(4 / 5)
From the very first line of dialogue in Theatr Clwyd’s Under Milk Wood, with its small houses set centre stage as if we, the audience, are giants looking in, it becomes clear that this adaptation of Dylan Thomas’ iconic play is a unique and vibrant celebration of the Welsh poet’s work- the richness of his words, filled with alliteration and rhythm, a testament to the author’s unparalleled mastery of language.
This is a play which resonates both locally and universally, drawing on themes of community, memory, and the intricacies of daily life. Directed with a clear sense of playfulness and passion, the performance takes the audience into the heart of the small town of Llareggub (read it backwards!), where ordinary lives are elevated to the extraordinary through the magic of language and movement, in varied forms.
In many ways, it’s a shame that Theatr Clwyd’s production of Under Milk Wood comes so soon after Welsh National Theatre’s Our Town– both plays pulling back the curtain on seemingly simple towns, offering an almost voyeuristic glimpse into its inhabitants’ lives. (With similar themes- love, life, death…) it’s difficult not to compare the two. That aside, what makes this production so very special is its utter inclusiveness- this performance is an experience- the likes which I have never experienced in the theatre before and for this alone it should be celebrated. The text, presented in both BSL (British Sign Language) and written format, ensures that the performance is accessible to a wider audience. However, as in regular ‘signed’ performances- we aren’t just witness to one interpreter stood aside. Every word is signed by the actors on stage, so it simply becomes part of the story, without us having to turn our heads and miss the action.
Creativity oozes from this production- not only in its direction from Kate Wasserberg but also in characterisation through the video captions-the use of projected text adds another layer of artistry. The fonts are meticulously chosen, with particular attention paid to the shifting of colours and effects. For example, during one section, the text takes on a crumbling effect as Rosie Probert goes ‘into the darkness’, and during a scene in which a mirror is portrayed, the projected text is also mirrored. Fantastic attention to detail which doesn’t go amiss.
Astute detail is also present in the production’s costume- conveying character and tone. The seaside elements in the wardrobe choices- the hats, bags, jackets- are both character-specific and thematically rich. From the vicar to the baker, the draper to the postman, the wardrobe subtly anchors each character in their respective roles while adding a touch of whimsy and coastal charm! The costumes also play a vital role in the play’s multiple characterisations. The cast tackle these with vigour, embodying a range of town inhabitants from the familiar (the Vicar, the Postman) to the more peculiar (the Drunkard, the Sailor). Each portrayal is a nuanced, often humorous, interpretation that offers glimpses of the town’s vibrant collective personality. It would be impossible to single out individual performers. It’s easy to see why Thomas’ play has remained a classic; its inhabitants feel both familiar and surreal and we can probably all see reflections of ourselves in each one!
The cast’s use of movement and expression enhances the comedic moments beautifully and humour is rife throughout the piece- in the subtle gestures and exaggerated physicalities, which make each character feel larger-than-life. In terms of movement, the production is completely captivating! The transition from clock to cow (and everything in between!) is seamless. The clock making frequent returns, time, of course, being a key theme throughout. Hayley Grindles set design captures this perfectly- the clock, a prominent fixture at the end of Act 1 and beginning of Act 2, is a potent symbol of this thematic progression- time, always ticking, never stopping.
Theatr Clwyd’s production of Under Milk Wood is a sensory feast- an immersive, funny, poignant, and thoroughly human exploration of life in a small Welsh town.
Under Milk Wood completes its run at Theatr Clwyd on Saturday April 4th then goes on to the Torch Theatre, Milford Haven, the Sherman Theatre, Cardiff and finishes at Pontio, Bangor on May 23rd.
Cast:
Adam Bassett- Jack Black, Cherry Owen, Dai Bread, Foxy
Sean Carlsen- Reverend Eli Jenkins, Butcher Beynon, Mr Ogmore, PC Atilla Rees
Jacob Coleman- Organ Morgan, Ocky Milkman, Willy Nilly, Nogood Boyo, Sinbad Sailors
Amy Conachan- Gossamer Beynon, Mrs Pugh, Mrs Cherry Owen, Mrs Dai Bread 1
Mirain Fflur- Mae Rose Cottage, Rosie Probert, Bessy Bighead, Mrs Dai Bread 2
Chandu Gopalakrishnan- Mrs Willy Nilly, Gwennie
Georgia Griffiths- Mrs Ogmore Pritchard, Polly Garter
Macsen McKay- Mog Edwards, Evans the Death, Mr Pritchard, Mr Pugh, Lord Cut Glass
Izzi McCormack-John- Myfanwy Price, Lily Smalls
Caroline Parker- Waldo’s Mum, Mrs Watkins, Mrs Organ Morgan, Mary Ann Sailors, Mrs Beynon
Douglas Walker- Captain Cat, Waldo, Utah Watkins
Creatives:
Kate Wasserberg- Director
Katie-Elin Salt- Associate Director & Dramaturg
Adam Bassett- BSL Director
Laura Meaton- Movement Director
Hayley Grindle- Set & Costume Designer
Joshua Pharo- Co-Lighting & Video Caption Designer
Sarah Readman (SR)- Co-Lighting & Video Caption Designer
Oliver Vibrans- Composer
Lynwen Haf Roberts- Musical Director
Liam Quinn- Sound Designer
Em Dulson- Assistant Director
Jacob Sparrow- Casting Director
Production Team
Suzy Somerville- Production Manager
Alec Reece- Company Stage Manager
Amber Chapell- Deputy Stage Manager
Phoebe Storm- Assistant Stage Manager