Writer: Dylan Thomas
Director: Kate Wasserberg
To begin at the beginning…
As Under Milk Wood begins, the small Welsh village of Llareggub awakens slowly and ethereally before the audience. The characters emerge one by one with distinct voices – fitting for a play that begins its life as a piece written for radio. It is clear right from the start that Dylan Thomas is a dreamer – his poetic language is accentuated using a multitude of visual and audio techniques. The performance integrates BSL, offering a new interpretation of the language, as well as integrated captions which are beautifully woven into the scenic design, allowing the audience to fully appreciate the words of this classic piece of Welsh literature.
The production immediately transports the audience into Thomas’s world, and into the lives of the village’s inhabitants. Portrayed by a cast of 11 diverse performers, they work together to give a glimpse into the dreamlike state of this seemingly ordinary place. Whilst some dismiss Under Milk Wood’s premise of a single day in a Welsh village as simple and nonsensical, Kate Wasserberg’s direction works to bring out the beauty and complexity of the text.
This production is the first play by Craidd – an initiative between five Welsh theatres to drive meaningful and sustainable change, and improve mainstream representation for and with Deaf, disabled and neurodivergent people.
As the play drifts, it becomes clear that the beauty of this text relies on its lilting language and poetry rather than the plot. The audience is introduced to over sixty characters, with the cast each taking on multiple roles. Assisted by Hayley Grindle’s costume design, they switch between characters at speed, with particular praise given to the tight-knit feel and cohesiveness of the movement.
Whilst the integration of so many accessible elements is a welcome change to the theatre landscape in Wales, there are times when it becomes particularly overwhelming. With any show that asks its audience to enter its world, it can take some time for the imagination to allow that suspension of disbelief and settle in. With lines portrayed in both spoken word and BSL, as well as captioned, it is sometimes difficult to immediately work out where to focus. On the other hand, it allows those who are using specific elements of this design to have a full experience, and for each person to experience the show in a way that is tailored to them. The speed of Thomas’s words, paired with the natural absurdity of the language, means that at times it is hard to distinguish the characters from one another quickly enough to keep up if the audience is unfamiliar with the text, but it allows the cast to showcase both comedy and vulnerability in equal measure. Macsen Mckay is a joy as the downtrodden Mr Pugh, fantasising vividly about poisoning his wife Mrs Pugh, played with a delightfully vile wickedness by Amy Conachan.
Hayley Grindle’s set is beautifully designed, evoking the small village feel perfectly. Miniature houses are woven into a crooked and jumbled mass, trampled on and climbed over, yet still standing and glowing with the lives of their inhabitants.
Joshua Pharo and Sarah Readman’s lighting and video design integrate almost seamlessly with the set, offering that blue-tinged ethereal edge that blankets the entire piece.
This show captures and celebrates what the Welsh do so well. Lynwen Haf Roberts’s ethereal musical direction complements Wasserberg’s vision to offer a delightful celebration of Dylan Thomas’s language. The absurd-yet-simple inhabitants of Llareggub reflect the reality that people from all walks of life have stories to tell, and Craidd’s vision reminds the audience that they can be told.
Runs until 9th May
