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Cwmni Theatr Fach – Cymdeithas Dramadig Amatur Dolgellau


1st October 2013




It is with great excitement that I write to you, the morning after Jacki Evans auditioned people for her forthcoming production of 'Jack and the Beanstalk', to be staged at Theatr Fach on 16, 17 and 18 January 2014.

We were pleased to welcome several new people, all of whom will be involved in this production, along with several 'old stagers'. Christine Jones also made a welcome return to our ranks, following her long period of treatment and recuperation. 2014 promises to be a busy and interesting year at Theatr Fach. Following the panto, Ruth Nicholls will be directing an excellent play by Terence Rattigan, entitled 'The Winslow Boy', to be staged at the end of May.

We also anticipate the selection of another play, to be staged in early autumn 2014, more news soon!

Finally, our condolences to Dave Collins (theatre technician) whose dear wife Jenny passed away recently.

Kindest regards to all members, old and new.

Julian Jones


In Theatr Fach on Friday Oct 18th at 7.30 - do come to:


First of all, I should like to thank everyone who took part in and supported the centenary event ‘The Unfurling of my Love’ a year ago, featuring my mother Anne Ridler’s work. It may seem like vanity for me now to propose another centenary event, this time remembering my father Vivian Ridler (1913 –2009); and I wouldn’t do so if I didn’t think the evening would have appeal and be enjoyable in its own right. The planned programme (which will be presented in the theatre itself at 7.30pm on Friday 18th October) will furthermore be totally different from the previous one.

Why ‘Framing the Word in Film and Print’? The last part of the title is the more  obvious. Already as a teenager in Bristol my father (let’s call him VR for short)developed a passion for printing. The lights in the street dimmed when he and a friend, son of a vicar, powered up their first press in the vicarage basement; and after humble beginnings as an apprentice at E. S. and A. Robinson, he went on to run the printing works at Oxford University Press from 1958 to 1978. In this period he oversaw many major projects, including in 1961 the New Testament volume of the New English Bible.

Printing was for VR a hobby as well as a profession, garden sheds at the Oxford home being commandeered for the purpose. There will be a chance in the Club Room interval to look at and handle some of the beautiful pieces of fine printing he achieved under the Perpetua Press imprint, and for his own pleasure. (Home-printed Christmas cards with texts by, or chosen by, Anne were a favourite.) But what about the ‘film’ part of our title? Well, VR’s other great ‘private passion’ was film - not only as a ‘buff’ but also, from the ‘50s onwards, as a highly skilled amateur 8mm film-maker, doing all the storyboarding, directing and editing himself. (The storyboarding literally created a ‘frame,’ with deftly drawn cartoon strip images forming a shooting script.) Much of the Theatr Fach evening will be taken up with digital projections of some of these films including ‘A Voice from the Past’, a ghost story set in and around St Ishmaels in Pembrokeshire. The quality of the Kodachrome cinematography

remains impressive.

An infectious sense of humour was one of VR’s distinguishing characteristics, as can be seen in the alphabet he designed for his eldest daughter as a child (Z for Zany, for example), or the diary he kept while appearing (soon after retirement) in 1980 as an extra in Michael Cimino’s Western ‘Heaven’s Gate’ with John Hurt and Kris Kristofferson. (Oxford was used as a stand-in for Harvard in the 1870s.)

The diary’s title page shows a photo of VR in topper as a Harvard academic, with the subscript ‘The greatest disaster in film history’! (United Artists did indeed go bust.) Extracts from this lively journal (recorded in VR’s immaculate italic script) will be woven into the evening.

Both my parents were enthusiastic supporters of Theatr Fach from its outset, and would be happy to know it still thrives. I do hope many of you will be able to come and join us at TF on the 18th.

Ben Ridler.



Spanning a period of seventeen years, ‘Butterfly in Shades of Blue’ is a romantic comedy-drama which follows Stephen and Vicky when they first meet and then as they fall in and out of love. The play is a bittersweet study of how their relationship changes over the years due to differing aspirations. Their initial high hopes and

idealistic principles, something that many of us harbour in our youth, somehow evaporate in the heat of unbridled ambition, conceit, deceit and the realities of everyday life. The play is in turns very funny and achingly poignant. It will strike a chord with anyone who blames themselves and still regrets the failure of a romantic relationship … other words, most of us.

This play by Ed Penney is on at Theatr Fach on Friday October 25th and Saturday October 26th at 7.30pm and is sure to provide an interesting evening. Tickets £10/£8.

Book through Box Office 01341 422 680.



On Saturday June 29th Fernhill came to Theatr Fach. The members of the group were Julie Murphy, who sang and played the struti box (a small wooden instrument which provides a drone, originally for Indian classical music), Ceri Rhys Matthews, who sang and played the guitar and flute, Tomos Williams on the trumpet and Christine Cooper on the fiddle.

The members of Fernhill have shared their lyrical intensity and beautiful folk music with audiences all over the world, and we were very fortunate to be able to welcome them to Theatr Fach.

They are concerned not with the culture of past aristocratic patronage but the expression of the ordinary people of Wales. They have lovingly assembled songs from odd verses and fragments of manuscripts. These songs are about love, place, birds, forests and everyday life. They are touching and beautiful.

All the members of the group were a great pleasure to listen to, but the lead singer, Julie Murphy, was exceptionally impressive, with her mesmerising vocal prowess and the way she inhabited the songs and language with so much authenticity and soul.

Unlike traditional Irish, Scottish or English folk music, which has always enjoyed healthy maintenance, ancient Welsh songs have been largely neglected or misrepresented for many years, so what Fernhill have achieved with the material on home turf and on stages around the world is quite remarkable. Fernhill have become important cultural ambassadors for Wales and its music, and we are grateful to them for coming to Dolgellau.




BURTON vividly presents the life of the great Welsh actor in his own words from humble beginnings to Hollywood megastardom.

Beautiful women (not least Liz Taylor), alcohol, wealth, stage and screen are the threads woven into this sad, happy, exuberant often hilarious one-man show.

Drink was the only real anodyne to his deteriorating health and mental state, his doomed tempestuous relationship with Taylor and his constant guilt over the abandonment of his family. RHODRI MILES takes on the role of the younger BURTON fresh from a successful run to critical acclaim at this year's Edinburgh Fringe Festival which received glorious 4/5star reviews.

Written by: Gwynne Edwards

Directed by: Hugh Thomas

This play will be on at Theatr Fach on Friday November 22nd at 7.30pm. £9/£6

Further details: 01654 761 358



By Richard Withers.

Charities and Trustees

There are some 160,000 charities in England and Wales registered with the Charity

Commission, and perhaps another 80,000 that do not have to register (because they are very small, or because they are 'exempt' or ‘excepted’). Charities meet all kinds of needs that would otherwise go unmet. One thing they have in common is that they all depend on their trustees.

Charity trustees are the people who form the governing body or 'board' of a charity. They may be called trustees, directors, board members, governors or committee members, but they are the people with ultimate responsibility for directing the business of the charity. Most trustees are volunteers, and receive no payment (except out-of-pocket expenses).

Charities with income of £10,000 or less

For financial periods ending on or before 31 March 2009, charities with income £10,000 or less are not required to submit either an Annual Return or accounts. However, they are required to keep the details we hold about them on the Register up to date. To keep those details up to date we ask charities with income of £10,000 or less to submit an Annual Update.

We expect charities to report changes, or confirm that there have been no changes, within 10 months of the end of their financial period, the same time allowed for the preparation of their accounts.

Dolgellau Amateur Dramatic Society –

Charity number 518465

On the Charity Commission website information is held on all charities, including ours. You can simply type in the name or number in their search engine and see the most recent annual return.

The names of the trustees are shown and can be seen by clicking on the relevant title in the left side menu.

Our present trustees are John Bond, Dave Collins, Chrissy Moore-Haines, Ben Ridler

and Richard Withers. These are lifetime trustees although it is possible to resign at any time; such resignation to take effect at the end of the financial year.

It has been the case in our history that the committee elected each year become de facto trustees for the year of office although we have had objections to this from committee members who feel the responsibilities of trusteeship are too onerous. The legal situation is that the Chair and Treasurer should always be trustees during their term of office.

Let me take you back to the beginning of our history. Dolgellau Amateur Dramatic Society was set up in January 1987. In the original constitution of the society provision was made for the purchase of property which would then be held in trust (by a group of trustees not numbering less than three) on behalf of D.A.D.S.

In 1988 the decision was made to purchase a property in which to perform and the treasurer approached Barclays Bank to obtain the promise of a loan to be secured on the building and the joint and several guarantees of the original trustees. There were eight willing to share that financial risk at the time and so the society purchased the English Calvinistic Methodist Chapel (sic) in Glyndwr Street for the sum of £9000 on 9th March 1988.

Responsibilities. The committee for the time being shall have overall responsibility for the correct pursuance of the constitution of the society (the running of theatrical performances and other items as per the constitution) and the “trustees” shall hold and safeguard any property on behalf of the said society.



by Emlyn Williams.

This production by Dolgellau Amateur Dramatic Society at Theatre Fach, Dolgellau ran from Thursday May 23rd to Monday May 27th .

What better place to celebrate your 40th birthday than the stage of St. James's Theatre in London's West End? Especially if you are Sir Charles Jasper and are about to inherit two million pounds – that is, if you survive until 11 o'clock that evening.

However, what should be an evening of gaity and rejoicing turns out from the start to be riddled with fears of ghosts and even of murder, with tensions rising between family, staff and guests, especially uninvited guests.

Everyone is aware that Sir Charles Jasper, an authority on the occult, has written a book about supernatural events in the theatre, and rumour is rife that there had been a recent murder in one of the dressing rooms; several staff have already walked out in fear.

The remaining members of family and staff try hard to hide their growing anxieties, but their fears are fuelled by a succession of unexpected happenings. Mrs. Wragg, the cook, played with great spirit and at times venom by Pat Jones, firmly and vehemently refuses to be put in her place by Miss Groze, Sir Charles' secretary, elegantly and chillingly played by Sally Kirkham. A young man comes on the scene claiming to be a journalist, though he offers several versions of his name, finally settling for Jimmy North. He is played with clever timing by Ifor Davies, whose quick-fire interjections are excellent for catching others off their guard. Beatrice, Sir Charles' wife, appears. Acted by Jacki Evans, she plays her part as wife and hostess with superb aplomb, but cannot avoid showing that she is obsessed with anxiety about the evening. Ruth Nicholls, as Beatrice's mother, gives a delightful performance as a tough nut, willing to challenge anyone or anything that is likely to upset her daughter.

The entrance of Sir Charles Jasper, played by Julian Jones with dignity and drive, alters the atmosphere. Alone among the characters he is excited by the risks of danger as he plans to reenact the legend of St. James's Theatre, murder and all, and even faces with composure the appearance of his only living relative, Maurice Mullins, who will inherit Sir Charles' fortune if he dies before 11pm. Ian Macer-Wright presents us with an elegant and self-assured Mullins, who lulls the family, temporarily, into believing that he has no designs on Sir Jasper's


The plot thickens, as Mullins devises a complex plan to kill Sir Jasper without being suspected of the crime, and the family and staff draw together to outwit him. The dramatic intervention of a mediumistic woman in red, played eerily and compulsively by Evelyn Richardson, raises the level of anxiety even further as the play draws to its

unexpected denouement, and Maurice Mullins is trapped unawares into making a confession of murder as Sir Charles' ghost walks – or does it?.... Produced by Richard Withers, this fastmoving melodrama kept audiences on the edge of their seats from beginning to end. Ed.



The recital of music for piano and for harp which was held at Theatr Fach on April 6th is one which we shall long remember, and it was especially good to have with us two fine musicians: Otto Freudenthal, an artist of international renown for many years and at the pinnacle of his art, and Harriet Earis, former All Britain Champion on the harp, winner of many awards and in the early years of what will undoubtedly be an exciting career, as she continues to perform throughout the world.

It is always a delight and a great privilege to have Otto with us and on this occasion he played the four contrasting Chopin Etudes, Opus 10, dramatic, reflective, turbulent, written when the composer was very young and dedicated to his friend Franz Liszt. These were followed by Chopin's Ballades No. 2 and No. 3, Op. 38, which are amongst the most challenging pieces in the piano repertoire. (The term 'ballade' was associated with French poetry until the mid-19th century, when Chopin

was amongst the first to promote the ballade as a musical form).

Harriet's programme included a selection of her own arrangements for the Celtic harp of lively tunes from Wales, Ireland and Scotland – jigs, reels and, as she put it, 'a few jazzier numbers'. Her joie de vivre and obvious enjoyment of her music were infectious.

Altogether, this was a delightful evening and we are most grateful to Otto and to Harriet.

Ruth Nicholls


Nice title, shame about the job.

(Being a Web Mistress)

  OK so maybe the thigh high black leather boots and Indiana Jones bull whip are part of my private fantasy that I probably shouldn't share but you have to admit that being a web mistress sounds like a pretty cool job.

  Well, maybe but not really when you're completely self funding, technically self taught and working alone. Then it's a very expensive, mind-buggeringly boring and lonely business.

  When the Theatr Fach web site started back in I suppose 2000 or thereabouts it was tiny just a couple of pages from a link on my own site that informed people what was on at Theatr Fach Dolgellau but like Topsy in Uncle Tom's Cabin it just growed and it growed and growed until one day it was ready to be launched as its very own domain (that's the bit.)  but it didn't grow by accident. It took a long time and a lot of self gained knowledge with a lot of appearances by that famous double act Trial and Error.

   A little bit of (boring) technical information.

  Theatr Fach has at least 50 separate html pages (including 13 + galleries  & 15 members pages)

  The language used throughout the site is html (hypertext mark-up language) and Java script for interactive and dynamic elements such as the galleries, the quick-view calendar and the scrolling text on the front page.

     Image files are industry standard JPEG or animated GIFs.

    The site is published with a standard FTP (File Transfer Protocol)

    Content is largely written in MS Word.

    Downloadable documents are PDF (Portable Document File)

    All the pages on the site are created in original (not commercially available) templates.

  Some people have asked me why I don't host the site on a free service. The answer is I hate advertising with a passion bordering on the psychotic. I personally don't want to visits sites where you have to wait, not for useful content to download, but useless,  irrelevant and inappropriate adverts and I really don't see why I should subject any visitors to a site I'm responsible for to the same mind numbing bombardment. Also these  free sites limit you in what you can do with the site. They have a one size fits all policy that goes against the grain with anyone who is in the least bit creative and owns even a basic knowledge of web-design. Most if not all the page templates I use at present still carry the NAMO name (A web editing programme I got free on the front cover of a computer mag fourteen years ago) but they have very little in common with that web editing programme's templates.

   Another thing folk ask, when they know that I do write my own scripts for dynamic elements and they know that such things exist, is why I don't use commercial or 'free' scripts which abound on the net these days. Well, and this is another fear and loathing thing, I hate hackers. I see no reason for these single brain celled creatures to exist on this or any other planet. To quote an old Yiddish saying; I would not spit on them if their hair was on fire. It probably loses a little of its venom in that bowdlerized translation but you get the picture, and I see no point whatsoever in providing these amoeba brained life forms with an easy entrance in to something I've spent so much time and trouble creating just so that they can empty the drawers and pee on the carpets.

  So I do the work of creating the frame but a frame is no good without a picture. For a web site, any web site to be of any use at all it needs one thing that no amount of fancy design can give it and that is content and that ma dears comes down to you. The members. Not just the committee members who - fair play to most of them - supply me with a goodly store of stuff to put up there but also non committee members.

   On the computer I do all the web development on because it has a massive and massively underused hard drive I have installed several browsers as well as good old IE (I think I even have an old copy of Netscape) just because no one told me that sites looked different in different browsers. I also store a complete copy of web safe colours with their numeric equivalents because no one told me that the colours I used on the site again display differently in different browsers unless they are coded by their numbers. This is all information I could have had acquired a lot sooner  had someone out there dropped me an e-mail telling me that the site looked odd or even different when viewed in Firefox or even on a flat screen. Still I suppose that's where the double act came in.

   Last year when was celebrating its tenth anniversary as a registered domain I produced a seventeen page report detailing how the web site had been created and listing the changes (mods and upgrades) I intended to make during its redesign. As far as I know  only one person apart from myself has ever seen that report. The fact that Bronwen has kindly asked me to write this article tends to lend substance to that view.

  I would and I do, gratefully accept any comments whatever their persuasion. If there is something wrong or not quite right I welcome the opportunity to put it right if I can or to extend my knowledge so that if the solution is not immediate it can be found sooner rather than later.

   I have never looked for only compliments as far as the site is concerned. It is not and never has been my site. It belongs to the society if they want it and I do hope that this article will go some small way to making greater participation something that everyone wants.



Staged on July 24th,30th and 31st and August7th.

The cast of the Summer Revue worked hard throughout the summer to present a lighthearted and lively show with many different facets: there were songs (mostly in English but one in Welsh), sketches, and even a short radio play! Attending twice a week to rehearse is a commitment that is made by the performers who take part in any production, with more frequent rehearsals as the performance approaches. We should applaud and commend these people for this commitment and their dedication in providing Theatr Fach with amateur productions three times a year, to help to raise the funds to keep the theatre going, as well as providing a venue for professional performances by touring theatre companies.

This all helps to bring a welcome variety of entertainment to the local community.

So a big thank you to all concerned in putting on the Summer Revue.




Over the spring and early summer there were three very different poetry and prose evenings, all much enjoyed.


The mystery of the above title was revealed on April 19th at Theatr Fach when it became clear that the characters in question were England's patron Saint (George) and William Shakespeare himself; these two share a common anniversary on April 23rd.

There was a varied and interesting collection of readings, put together by Richard Withers.

This included, among others, extracts from 'Pericles, Prince of Tyre', 'The Merry Wives of Windsor', a re-telling of 'Hamlet' by Bernard Miles, Max Beerbohm’s poem 'The Characters of Shakespeare', Prospero from 'The Tempest', and some anecdotes about Burbage, Macbeth and theatres of the day. There was also a Shakespeare quiz which made many of us, including your editor, realise how much they thought they knew, and how little they actually knew....... Needless to say, the quiz was won by Ben Ridler.

Our thanks go to Richard for an intriguing evening.



In 2013 Chrissy Moore-Haines celebrated her 65th birthday. In fact she celebrated more than that; 2013 saw her 35th Wedding Anniversary, the 25th anniversary of her arrival in Wales, and the 50th anniversary of her first book being published.

So on June 21st she had plenty to celebrate, and did it in style at Theatr Fach by inviting people to come along and bring her presents of poetry and prose. And what a variety of items there were; Vitai Lampada by Sir Henry Newbolt, Old Tyme Dancing by Joyce Grenfell, The Fairies by W.Allingham, Johnny McEldoo (author unknown), Eeyore's Birthday from Winnie the Pooh by A.A.Milne - and many, many more. Some of those present wrote their own poems, others brought their favourites along on the evening, and Chrissy brought along splendid cakes for the interval. It was a friendly, happy evening, full of surprises, all pleasant, and we thank Chrissy for organising it.



This most successful two-part evening was presented by Evelyn Richardson on Friday July 19th. The first half was a collection of readings and songs which was full of variety; one minute we were engulfed in the deep sadness of 'Old Man River', movingly sung by Julian Jones; the next we were holding our breath as the slave girl Eliza jumped from icefloe to ice-floe with her babe in her arms as she crossed the river to freedom in Ohio in 'Uncle Tom's Cabin'. We followed Otter and Ratty as they rowed through the night to find themselves in the awe-inspiring presence of Pan, god of animals in 'Wind in the Willows' and we learnt what Evelyn and her husband Jack got up to in their younger days holidaying in the Dordogne. These were just some of a most varied and worthwhile collection of items.

After the interval, the mood changed as we followed the River Mawddach from its source in the high remote lands above Abergeirw to its broad estuary at Barmouth on a most excellently made DVD – the work of George Mandow, who has known and loved and walked this area for many years. The DVD is a delightful evocation of the history, landscape and charm of this interesting and stunning part of Snowdonia, and we are grateful to George and Evelyn for giving us this chance to view it.



I am asking people who, unlike me, have been around Theatr Fach for some time to recall a fondly remembered production they were involved in years ago – and the series is off to a splendid start with Chrissy Moore-Haines andher hilarious account of the goings-on in the pantomime 'Shoes' back in 2001. Ed.

There's no business like no-show business

(or My brief attempt at treading the boards)

  Back in the days of Music Hall a chap used to stand on the side of the stage a long curved wooden hook to drag off  performers who out stayed their welcome this was not necessary  for me. Quite the reverse.


   If I'm honest performing on stage has always ranked along side running barefoot through a nettle patch  as a preferred occupation for me and I'm not quite sure which would be the most painful.

   I think I've actually performed on stage three times in my life – unless you count the horrendous experience of being dragged up on stage by some adult fairy shaped thing when I was four years old and being asked by a boozy old has-been who was playing Buttons in an organized for our brave boys in uniform production of Cinderella, what Santa Clause was bringing me for Christmas. Like that was his business?

   Marginally less unsavoury was my first ever performance as an adult. I was 20 and actually working in the theatre in some lowly occupation when the artistic director – a wonderful guy called Chaim Westlake who went on to write the music for my one and only stab at a musical a thing called Voices a kind of rock opera about Joan of Arc G*d help us – decided to run short season of plays by new writers. My play, Numbers. about an old Jewish guy who is going more than a little demented and chucks a massive wobbly at his granddaughter's wedding Mitzvah claiming to be haunted by the kids from the camp and denouncing his granddaughter's new husband's American uncle as one of the Nazi guards was chosen as one play to be performed. I was the comedy relief playing the master (mistress) of ceremonies Ruthie Silberman. And writing this, something terribly spooky has occurred to me. The other book-end to the performance I actually wanted to tell you about, my third performance on stage, was in Glittering Prizes two one act plays which were recently produced at Theatr Fach was playing Ruthie Silberman a stand up comedienne in The Prize.

   But it was the middle one I wanted to tell you about.

   I had been a member of DADS as it was then for what seemed like about five minutes when someone asked me if I could write a pantomime. The regular panto maven had just done a runner and putting aside my loathing for things "He's behind you" and chaps dressed as tarts and vice – pardon my freedom – versa I answered in the affirmative. And I did. I wrote this jolly good, clean, cross dressing, attempted wife murdering fun with bad fairies and good fairies and ‘ah look at poor Petunia (a small feisty fairy who nearly gets aced by the baddy) lying prostrate on the stage’ while the good fairy (a pistol packing ass kicking character called, with no apology to Ms. Jolie, Cara Loft) tries to get the disbelieving audience to believe for long enough to bring her back from fairy heaven. On paper it was hilarious. It was called Shoes (The Cinderella Story) and I must admit I had a lot of fun writing it but then I always have fun writing. It's something you don't do if you don't find it only marginally better than tackling the housework or unblocking the drains but I digress.

   I attended the auditions and even managed to persuade my husband Wyndham who had been in Separate Tables for the society to lower his theatrical standards and take the part of Baron Von Beergarten.

   We had a truly marvellous cast all of whom took my very first attempt at good old British Pantomime to their massive hearts and cherished it as their very own. In a lot of cases they even learned their lines!

   Now in my senior year at school I had achieved some success as a director. My production of The Mikado even got an honourable mention in the Head's end of year report and a passable review in the local paper and sort of half way through Shoes I mentioned to the tremendously supportive and accommodating director Richard Withers that I would like to do a teensy bit of directing. Be careful what you wish for. Richard had a rather unfortunate accident shortly after my request and so I got what I wanted but please believe not the way I wanted it.

   Things went very much south pretty quickly after that.

   At the final dress rehearsal my Cinderella developed some bizarre disorder that robbed her of her until then quite pleasant singing voice and on the opening night made her youthful unblemished face change from vomit green to febrile red with the regularity of incontinent traffic lights and forced other junior members of the cast to move up one and take their knitting pushing Dandini in to a frock and the senior fairy in to that vacated role with out so much as a rehearsed line but worst of all, from my point of view was that my bad fairy legged it and I was forced to go on in her place.

   For the first half that was OK. I was a voice off stage and could stand there and read my words oft with an maniacal cackle but when I was visible even hooded and with a pronounced Richard III curvature to disguise myself  I felt as vulnerable as if I had walked on stage sans culottes and pretty much sans everything else.

   And yet I sincerely believe that is something every playwright should do; be prepared to put their mouths where their words are.

   I did it for five performances and once I got over the shock of actually being able to see the audience (You genuinely can't in a large theatre) I have to admit I enjoyed it. I even managed to get the whole of the two old men sitting in deck chairs joke out a couple of times and I completely fell in love with my bright red jump suit, striped stockings and ginger wig but that is probably something I shouldn't share. Right? Of course right.




Julian Jones 01341 421 856

Vice Chairman:

John Bond 01341 421 144


Richard Withers 01654 761 358

Theatre Technician:

Dave Collins 01654 710 096

Theatr Fach Website.

Chrissy Moore-Haines 01766 540 382

Publicity Officer and Newsletter Editor:

Bronwen Dorling 01341 250 085

Secretary and Membership Secretary:

Jacki Evans 01341 423 813

Fundraising and Grants:

Debbie Ashton 01341 250 884

Other Committee members:

Ruth Nicholls

Ben Ridler



Friday October 18th 7.30 pm

Framing the Word in Film and Print

Celebrating the work of Vivian Ridler

(1913 – 2009) Tickets £3.50

Details: Ben Ridler 01341 450 224


Friday October 25th at 7.30pm and

Saturday October 26th at 7.30pm

A Play by Ed Penney

Butterfly in Shades of Blue

Tickets £10/£8

Theatre Fach Box Office 01341 422 680


Friday November 15th 7.30 pm

A Poetry and Prose Evening

Highways and Byways

Tickets: £3.50

Details: Bronwen Dorling 01341 250 085


Friday November 22nd at 7.30pm

Rhodri Miles in


A play by Gwynne Edwards

Directed by Hugh Thomas

Tickets £9/£6

Details: 01654 761 358


Saturday December 14th 7.30 pm

A Poetry and Prose Evening

Christmas Humbug

Tickets: £3.50

Details: Evelyn Richardson 01341 250 428


Thursday 16th, Friday 17th, Saturday 18th January 2014 at 7.30pm plus Saturday matinée at 2.30pm.

The pantomime:

Jack and the Beanstalk

Details: Jacki Evans 01341 423 813

Theatre Fach Box Office 01341 422 680


Friday February 21st 7.30 pm

A Poetry and Prose Evening

Trains and Parcels and Letters

Details: Julian and Pat Jones 01341 421 856


Thursday 22nd, Friday 23rd, Saturday 24th, Monday 26th May 2014 at 7.30pm and a matinee performance on Saturday 24th at 2.30pm

A play by Terence Rattigan

The Winslow Boy

Details: Ruth Nicholls 01341 430 637



October 4th Absolution Saxophone Quartet

November 1st Lucy Hall (soprano)

Gavin Roberts (piano)

November 29th Elen Hydref (harp)

January 10th Ailsa Ijiri (piano)

February 7th Wu Quartet (strings)

March 7th Rosanna Ter Berg (flute),

Leo Nicholson (piano)

April 4th Llangollen Operatic Society Troupe

These concerts will be held in the hall of

Coleg Meirion-Dwyfor on Fridays at 7.30.


Contact: Box Office 01341 422680  Location: Theatr Fach, Glyndwr Street, Dolgellau LL40 1BD  Website design by