(4 / 5)
“Our Town is a play about life, love, and community. That’s what matters to us in Wales; that’s what matters to me. It’s a play that compels us to celebrate the everyday, to hold the ones we cherish. I can’t think of a better play to welcome audiences around Wales”
– Michael Sheen
Thornton Wilder’s three-act play Our Town was written in 1938- yet its themes certainly stand the test of time as is proven in this ground-breaking revival by the Welsh National Theatre, a new company founded by Welsh actor Michael Sheen.
The original play introduces the fictional American town of Grover’s Corners and the everyday lives of its citizens between the years 1901 and 1913. First performed in 1938, it went on to have enormous success on Broadway and received the Pulitzer Prize for Drama. Wilder made great use of metatheatrical devices throughout the original production- setting the play in the actual theatre where it was being performed, writing his main character as ‘Stage Manager’ (a narrator who frequently addresses the audience, breaking the ‘fourth wall’) and presenting a bare stage, with actors miming rather than using multiple props. These theatrical tools are also present throughout this new production and yet the piece has been elevated beautifully through use of physical theatre, the addition of economical objects to represent various items, buildings and so on and lighting design to end all lighting design- from blood orange sunsets to starry skies…it’s simply magical!
It was widely known that the decision had been made to move Grover’s Corners to Wales for this reimagining- the Welsh accents and the period costume creating a real Welsh spirit and aesthetic. However, a lot of Wilder’s original references to American placenames, historical events, and certain other Americanisms (dollars, high school etc.) remain, which makes for a rather confusing edit. There is a certain disconnect between the new setting in Wales and the old text which hasn’t been amended- a creative choice which feels a bit odd and left me wondering why. If you’re going to bring the story to Wales, surely you’d want to fully immerse your audience by making the change a complete one?
Then again, when a piece of theatre is as clever in its accomplishments as this one, perhaps this tale could be set anywhere in the world- for its actual relevance is in its themes. Themes which seem more important today than ever. In a world of chaos, war, terrorism, technological advancement, we are transported to simpler times here; where teenage lovers communicate through opened windows at night, mothers tend to their gardens and are members of the church choir, where meals are eaten together with family at the table rather than on laps in front of the television. And yet these people still loved, lost, had passions and dislikes, hoped and grieved…as we do today. We follow parents attempting to bring up their children, young people falling in love then building a family, an alcoholic hiding his sexuality…a community simply trying to navigate through life. A superbly strong cast play an array of wonderful characters- each providing us with something we can relate to. It’s impossible to single out any one performer for neither would work without the other…a fantastic nod to the overriding theme of community.
The triumph of this production is in its staging. It is seamless, flowing, almost militant in its execution. We hear music and see dance throughout, but the whole piece is comparable to one epic, flawless piece of choreography. Credit to Francesca Goodridge, Director and Jess Williams , Movement Director. Moved by the cast, wooden planks become houses, tables and shelves, chairs transform into lawn mowers, boxes, soda pumps, and ladders of varying heights are used for levels. Even the cast take on a few transformative challenges- including becoming the farmer’s milk cow…physical theatre at its absolute best!
The first, and much longer, of the acts is filled with sentimentality, love, hope and joy, yet we begin act two with a much more sombre mood and a plotline reminiscent of Dickens’ A Christmas Carol- with ghostly figures, time travel and feelings of regret- a message to the audience to celebrate life, hold your loved ones close and enjoy yourselves, as much as you can. So, despite Our Town having been written almost one hundred years ago- the moral of the story will forever be relevant.
What an extremely strong start for this new company and at the helm, a leader who has used his celebrity status to do good- to bring this play to life again, to create theatre in Wales at a time where Welsh arts and culture continues to go through a challenging period, often due to financial restraints, and to offer opportunities for emerging artists and future generations of theatre goers, makers and creators. I very much look forward to following their work, hopefully for a long time to come.
Our Town completes its run at Theatr Clwyd on February 21st.
Cast:
Michael Sheen — Stage Manager
Rithvik Andugula — Howie Newsome
Peter Devlin — George Gibbs
Aisha-May Hunte — Wally Webb
Rebecca Killick — Rebecca Gibbs
Alfie Llewellyn — Joe & Si Crowell
Rhodri Meilir — Mr Webb
Christina Modestou — Mrs Soames
Yasemin Özdemir — Emily Webb
Sian Reese-Williams — Mrs Gibbs
Nia Roberts — Mrs Webb
Kingdom Sibanda — Sam Craig
Gareth Snook — Professor Willard & Joe Stoddard
Matthew Trevannion — Dr Gibbs
Rhys Warrington — Simon Stimson
Kimberley Noble — Ensemble
Gareth Tempest — Ensemble
Jâms Thomas — Constable Warren
Creative Team:
Thornton Wilder — Writer
Francesca Goodridge — Director
Russell T Davies — Creative Associate
Hayley Grindle — Designer (Set & Costume)
Jess Williams — Movement Director
Ryan Joseph Stafford — Lighting Designer
Dyfan Jones — Composer, Musical Director & Sound Designer
Sam Jones — Casting Director
Dena Davies — Assistant Director / Theatr Clwyd
Dewi Hughes — Voice & Dialect Coach
Haruka Kuroda — Intimacy Director
Pádraig Cusack — Executive Producer (Welsh National Theatre)
David Sloan — Executive Producer (Rose Theatre)
(4.5 / 5)
(3 / 5)
