For the centenary of Dylan Thomas' birth and the 60th anniversary of his "play for voices' Clwyd Theatr Cymru are touring "Under Milk Wood", although as someone who resides in Glasgow I had to make my way back to the old home town to catch it as the production is not visiting Scotland.
The production is directed by Terry Hands and is a revival of his production of 2000. Given the play was written for the radio the production is lively, extremely funny, visually exciting, full of life and is a beautifully evocative use of Thomas' words.
Hands' direction is more than assured and is quite sublime. Hands has made a play for the ears a true play for the stage although the language is never sacrificed for the visual splendour of the vibrant physical action which utilised such theatrical devices as mime amongst all the physical interaction between the actors who also supplied all the sound effects. The pace of the piece was well handled and varied with the staging controlled and manipulated by an expert director who was able to handle such changes quite subtly. Hands' has brought out the humour, passion, melancholy and sexuality that lies within Thomas' vivacious text, which follows the lives of the inhabitants of Llareggub over the course of a single day, and created a visual production that works in tandem with the words to create a satisfying theatrical unity.
The design by Martyn Bainbridge was elegant yet simple and atmospheric with Hands' own lighting complimenting the overall effect and becoming a subtle character in itself allowing the shifting of time and mood to be conveyed effortlessly, together with Bainbridge's moving sun. The costumes are simple period affairs with most of the cast barefooted, evoking the sense of sleepwalking through a dream.
What helps makes this a true theatrical experience is the production's reliance on the actors, most of whom perform numerous characters, which is totally appropriate. Whilst some characterisation may be seen as heightened (but then so is the play) and some acting choices somewhat "obvious" they are nevertheless appropriate and suited to the piece. But the choices are also varied between each actor and the differing characters most of them perform. Indeed each character is rich and full of life. There was, appropriately, an excellent variety of voices on display - be it between the actors or the varying characters that they play. Likewise the use of actors of varying ages portraying people of all ages (from children to the elderly) was engaging and exciting and fresh. This fact also enabled the stage to never feel or look too cluttered unless it were a deliberate directorial choice. The playing of different characters also allowed the actors numerous opportunity to stretch and use their talents and ranges. Above all there was a wonderful sense of enjoyment from the actors who became another audience when they themselves were not in a particular scene, laughing and listening to those who were performing.
Owen Teale as First Voice has a rich vocal tone that is evocative of Richard Burton but at once quite individual whilst Christian Patterson's Second Voice is a lovely contrast and each weave in and out of the action with aplomb.
It seems unfair to single out any performer in such an ensemble piece but Sara Harris-Davies, Steven Meo and Caryl Morgan certainly get full use out of some of the funniest material.
Given the nature of "Under Milk Wood" it can be a very delicate piece to stage. My first encounter with Thomas' best know work was when my Secondary school put on a production. Given my young age I can barely recall any of it except that it was funny, a little saucy and the tiered set was blue. In my university days I saw a production by the Wales Theatre Company, directed by Michael Bogdanov, which was a rather laboured affair and stilted and sober a production for my liking. The Clwyd Theatr Cymru production is everything I could have wished for, however, making brilliant use of the vocal prowess of Thomas' whilst understanding that, as a piece of theatre, it also has to be visual. The production is also full of clarity, allowing each moment onstage to be understood and appreciated.
It is interesting to note that this play has made me re-evaluate my cultural identity; as a proud Welshman residing in Scotland, I've never really thought about what it is to be Welsh. Many of my country folk have been dwarfed by English attitudes which have gone on to be seen as 'British' - the whole stiff-upper-lip, solid attitude which has become little more than a stereotype. "Under Milk Wood", in its heightened way, shows what the Welsh really are; creative, passionate and full of life. And it's nice to be reminded of the Welsh-within, especially given that the play's director is English. Indeed, I recall in my youth the attitudes we held which were then tempered by the 'British' ideals. In these days were cultural identity is more freely expressed it's been a joy to rediscover the truth of oneself. And it's a shame the production won't be visiting London anytime soon ...
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