The eighth production from Hwyl Theatre Company proves that this talented group continue to deliver on its promise of compelling, evocative storytelling. Dylan Thomas’ Under Milk Wood, a lyrical masterpiece, demands a deft touch, and Hwyl delivers with authenticity and passion at the Lyttelton Arts Factory.

From the outset, it’s clear that Welsh heritage plays a vital role in the production; Director and Hwyl co-founder Harry Lawrence hails from Abertawe, Cymru (Swansea, Wales), where Dylan Thomas was born.

Thomas’ writing relies heavily on the musicality of the Welsh accent, and the cast embrace this with precision and respect, bringing both the humour and pathos of the script to life. 

Under Milk Wood is a reflection of life in a Welsh fishing village, Llareggub (‘bugger all’ spelt backwards), over a day and night. It’s a busy, character-driven play with actors all taking on multiple roles. 

The ensemble work is a joy to watch, with particular highlights including the delightfully cheeky schoolyard scene where little Gwennie teases the boys.

Lawrence deserves particular praise for stepping into the demanding role of “the voice” just two weeks before opening night. Even if he’d been rehearsing in the role from the outset, he still deserves praise.

Best remembered as one of Richard Burton’s iconic performances, the part is no small challenge. Lawrence’s commitment and poise are evident and, while some pacing issues emerge in the middle of the show, his performance is largely compelling. A touch more variation in tone – leaning into the light and shade of Thomas’ lyrical writing rather than increasing volume at times – would elevate his delivery further. 

The production cleverly incorporates visual elements, adding layers to Thomas’ “play for voices.” Standouts include the whimsical cows and a lively bar singalong that draws the audience into the communal spirit of the small Welsh village. However, the live music, while evocative, feels under-utilised, and the pre-show and interval music could be more thoughtfully aligned with the tone of the piece.

The cast shines as a whole, but special mention must go to Peter Rutherford (Captain Cat, Organ Morgan) and Helen Fearnley (Rosie Probert, Mrs. Organ Morgan, Mrs. Willy Nilly). Their scene together, particularly Captain Cat’s poignant monologue, is a masterclass in emotional storytelling:

“I’ll tell you no lies. The only sea I saw

Was the seesaw sea

With you riding on it.

Lie down, lie easy.

Let me shipwreck in your thighs.”

Claudia Hill (Polly Garter, Bessie Bighead) sings beautifully as Polly; the comedic interplay featuring dead husbands Mr Pritchard (William Wallace) and Mr Ogmore (Spencer Smith), and the very much alive Mrs Ogmore-Pritchard (Andrea Hunt), is delightful.

Under Milk Wood is an exceptionally challenging work to stage, balancing the weight of Thomas’ poetic prose with the intimacy of his characters. 

Hwyl rises to the occasion, honouring the text while adding inventive visual flourishes. The entire cast and crew can be proud of an evocative, engaging production that lingers in the mind long after the final bows.

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