A Milky masterpiece

· By Trish Mullen/Culture Writer

Under Milk Wood
presented by Theatre at UBC
at Frederick Wood Theatre
until Oct. 2

“Under Milk Wood” playing now at the Fredrick Wood Theatre is one of Welsh poet Dylan Thomas’ most well known works. Regularly staged in Britain and North America, the UBC Theatre deparment has taken on the task of bringing this work to the stage here on campus.

The play takes a glimpse into a day in the lives of the inhabitants of a small Welsh Village called Llareggub (which is referred to as “‘bugger all’ backwards”). The quaintness of village life is captured by Thomas, and everything beyond this life, within the dreams and secret lives of the townspeople is excellently choreographed to show this contrast.

Opening with a quiet song in complete darkness, the audience soon sees the origins of the voices as two narrators introduce us to Llareggub and invite us into the villagers’ dreams. The set is simple and effective, designed by Izzy Rubin, comprising only large wooden structures that serve to hide actors not currently in the scene or to be used as props. There were no other props used throughout the play, with the talented cast effectively mimicking any necessary gestures. Simplicity defines this play, with the lighting again being used to great effect without being overdone.

Performed by the graduating BFA acting students, the actors were all very talented and a pleasure to watch—the acting was simple and effortless fitting perfectly with the script.

They interacted seamlessly as they switched characters, as each actor has no less than three and some as many as five characters to play. The ease of these role reversals made the concept simple to follow. And the harmony of the actors is impeccable.

Johannah Khalema, who plays Bessie Bighead, Polly Garter and Mrs Dai Bread Twos, has an amazingly beautiful voice that dazzled in a league of its own as she gave the audience chills with her simple solo. Honorable mentions to Anastasia Filipczuk and Torrance Coombs must also be noted, as they both executed great comedic timing and perfect character switches.

It is however Ian Harmon who steals the show. He commands the audience’s collective attention without demanding it, whether he is floating in his boat as Nogood Boyo or quoting poetry as the good Reverend.

Thomas’ use of language is unique, and in the program for the play there is a quote where he explains “what the words stood for, symbolised, or meant was of secondary importance—what mattered was the very sound of them...” And this is evident as the characters sometimes say things that make you say, “wait a minute —that didn’t make any sense.” For example, just what do “quiet as a domino” and “the vegetables make love” mean?

But it sounds beautiful and as one audience member said after the performance, you just “get caught up in the language.” To put this play quite simply—keeping with the simple nature of the play—I can sum up this performance as simply superb.

This article was taken from the The Ubyssey online.