In a captivating revival of Thornton Wilder’s classic American play, "Our Town," Michael Sheen infuses the production with both warmth and humor, all while setting it in a quaint Welsh town rather than its original upstate New York backdrop. At first glance, this relocation may seem puzzling, especially given the current political climate that echoes the themes of community and identity prevalent in the play. However, this adaptation for the debut of the National Theatre Wales—an initiative Sheen passionately supports—successfully captures the essence of the original work.
Wilder's "Our Town," which debuted in 1938 during a tumultuous inter-war period, transcends mere political commentary. It explores the intricacies of life, love, and mortality within a tightly-knit community. The decision to place this narrative in Wales breathes new life into its core themes, presenting a version that feels vibrant, playful, and distinctly lyrical, thanks to Jess Williams’ imaginative set design and Ryan Joseph Stafford’s evocative lighting.
The structure of the play consists of three acts, with a keen awareness of its theatrical roots. Sheen takes on the role of the "stage manager," guiding the audience through a pivotal morning in 1901, where we witness the tender beginnings of romance between young George Gibbs (played by Peter Devlin) and Emily Webb (portrayed by Yasemin Özdemir). Fast forward three years, and their relationship has blossomed into marriage. The final act transports us to the local cemetery in 1913, confronting themes of untimely death. The stage manager not only narrates the story but also introduces various scenes and characters, stepping into roles himself with a mix of earnestness, playfulness, and poignancy.
Typically, the set of "Our Town" is sparse, relying heavily on the stage manager’s narrative to fill the void. Hayley Grindle’s design cleverly utilizes this emptiness, encouraging the audience to engage their imaginations while employing limited props—wooden planks serve as both the town’s foundation and versatile elements in more expressive scenes.
Overall, the production boasts a visually striking design filled with dynamic physicality and moments of sheer enchantment. However, it does grapple with certain inconsistencies. While the performance successfully evokes a Welsh spirit through period costumes, accents, and names, many references remain distinctly American. Mentions of Republican values, New Hampshire, the American Constitution, and high school bring an odd dissonance, making one question the geographical authenticity—is that expansive blue sky behind the actors representative of Welsh valleys or American hills?
There’s a yearning for a deeper integration of Welsh culture in this adaptation.
Under the direction of Francesca Goodridge, with Russell T Davies as a creative partner, Grover’s Corner evokes nostalgia for a simpler time, reminiscent of Dylan Thomas’s beloved fishing village of Llareggub from "Under Milk Wood," a role Sheen previously played at the National Theatre. However, unlike Thomas’s work, which deftly balances darkness and light, this rendition sometimes lacks the necessary tension, leading to a portrayal that feels too idyllic, resembling something out of "The Waltons" set in South Wales.
When the narrative finally confronts darker themes, it does so with a ghostly sequence echoing "A Christmas Carol." Here, the deceased converse with a detached grace akin to Greek deities, seemingly divorced from human suffering. While this interpretation offers a fresh perspective, it may leave audiences feeling emotionally distanced from the characters' struggles.
We are told that Grover’s Corner is a pleasant town, though it seems no extraordinary individuals emerge from its confines, which raises questions about the limitations imposed by such ordinariness. A poignant moment occurs when Simon, the town drunk (played by Rhys Warrington), is portrayed through a clever mime suggesting he may be a closeted gay man constrained by societal norms, illuminating the subtle pressures of small-town life.
Yet this underwhelming normalcy carries a significant moral lesson: to appreciate the simple, everyday moments that life offers. It resonates with a sentimentality akin to "It’s a Wonderful Life," albeit without the uplifting finale. The narrator reflects on the swift passage of time, noting, "You’re 21, you’re 22, and suddenly you’re 70." It serves as a gentle admonition, urging viewers to cherish the mundane aspects of life before they slip away. So, take heed—embrace the beauty of ordinary life; it passes by more quickly than you think.
The play runs until January 31 at the Swansea Grand before embarking on a tour.
