|
 Under Milk Wood is a “play for voices”. First performed on the radio in January 1954 (after Thomas’ death), the first full theatrical performance took place at the Old Vic only a month later, in February 1954. An omniscient narrator invites the audience to listen to the dreams and innermost thoughts of the inhabitants of the fictional small Welsh fishing village, Llareggub, (“bugger all” spelt backwards – Thomas was known for being a bit of a cheeky devil). Later, the town awakens, and now we, the audience, have been introduced to their inner lives we can see how their feelings inform their actions, as we watch them go about their business (the course of the play is set over one day).
 It is interesting that the visual potential of the piece was so quickly realised after its initial concept as a radio performance, though this brings interesting challenges. Because it is unconstrained by any notion of an appropriate setting (being about the words and all) the director must have a vision to bring to life both the realism and the surrealism of this piece.
This production very much achieved this leap of the imagination – with a charming set by Angelica Michitsch of quirky crooked house facades in cheery pastel colours. The sea motifs painted on the floor, were a delightful detail and the line of washing stage right was used to good effect for some amusing visual jokes. The setting was enhanced by some gorgeous lighting by Samuel Littley – emphasising the essential warmth and affection of this play. The lighting-up windows in the house facades was a truly magical effect. Colin Guthrie and Stanley Piper’s sound (and Colin’s live accordion playing – always a treat to behold) enhanced the dreamlike and nostalgic atmosphere.
 The ensemble cast worked incredibly hard. The pace was lively when it needed to be, and yet the stillness and dreamlike quality of the overall atmosphere was maintained. It was a tricky balancing act to pull off – well done all. I know there were some frantic quick changes going on backstage – as well as slipping into new characters (everyone was playing several roles) but it all worked brilliantly and the hard-working team did it with aplomb.
 There are some wonderful characters in Under Milk Wood. The stand-out performances for me were Richard Pedersen as creepy Mr Pugh who dreams of poisoning his wife, Flavia Corinia Di Saverio as the saucy and engaging Mrs Dai Bread Two, Colin Guthrie and Louisa Schindle as nosy Mr and Mrs Willy Nilly and Scarlett Malone as the cheerful but heart-breaking Polly Garter – her sad song about her dead lover was a poignant highlight of the show. I also loved Matt Cranfield’s mad Lord Cut Glass, Kelly Guibal’s proud Mae Rose-Cottage and As Richards’ cheerful and gullible Mrs Dai Bread One. Caroline Cromwell was an excellent Gossamer Beynon and Lily Smalls (amongst others) and I very much enjoyed Vyvian’s Shaw’s Mrs Ogmore Pritchard – bossing around her two dead husbands and refusing to entertain a new lodger in case he messed up her house. Her performance of the touching character of Bessie Bighead – “kissed once when she wasn’t looking, but never again even though she was always looking” was also a delight. Nick Hall as blind Captain Cat was excellent – with lovely reactions to the dream voices of his dead companions, David Bunce as Mr Waldo gave a jaunty performance – making Mr Waldo rather likeable, even though he is a drunk and a womaniser. I loved Carlos Fain-Binda’s portrayal of Cherry Owen, as a much more loveable drunk.
 Dave Wainwright as the Narrator had a splendid lilting Welsh accent, though I occasionally found him a little hard to hear, due to where he was positioned. I also couldn’t see him that well from where I was sitting – and he seemed to be a bit in the way of cast members when they were exiting that way. I would have preferred him being more prominently positioned.And - here’s a thing - at last I get to review a play that I know quite well, having appeared in a sixth form college production some – er - few years ago. I played the covetable role of Second Neighbour, so it was exciting to be able to mouth along with the (approximately 2.5) lines that I’d learned all those years ago.
A charming and sensitive production which truly exploited the comedy, but also the sadness of Dylan Thomas’ masterly and poetic text. If you want more (and I did after seeing this) seek out his poem: And death shall have no dominion.
Photography by Giulia Paratelli
|
