Theatre Intime goes ‘Under Milk Wood.’
By: Stuart Duncan
In America, the 1930s and ’40s were the heyday of radio drama. The most sensational of these was a program, based on H.G. Wells’ War of the Worlds, which was adapted by Orson Welles for airing on a Sunday night. The show threw the nation into a frenzy.
But radio plays, at least in the U.S., had limited appeal once television caught the public fancy, although in Britain the craze continued. In 1953, Dylan Thomas wrote Under Milk Wood, describing the project as a "play for voices" and introduced listeners to the mythical Welsh town of Llareggub. The name of the town was changed in print to Llaregyb so as not to offend. For the offensive version, pronounce Llareggub backward.
The work is at Theatre Intime on the Princeton University campus for two weekends, bringing Thomas’ rich language and the moods and actions of his small Welsh town for all to hear. Directed jointly by Susie Cramer-Greenbaum and Zachory K. Berta, the evening combines modern stagecraft with the constrictions of radio offerings. On stage right stands a pair of narrators who will also handle minimum sound effects. On stage left are a quartet of musicians, led by Alex Fiorentino at the keyboard who also composed the original music (and plays the banjo and accordion for the show).
And in the middle is a miniature town through which a cast of six rambles, playing multiple roles from the citizenry of what is described as perhaps half a thousand. It is an exciting undertaking and if there are glaring errors, there is much to admire as well. First, of course, we have Thomas’ extraordinary use of language. He never used one or two adjectives when 10 or 12 would do. He consistently used nouns as verbs and made them work brilliantly. For example: He has a grizzled old sea captain remember "the one love of a sea-faring life that was sardined with women."
The music is a great plus, not particularly Welsh in character, but gentle and pretty and underscoring several moments with stunning effect. Dan Kublick steals the acting honors as the sea captain (plus other roles), but Katie Benedict as the first narrator leaves about a third of her monologues unintelligible. Frances Dayton as the second narrator has a more polished voice (though far less to say). To this listener, it was a mistake for two female voices to have so much of the descriptive section of the show. The first radio voice in the original show was handled by Richard Burton, Welsh accent and all.
And, at the close of the day in Llareggub, the town slut has a memorable bit in which she sings of her lost loves, thereby explaining much of what we have seen in her character. It would have helped had she been able to carry even a simple tune. Nevertheless Under Milk Wood is a rare opportunity to experience a lost art and perhaps share a few memories.
Under Milk Wood continues at Theatre Intime, Princeton University Campus, Princeton, through April 7. Performances: Fri. 8 p.m., Sat. 2, 8 p.m. Tickets cost $12, $10 seniors. For information, call (609) 258-1742.