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A very forward-looking, inclusive and friendly group. Not afraid to take on more esoteric works but with a healthy interest in the ‘classics’ and more popular productions. A great theatre group with excellent backstage, technical and directorial input. It will only grow and go from strength to strength.” John Söderström

Being a member of A48 has allowed me to perform theatre in ways I’ve not experienced before. ‘Graveyard Voices’, for example, was a chance for me to tell the stories of those who have passed on. Not to mention all the great actors I’ve met and been able to work with. It’s an experience I’ll never forget.” Sian Kirby

“A small but tightly knit company offering out of the mainstream productions involving ambitious, demanding but highly rewarding experiences for performers and audiences alike.” John Atkinson

“It’s wonderful to work with a company committed to performing new writing, especially from women and writers local to Cardiff and the rest of Wales.”  Alison Shephard

“The thing about A48 is that it’s like being part of a big family. Not only is everyone welcoming, but they are prepared to put themselves out for each other. Putting on a show with A48, like ‘Mamgu”, is a whole team effort; it’s an ensemble working together with a shared vision. Then, of course, there’s the enormous talent and professionalism of both the performers and the director. It is a privilege to be a member of, and work with, the company.” Regina Levkovitch 




Chekhov in Cowbridge:


Comments made:    “Brave choice of plays, controversial both then and now”

                                           “Intelligently Directed”

                                           “Excellent Performances!”


“Wonderful way of using a beautiful space and bringing lives of
occupants alive. Thankyou.” Sarah Bowen

“It was well run and well organised.” Mr and Mrs Colenutt

“Excellent. Really enjoyed it and will come again! Thankyou.”
Mrs Stephens

“Bit more projection by the actors – otherwise a wonderful evening.”
J. K. Anthony

“I thought it was a beautiful mixture of moving, sad and inspiring
stories. Nothing could be improved.” Eve Telford

“Really enjoyed it. Brought Cardiff history to life!”
Anna Hellsing

“Lovely performances and very informative.” Marion Ham


I admire A48’s stated commitment to performing new writing and to Welsh writers. Mamgu is the companion piece to Beckett’s Endgame in this production at The Atrium. Mamgu is a one-act devised piece, with a large, multi-generational cast. There was lots to admire in this work, based around a family coming to terms with the life and death of a much loved matriarchial figure (the Mamgu of the title). I enjoyed the stereo-type busting of this grandmother figure – she is a recognisably modern woman, who travelled, worked, had love affairs and a full life. In a particularly touching scene, she describes the unexpected challenges facing the modern grandmother – seeing naked photos of your teenage grandchild on social media, discovering that your own child won’t vaccinate your grandchildren against the diseases that you can remember killing and disabling your contemporaries. The character of Mamgu is played by more than one actor, a choice that worked to emphasise the impossibility of ever truly knowing even much-loved people in our lives. Our grandmothers had lives before we knew them, our parents knew different versions of them, as do their friends and lovers and so on. There were strong performances throughout and a very effective use of minimal set (simple black blocks used as chairs, tables, stages, built up and broken down repeatedly into anything the actors required). Despite these strengths, Mamgu didn’t entirely satisfy as a fully realised piece of theatre. It felt fragmented, possibly a reflection of the devised process, where different contributors strove to make a coherent whole from disparate elements. A48 is setting out to take exactly these risks, to explore and to learn and Mamgu was definitely a risk worth taking.

As the second part of this double-bill, Samuel Beckett’s Endgame was superb. The production was another masterclass in what can be achieved with almost no set (yet what there was, was visually striking and meaningful – empty window frames suspended against a blank wall, the old, post-industrial oil drums housing Nagg and Nell). Against this minimal backdrop, the actors’ characterisation was allowed to shine, enhanced by the beautifully detailed and slightly ‘other-worldly’ costume and make-up. All the performances were equally strong and compelling, but inevitably it is the actor playing Hamm who has to carry the play, and Phil Jones’s performance was utterly convincing and entertaining. This was an expertly executed production, true to Beckett’s vision (and the restrictive demands his estate makes of all producers seeking the performance rights to his work) but also making this oblique world fresh and intriguing for a new audience.
Alison Shephard


“Difficult to improve on excellence!” Mr Powell 

“Lighting was too bright but otherwise very enjoyable and well-structured. Loved the variety of pieces and voices.” Anonymous

“Brilliant – No improvement needed.” Lesley Murphy

“Very enjoyable. Slight difficulty hearing a few of the actors.” Gill Simms-Williams

“Entertaining as it is. Good energy.” Gill Evans