Dylan thomas's *under milk wood* finds vivid life in wales
Theatr Clwyd's latest production of Dylan Thomas's Under Milk Wood isn't merely a performance; it's an immersion. The familiar lyrical prose, first heard on the radio in 1954, is given a startlingly immediate sense of place, drawing from the very landscape of Flintshire. It’s a bold move, akin to staging Molière at the Comédie-Française or Brecht in Berlin – a reimagining that’s both respectful and refreshingly modern.
A valley of shadows and song
Unlike previous interpretations, including Lyndsey Turner’s 2021 National Theatre version which focused on a framed narrative of dementia, Kate Wasserberg’s production leans into the play’s inherent fantastical elements. The Welsh village of Llareggub, normally a place of quaint nostalgia, is revealed as a surprisingly dark locale teeming with secrets – a former wife-killer, sex offenders, and the dearly departed. This isn’t mere whimsy; it’s a poignant exploration of the human condition, echoing the darkness found in Thornton Wilder’s Our Town, currently touring with the Welsh National Theatre.
Wasserberg’s staging is a daring restructuring, redistributing the iconic opening monologue across 11 actors, each embodying multiple roles. This polyphonic approach breathes new life into characters like Polly Garter and offers a platform for British Sign Language, further enhancing the production’s inclusivity. The text is projected onto a cyclorama, allowing the audience to fully appreciate Thomas’s playful wordplay, though the Welsh form of the word for “swear” is lost on English-speaking audiences.
Macsen McKay delivers a particularly compelling performance as Undertaker Evans the Death and the uxoricidal Mr Pugh, seamlessly shifting between five roles, even throwing in a dog-like bark for good measure. Caroline Parker provides nuanced portrayals of numerous wives and mothers, while Seán Carlsen embodies both the pious Rev Eli Jenkins and the sin-hunting PC Atilla Rees. Georgia Griffiths’ portrayal of Polly unveils the hidden sadness beneath her cheerful façade, punctuated by two memorable songs in an evocative score by Oliver Vibrans.
The production, by the Welsh collective Craidd, includes Deaf, disabled and neurodivergent artists, ensuring a truly diverse and inclusive interpretation. Presented at Theatr Clwyd in Mold from March 21st to April 4th, this Under Milk Wood is less a nostalgic trip and more a haunting, beautifully realized portrait of a community – and the darkness that lurks within its heart.