A Review of Under Milk Wood at the Oxford Playhouse

I would argue that one man shows and radio play adaptations are two of the most challenging and marmite choices in the industry. Each poses its own unique set of hurdles and require expert hands to navigate. So, what happens when you bring the two together? It sounds like a recipe for either disaster or outrageous success. In the case of Guy Masterson’s new rendition of Under Milk Wood, thirty years after he originally performed Dylan Thomas’ masterpiece upon the Oxford Playhouse stage, it is a wonderful journey into a snapshot of this unique Welsh community.

Directed by Tony Boncza, this piece blends new direction with that originally designed by George Dillon. There is a sense of legacy here, a sense of connecting not only with older renditions of Thomas’ poem performed by Masterson but also his uncle Richard Burton. It is a Welsh story that has passed through the hands of countless Welsh figures. There is a sense of community in this which echoed within the text itself. For those unfamiliar with Under Milk Wood, it tells the story of a village from their dreams, through their waking hours, and into sleep again. In depicting a classic Welsh community Thomas is depicting a small village in which nothing much happens but the days are filled all the same. Stepping into the shoes of each of these characters, Masterson brings said community to life with energy, enthusiasm and no small degree of skill. To bring distinct personalities and physicalities to such a wide range of figures is a feat in itself, but to do so with such ease is a joy to behold.

It goes without saying that the set for this show is minimal. It is not, however, non existent. Instead, there is a single chair upon the stage, which is used with the versatility of a drama workshop chair. One moment it is simply a chair and the next it has transformed. The fluidity is something that is seen throughout the piece, as Masterson progresses through the piece, dancing through the poetry with a lightness of foot and tongue. Despite the almost empty stage, at no point does it feel large and unfilled.

What is most ingenious about this piece is certainly the use of light and shadow. Emphasising the change of characters, and bringing depth into the empty palette of the stage, the lighting is used with more competence and consideration than I have seen in many a show. It’s wonderful to see how effective the simple use of spotlight is, particularly when helping to differentiate between characters. Alongside this, there is an excellent soundscape put into play, with music coming and going throughout the piece, courtesy of composer Matt Clifford.

There is a beauty to the poetry which is depicted perfectly upon the stage, the flowing of the piece enabling movement to easily and gracefully embellish what is already there. The team take the question of how to make something written for the ear visual and answer it with perfection.