‘To begin at the beginning’ is a very apt quote from Under Milk Wood, for this groundbreaking first production from the Craidd Collaboration. A cohort of organisations; Pontio, Royal Welsh College of Music and Drama, Sherman Theatre, Theatr Clwyd and Torch Theatre, coming together with the aim of putting ‘access and inclusion at the core of theatre in Wales.’

Without a doubt, this is easily one of the most accessible and inclusive pieces of theatre I have ever witnessed, which is proven by the vast variety of the audience members around me as I take my seat. The play has been reinterpreted anew, with almost every line interpreted into BSL and every line appearing on the screen behind the performers. But it is not in any way stilted or apparent that you are watching an ‘inclusive’ piece, so well is the inclusion interwoven into the production. The opening sequence of words and BSL is so beautiful and moving. The words appearing on the screen are not just standard type, they live and move as much as the words do; enlarged text when there is emphasis or shouting, sometimes to very comedic effect, words twinkling and disappearing, words weaving across the screen as magical and thought provoking as the way they are delivered verbally. Huge credit must be given to everyone involved in this especially BSL director, Adam Bassett, but also the whole production team who breathed life into this truly stunning piece of diverse and representative piece of theatre.

The strange, colourful, delightfully naughty insight into Thomas’ imagination is brought to life by an incredibly talented ensemble of actors both able bodied and disabled. They all multi role with deftness and speed, at the drop of a hat (quite literally in some cases!), a definite Brechtian feel to the piece as their different characters appear and disappear with the change of a costume, sometimes even mid scene. It would be unfair of me to call any one of them out individually, as they all bring something truly unique to the piece, as unique as the individuals who tumbled from Dylan Thomas’ mind into Llareggub.

The set design is truly beautiful and captures the very essence of the town, houses tumbling together in the rag tag manner of the terraced houses of the Welsh Valleys. So important are the houses to their inhabitants, so much a part of who they are, that they form seats, steps, tables, lidded boxes and even appear on the heads of Mog Edwards and Myfanwy Price as they confess their love to one another. The set is immersed in the performance; clambered over, sat upon, danced amongst. I was enamoured with it all and kudos to all involved in this truly dreamlike production; director, Kate Wasserberg, set and costume designer, Hayley Grindle, AD and Dramaturg, Katie Elin-Scott, Movement Director, Laura Meaton and the many other individuals who have brought this truly leaping to life. A special mention must also be made to the Composer, Oliver Vibrans and Musical Director, Lynwen Haf Roberts for the lovely, haunting melodies they have brought to the piece.

What is truly magical about this piece and the penmanship of Thomas is the mirror that it holds up to our own humanity. Especially here, with joyous inclusivity and diversity. We are, like the inhabitants of Llareggub, ‘not wholly bad or good, who live our lives under Milk Wood,’ and it is this that makes the production one that will stay with me for a long time. Its humanity is beautiful in its flaws and the rapturous applause along with the silent, but enthusiastic applause of the deaf members of the audience really shows that this production has something for us all.