Drama of the Week

The first in a darkly comic new series about women and space, from the award-winning author Naomi Wood, written for BBC Radio 4,

From disassociating astronauts to zero-gravity threesomes, explorations of nothingness to space lust and Pokemon hunts, this brilliantly original series with a feminist twist is a savagely funny take on the near future of women and space.

Today: It's 2034 , and on a mission to mine valuable minerals, one astronaut's struggle with reality puts her team at risk...

Find all 5 episode on BBC Sounds.

Reader: Julianna Jennings
Writer: Naomi Wood is the author of three novels, including the award-winning Mrs Hemingway, and a short story collection, This Is Why We Can't Have Nice Things. She won the BBC National Short Story Award.
Producer: Justine Willett

Thought-provoking winning drama by the inaugural Wales Writer in Residence award winner Rhiannon Boyle.

Safe From Harm tells the frank and powerful story of Alys, a teacher and mother whose life unravels when a colleague is arrested for possessing indecent images of children. Unable to cope, Alys contacts a celibate paedophile in an attempt to better understand the danger they pose. Her primal urge to forever protect her children becomes so all consuming Alys slowly loses her grip on reality. Sian Reece-Williams (Hidden, Emerdale) plays Alys.

The Wales Writer in Residence is a prestigious scheme, aimed at furthering a writer’s career across stage, sound and screen. It is a partnership between BBC Cymru Wales and National Theatre Wales, along with BBC Writersroom Wales, with the intention of supporting new writing talent.

Alys ….. Sian Reece-Williams

Christian ….. Oliver Ryan

Ianto ….. Sion Pritchard

Mum ….. Rhian Morgan

Tyler ….. Alfie Ford

Taya ….. Nerys Stocks

Kyden ….. Iolo Reynolds

Sound design was by Catherine Robinson

Safe From Harm was a BBC Writersroom Wales production

Directed by Helen Perry

Presented by Paul French
Drama written by Sarah Wooley

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain
Zaichek . . . . . Leo Wan
Roy . . . . . Daniel York Loh
Leopard . . . . . Chris Lew Kum Hoi
Tatiana . . . . . Charlotte East
Anton . . . . . Luke Nunn
Marie . . . . . Cecilia Appiah
Saxsen . . . . . Ian Dunnett Jnr
The MC . . . . . Roger Ringrose
Anna . . . . . Jane Whittenshaw

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.

Presented by Paul French
Drama written by Sarah Wooley

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain
Zaichek . . . . . Leo Wan
Roy . . . . . Daniel York Loh
Leopard . . . . . Chris Lew Kum Hoi
Tatiana . . . . . Charlotte East
Anton . . . . . Luke Nunn
Marie . . . . . Cecilia Appiah
Saxsen . . . . . Ian Dunnett Jnr
The MC . . . . . Roger Ringrose
Anna . . . . . Jane Whittenshaw

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.

Presented by Paul French
Drama written by Sarah Wooley

Whatever anyone declared categorically about Shura Giraldi, someone else insisted on the exact opposite. Shura was handsome and beautiful; Shura was kind and good, Shura was exploitative and evil. Shura was just another struggling White Russian refugee trying to get by in 1930s China; Shura was the heart and brains of a gang that ran clubs, sex workers, illicit booze and drugs, when not robbing banks and stealing gems to fence in Shanghai. Shura loved ballet and cabaret, creating the Shura Giraldi Dance Troupe that topped the bill at all the best Peking nightclubs.

Shura sometimes presented as male and sometimes as female. When passing as a man Shura bound his breasts tightly and wore a sharp tailored suit; when she was a woman she wore startlingly coloured robes, both Chinese-style cheongsam and Western dresses, letting her raven hair flow loose, said witnesses. Shura had added an incredibly massive layer of confusion and obfuscation to anyone looking by changing gender. Switching for anonymity, for commercial gain or criminal advantage, for love, for a whim.

Paul French is a historian and writer who focuses on China in the first half of the 20th century. He's been on Shura’s trail for 15 years, digging through the paper records and archives in half a dozen countries in an attempt to get to grips with the enigma that was Shura. This story, a product of that tireless research, is full of truths, but like an old jigsaw brought down from the attic after decades, there are many pieces missing. So we're using drama, written by Sarah Wooley, to conjure and join the dots of Shura’s story, and go in search of a lost life and a forgotten world.

The search will take us from a Russian far east in violent revolution, to the chaos of the mass emigration of the White Russians, to the crowded hutongs of Peking; from that city’s nightclubs and cabarets, to the casinos of Shanghai; from a China wracked by rampaging warlordism, invaded by Japan, and then fighting its own civil war that culminated in its own revolution.

Shura saw it all; Shura lived through it all; Shura, in part, explains it all.

Shura . . . . . Maggie Bain
Zaichek . . . . . Leo Wan
Roy . . . . . Daniel York Loh
Leopard . . . . . Chris Lew Kum Hoi
Tatiana . . . . . Charlotte East
Anton . . . . . Luke Nunn
Marie . . . . . Cecilia Appiah
Saxsen . . . . . Ian Dunnett Jnr
The MC . . . . . Roger Ringrose
Anna . . . . . Jane Whittenshaw

Editing and sound design by Peter Ringrose.

Directed by Sasha Yevtushenko.