Under Milk Wood Review: Dark Fairytales Swirl Around Dylan Thomas's Evergreen Village
At Theatr Clwyd in Mold, director Kate Wasserberg brings a fresh and enchanting perspective to Dylan Thomas's iconic "play for voices," Under Milk Wood. Premiered on radio in 1954, this theatrical classic has evolved into a visual spectacle, with Wasserberg emphasizing fantasy and supernatural elements, drawing inspiration from works like Stephen Sondheim and James Lapine's Into the Woods. The production transforms Thomas's Llareggub into a sequence of plaited legends and fairytales, featuring drowned sailors and longing lovers, offering an entertaining and inclusive experience for audiences.
Regional Reality and Theatrical Innovation
Staged in Flintshire, the production benefits from a palpable sense of regional authenticity, with the Welsh landscape visible through the theater's panoramic windows. Unlike Lyndsey Turner's 2021 National Theatre version, which focused on realism with a frame story involving dementia, Wasserberg's approach leans into the mystical. She reorganizes parts of the play to address later longueurs caused by Thomas's declining health and redistributes the narrator's monologue among 11 actors, each portraying multiple roles. This innovative structure enhances the flow and depth of the performance.
Inclusivity and Dark Undertones
Produced by Craidd, a Welsh collective that includes Deaf, disabled, and neurodivergent artists, this version of Under Milk Wood prioritizes inclusivity. The text is projected on a cyclorama, allowing all viewers to relish Thomas's witty wordplay, though the use of the Welsh form "Llaregyb" means English audiences miss the reversed swear word in "Llareggub." The production incorporates British Sign Language and other speech registers, making it accessible to a diverse audience. Despite its whimsical reputation, Thomas's village is revealed as a dark place, with characters including a would-be wife-killer, sex offenders, and the dead, echoing influences from Thornton Wilder's Our Town.
Standout Performances and Musical Score
The cast delivers compelling performances, with Macsen McKay entertaining as undertaker Evans the Death and the uxoricidal Mr Pugh, among other roles. Caroline Parker brings individual variety to five wives and mothers, while Seán Carlsen pairs a saintly Rev Eli Jenkins with a sin-hunting PC Atilla Rees. Georgia Griffiths' portrayal of Polly Garter highlights the sadness beneath her pursuit of good times, and she tinglingly sings two songs from Oliver Vibrans's score, which would delight the musical obsessive Organ Morgan. The production runs at Theatr Clwyd from 21 March to 4 April, offering a unique take on a timeless work.
