwydr barhau,” dywed, ac mae hi’n sôn am ‘genedl’ yn hytrach na ‘byddin’.

Mae Heleddd Bianchi yn portreadu hefyd sut mae’r sefyllfa wedi effeithio ar iechyd meddwl Catrin – mae hi’n mynd o dristwch i hapusrwydd yn gyflym iawn; mae hi’n dawnsio ac yn canu o gwmpas y t?r, ac yn chwarae gyda chleddyf hudol dychmygol.

Mae tywyllwch y stwidio ar ddechrau’r sioe yn ychwanegu at yr awyrgylch, yn dangos i ni sut mae’n teimlo i fyw mewn lle mor ofnadwy. Clywir s?n y gwynt yn chwythu, clywir brân yn hedfan ac yn canu, a chlywir lleisiau pobl tu mas i’w carchar.

Ond ar wahân i’r synau hyn a thipyn bach o gerddoriaeth, nid yw’r ddrama yn defnyddio props neu set o gwbwl, ar wahan i bocs a baner Dewi Sant. Yn hytrach, mae lan I Heledd gyfleu popeth. Merch dalentog dros ben yw hi, yn rhoi ei holl i mewn i’r rôl, yn actio gyda phasiwn ac egni – er bod dim ond hanner dwsin o bobl yn y gynulleidfa. Dywedodd hi ar ôl y sioe nad oedd hi’n teimlo’n dda achos ei bod hi’n dioddef o annwyd – hoffwn ei gweld hi ar ei gorau!

Un uchafbwynt y cynhyrchiad yw’r ffordd bod Heledd yn defnyddio llawer o lenyddiaeth Cymraeg. Mae hi’n benthyg geiriau o waith Aneirin ac Iolo Goch, Y Mabinogi a phobol mwy cyfoes fel y bardd Menna Elfyn. Dengys hwn nad yw llawer wedi newid dros y canrifoedd; mae rhyfel dal yn digwydd, mae merched dal yn dioddef, ac mae’r byd dal yn greulon. Ond ymhlith y creulondeb ceir gobaith a chymeriadau ‘inspirational’ a chryf iawn, fel Catrin Glynd?r.

Sioe arloesol iawn yw Catrin Glynd?r o gwmni cyffrous ifanc.

Cathryn Scott – Big Issue

Yr un Cam First presented in 2003
by Theatr Bwcibo

synopsis:
Yr Un Cam
Noson amrywiol o theatr a chabaret yng nghwmni Bwcibo? cwmni theatr
menywod newydd Cymru.
Roedd y perfformiad yn edrych yn ôl ar ddeugain mlynedd o ymgyrchoedd
gwleidyddol â frwydrwyd gan fenywod yng Nghymru.
Roedd dwy ddynes benodol yn sbardun wrth ddatblygu'r ddrama, sef Helen
Thomas a Mary Crofton.
Perfformiwyd Yr Un Cam yn Gwanwyn 2003 yng Nghanolfan Celfyddydau Chapter,
Caerdydd ac yn Theatr Felinfach, Llanbed.
Ffrwyth cydweithrediad rhwng Heledd Bianchi a Diana Bianchi oedd Yr Un
Cam.
Helen Thomas
Cafodd Helen Thomas ei lladd ar Awst 5ed 1989 gan gerbyd cludo ceffylau â
oedd yn cael ei yrru y tu allan i Gomin Greenham gan Heddlu Gorllewin
Canolbarth Lloegr. Pe bai hi wedi byw y basai wedi llwyddo i gael ei
hachos drwy gyfrwng y Gymraeg mewn llys ynadon yn Lloegr ar Awst 18fed.
Mary Crofton
Ganwyd Mary Crofton yn Limerig, Iwerddon ond treuliodd y rhan fwyaf o?i
bywyd yng Nghasnewydd, Gwent. Daeth yn enwog  led-led y wlad ac yn
Iwerddon am ei ymgyrchoedd gwleidyddol.Bu farw ym 2001 yn 82 oed.Yr oedd
ei hangladd yn achlysur pwysig iawn i?r gymuned Wyddelig yn Ne Ddwyrain
Cymru. Daeth torf fawr o bobl i?w hebrwng yn Eglwys Catholig y Santes Fair
yn Snowhill .Yn yr wythnos â chynhaliwyd ar ôl y hebrwng bu nifer o bobl
yn talu eu teyrnged i Mary.Ymhlith y siaradwyr â gwadd, yr oedd Arthur
Scargill, cyn-arweinydd y Glowyr.
Sgriptiwyd a Perfformiwyd gan Heledd Bianchi
Trefnydd / Cyfeiliant Piano gan Christopher Grech
Offerynnol ? Richard Johnson
Goleuo / Sain ? Daniel Young
Gweithredwr Taflunydd Fideo - Rhodri Jones
Golygydd Archif - Daniel Broughton
Cyfarwyddwr :Diana Bianchi
Cynhyrchwyr : Diana Bianchi / Heledd Bianchi
Cerddi
Y Wén, Er Enghraifft Helen Thomas,
Bloeddier I Bobloedd Y Byd, Ar Drén : Menna Elfyn

The One Road First presented in 2003
by Theatr Bwcibo

synopsis:
A night of theatre and cabaret in the company of Bwcibo? Wales?s new women
?s theatre company.

This performance looked at the political struggles of women in Wales over
the past forty years.


The show is a celebration in memory of Helen Thomas and Mary Crofton - two
women who were at the leading edge of political initiatives in Wales.


The One Road was performed at Chapter Arts Centre, Cardiff and Theatr
Felinfach, Lampeter in spring 2003.


The production was the outcome of a collaboration between Heledd Bianchi
and Diana Bianchi.

Helen Thomas

Helen Thomas was killed on 5th August, 1989. She was knocked down outside
Greenham Common by a vehicle transporting horses that was driven by West
Midlands Police. If she had lived, she would have succeeded in having her
case heard in Welsh in a Magistrate's Court in England on 18th August.


Mary Crofton

Although she was born in Limerick, Ireland, Mary Crofton lived most of her
life in Newport, Gwent. She became well-known throughout the land and in
Ireland for her political campainging. She died in 2001 at 82 years of
age. Her funeral was an important event for the Irish community in south
east Wales. A large crowd of people attended at St Mary's Catholic Church
at Snowhill. In the following week, a number of people paid tributes to
her. Amongst the speakers was Arthur Scargill, former miners' leader.

Written and performed by Heledd Bianchi

Piano Accompanist / Arranger ? Christopher Grech

Instrumental ? Richard Johnson
Lighting / Sound ? Daniel Young
Video Projectionist ? Rhodri Jones
Archive Editor ? Daniel Broughton


Director ? Diana Bianchi
Producers ? Diana Bianchi / Heledd Bianchi

Poems - The Smile, For Example ? Helen Thomas,
Let The World?s Peoples Shout, On A Train ? Menna Elfyn

Special thanks to Mrs Janet Thomas and family, Mary Millington, Wendy
Lewis, Ray Davies, Côr Cochion Caerdydd, Rhiannon Bianchi, Mary Simmonds,
Bethan Simmonds, James Tyson and staff at Chapter Arts Centre, Saville
Audio Visual, Soundworks, Integrated Graphics







Yr Un Cam

Noson amrywiol o theatr a chabaret yng nghwmni Bwcibo? cwmni theatr
menywod newydd Cymru.


Roedd y perfformiad yn edrych yn ôl ar ddeugain mlynedd o ymgyrchoedd
gwleidyddol â frwydrwyd gan fenywod yng Nghymru.


Roedd dwy ddynes benodol yn sbardun wrth ddatblygu'r ddrama, sef Helen
Thomas a Mary Crofton.


Perfformiwyd Yr Un Cam yn Gwanwyn 2003 yng Nghanolfan Celfyddydau Chapter,
Caerdydd ac yn Theatr Felinfach, Llanbed.


Ffrwyth cydweithrediad rhwng Heledd Bianchi a Diana Bianchi oedd Yr Un
Cam.

Helen Thomas

Cafodd Helen Thomas ei lladd ar Awst 5ed 1989 gan gerbyd cludo ceffylau â
oedd yn cael ei yrru y tu allan i Gomin Greenham gan Heddlu Gorllewin
Canolbarth Lloegr. Pe bai hi wedi byw y basai wedi llwyddo i gael ei
hachos drwy gyfrwng y Gymraeg mewn llys ynadon yn Lloegr ar Awst 18fed.


Mary Crofton

Ganwyd Mary Crofton yn Limerig, Iwerddon ond treuliodd y rhan fwyaf o?i
bywyd yng Nghasnewydd, Gwent. Daeth yn enwog  led-led y wlad ac yn
Iwerddon am ei ymgyrchoedd gwleidyddol.Bu farw ym 2001 yn 82 oed.Yr oedd
ei hangladd yn achlysur pwysig iawn i?r gymuned Wyddelig yn Ne Ddwyrain
Cymru. Daeth torf fawr o bobl i?w hebrwng yn Eglwys Catholig y Santes Fair
yn Snowhill .Yn yr wythnos â chynhaliwyd ar ôl y hebrwng bu nifer o bobl
yn talu eu teyrnged i Mary.Ymhlith y siaradwyr â gwadd, yr oedd Arthur
Scargill, cyn-arweinydd y Glowyr.

Sgriptiwyd a Perfformiwyd gan Heledd Bianchi

Trefnydd / Cyfeiliant Piano gan Christopher Grech

Offerynnol ? Richard Johnson
Goleuo / Sain ? Daniel Young
Gweithredwr Taflunydd Fideo ? Rhodri Jones
Golygydd Archif ? Daniel Broughton


Cyfarwyddwr ? Diana Bianchi
Cynhyrchwyr ? Diana Bianchi / Heledd Bianchi


Cerddi

Y Wén, Er Enghraifft? Helen Thomas,
Bloeddier I Bobloedd Y Byd, Ar Drén ? Menna Elfyn



Diolch mawr i Mrs Janet Thomas a?r teulu, Mary Millington, Wendy Lewis,
Ray Davies, Côr Cochion Caerdydd, Rhiannon Bianchi, Mary Simmonds, Bethan
Simmonds, James Tyson ac aelodau staff Chapter, Saville Audio Visual,
Soundworks, Integrated Graphics

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