Sometimes, a story as familiar as Thornton Wilder’s classic play 'Our Town' can surprisingly resonate with new cultural nuances, especially when reimagined in a different setting. But here’s where it gets controversial: how well does a quintessentially American piece translate into a Welsh context? That’s exactly what this recent revival examines, and the results are both intriguing and thought-provoking.
This production, which marks the debut of the newly revived National Theatre Wales—an initiative passionately supported by actor Michael Sheen—shifts the setting of Wilder’s narrative from the small, idyllic towns of New Hampshire to an equally charming but distinctly Welsh community. At first glance, this transposition might seem counterintuitive, especially considering the play’s strong national themes rooted in American history and identity. However, Wilder’s work, first staged in 1938 amid the interwar period, speaks to universal human experiences—community bonds, love, loss, and the fleeting nature of life—that transcend specific geography.
The Welsh adaptation captures the play’s timeless essence while infusing it with local flavor. It blooms with a lively Welsh rhythm—more expressive, more lyrical, and noisier than the original—highlighted through Jessica Williams’ dynamic visual design and Ryan Joseph Stafford’s emotionally resonant lighting. These elements create a vibrant, almost musical atmosphere, making the community feel warm and tangible.
Structured in three acts, the production emphasizes theatricality from the outset. Michael Sheen, taking on the role of the play’s narrator or 'stage manager,' guides us through a single day in 1901, introducing the budding romance between George Gibbs (Peter Devlin) and Emily Webb (Yasemin Özdemir). Three years later, their union is depicted, and the story then leaps forward to 1913, ending with a poignant scene set in the town’s cemetery—highlighting the tragic reality of early death.
Sheen’s portrayal is playful yet earnest, seamlessly blending mischief with sincerity, while donning period-appropriate costume—waistcoat and a watch-chain—that grounds his character in the early 20th century. As the narrator, he interacts with the set and characters, often breaking the fourth wall, which reminds us of the play’s meta-theatrical roots. His presence offers a charming, sometimes mischievous tone, but also a depth of reflection.
The set itself is deliberately minimalist, mainly consisting of an open space that invites imagination. Hayley Grindle’s design cleverly utilizes simple props—wooden planks that form the town’s structural outlines, versatile enough to serve multiple purposes and evoke expressive visuals. This simplicity allows the audience’s focus to shift inward, connecting emotionally with the community’s shared life.
Visually and atmospherically, the production is striking, with moments that sparkle with theatrical magic. Yet, it isn’t without inconsistencies. Despite its Welsh aesthetic—encompassing period costumes, accents, and local references—the play remains steeped in American cultural references worldwide. Mentions of New Hampshire, the U.S. Constitution, the Louisiana Purchase, and high school life create a strange linguistic and cultural hybrid. This blending can feel somewhat disjointed—does that vast, blue sky backdrop evoke Welsh valleys or American mountains? The setting’s geographical ambiguity might make some viewers yearn for a more distinctly Welsh identity woven into the fabric of the play.
Directed sensitively by Francesca Goodridge, with creative support from Russell T. Davies, the adaptation captures the nostalgic, small-town charm reminiscent of Dylan Thomas’s 'Under Milk Wood'—a poetic portrait of Welsh community life that Sheen himself starred in at the National Theatre. Interestingly, Thomas supposedly knew Wilder personally, adding a layer of literary and cultural connection. However, the initial acts lean too heavily into warmth and sentimentality, lacking the tension and complexity that a darker, more conflicted tone might bring. Until the final act, the community feels more like an idyllic, slightly sentimental version of The Waltons—all happiness and harmony.
When darkness does descend, it introduces a ghostly tableau reminiscent of Dickens’s 'A Christmas Carol,' where the deceased communicate as distant, divine figures—imposing and almost detached, which creates an emotional barrier rather than intimacy. This interpretation, though visually engaging, can distance viewers emotionally.
The description of the town as average—'nothing remarkable ever came out of it'—sets a tone that emphasizes the beauty of the ordinary. A poignant scene with the town drunk, Simon (Rhys Warrington), uses mime to subtly reveal his hidden identity as a gay man constrained by small-town notions—an insightful and powerful moment that hints at deeper undercurrents. Yet, the overarching message remains clear: cherish the everyday moments that often go unnoticed because life moves swiftly.
It echoes 'It’s a Wonderful Life' in sentiment—celebrating the simple joys—yet it lacks the uplifting climax that leaves audiences profoundly inspired. The narrator’s words, 'You’re 21, you’re 22, and wham, you’re 70,' serve as a gentle yet firm reminder to appreciate the present, warning us of life's fleeting nature.
In summary, this production offers a heartfelt tribute to community and the beauty of ordinary life but raises questions about cultural authenticity and emotional depth. Should Welsh audiences crave a more distinctly local flavor woven into such universal stories? Or is Wilder’s play, in essence, a universal mirror that needs only a new backdrop to shine anew?
The show runs until January 31 at Swansea’s Grand Theatre before touring further. What are your thoughts—does a play rooted in American history truly translate to Welsh soil, or does this adaptation miss a crucial sense of local identity? Make your voice heard in the comments.
