The Corn is Green

I was delighted to attend The Windmill Players’ latest offering, The Corn is Green, on Friday, 1st November, at the Cre8iv Little Theatre.

The Corn is Green is a semi-autobiographical play by Emlyn Williams, first performed in 1938. Set in a remote Welsh mining village, the drama follows Miss Moffat, an idealistic and determined English schoolteacher who arrives with the ambition of educating the local children. She discovers an exceptionally bright but rough-mannered young miner, Morgan Evans, and takes him under her wing, encouraging his academic potential.

Despite resistance from the conservative local gentry and Evans’ own initial reluctance, Miss Moffat nurtures his talent, guiding him towards a scholarship at Oxford. However, his future is threatened when he becomes involved with Bessie Watty, a flirtatious village girl, leading to complications that test both his ambitions and Miss Moffat’s resolve.

The first thing to note is how well The Windmill Players used the auditorium at the Cre8iv Little Theatre, making good use of areas beyond the stage itself. Miners entered from each of the side doors and made their way to the stage through the audience, singing as they went—an impactful touch that truly enhanced the atmosphere in the theatre and is to be commended.

On stage, the set was well thought out, beautifully designed, and functional in a multitude of ways. Credit is due to the set-building team of Ian Flynn, Peter Brown, and Fred Bostock for their sterling work, which was ably supported by the props team, who dressed the space beautifully and authentically. Likewise, the wardrobe was period-appropriate and well chosen to support the aesthetic of the piece.

Martin Judge was responsible for both sound and lighting and did a commendable job with both. I particularly noticed his adept use of low, atmospheric lighting, which transported the audience to the cold days of Victorian Wales.

The director’s chair was shared on this occasion by Angela Hudson and Roger Lloyd Jones, who clearly had a vision for the story they wanted to tell. The cast were well-drilled, and it was evident from the outset that creative individuals were at the helm. The play’s emotional moments were well crafted by the directors, who drew wonderful performances from the assembled cast.

In addition to co-directing, Roger Lloyd Jones performed the role of Emlyn Williams, acting as narrator and looking back on his formative years. He opened the play with a calm, steady, and passionate introductory monologue, which did wonders in gently setting the scene for a contemporary audience.

It would not be unfair to suggest that the pivotal role in the play is that of Miss Moffat, the Englishwoman who arrives in the Welsh countryside determined to open a school and educate the children of poor mining families. In this role, Judi Adams was remarkably well cast, navigating the play with a calm yet passionate tone. She delivered inspirational speeches to her wards and motivated them consistently, whether by carrot or stick! Adams’ portrayal managed to be brusque and bossy while also tender and warm-hearted—no mean feat! This was an impressive turn from an actor who clearly has a talent for playing headstrong and impassioned characters. A standout performance.

In her endeavours, Miss Moffat is supported by Mr Jones and Mrs Ronberry, who are taken on her journey whether they like it or not! As Jones, Steve Cook was ever-exasperated but unfalteringly loyal to Moffat’s belief in the school—and his Welsh accent was first-rate. As Ronberry, Marjorie Brown had an air of aristocracy but, when called upon, rolled up her sleeves and threw herself into life as a schoolmistress with aplomb.

As Morgan, the young man in whom Miss Moffat sees a bright future, Luke Foley was a strong choice. He played the character’s lack of self-belief exceptionally well, and the moment when he and the audience learn that he has successfully secured a place at Oxford was particularly charming.

As Bessie, the girl with whom Morgan becomes involved and who is left pregnant, Tina Warren brought a flash of life, colour, and youthful energy to the play, which was most welcome. She was equal parts playful and manipulative, and it was clear from the outset that Warren was having a ball on stage!

Bessie’s mother, Mrs Watty, provided comic relief in an otherwise serious play, and Louise Evans took on the role with much-appreciated energy and enthusiasm. Evans clearly relished delivering every one of her acidic one-liners and offensive asides, but there was a genuine warmth in her performance, which I enjoyed immensely.

At the other end of the class scale, the Squire—a local landowner and bon viveur, who is initially highly sceptical of Miss Moffat’s school but is ultimately won over by her charm and determination—was played with pomp and gravitas by Marc Adams. He had great fun in the role and contributed significantly to the play’s success.

The principal characters were very capably supported by a well-rehearsed and highly efficient ensemble, who brought life to the stage and helped create what was a most satisfying evening at the theatre.

Throughout the play, there were a few occasions where lines were dropped or vocal projection suffered, but these were minor and sporadic. Overall, this was a production with clear vision and confident performances, which I enjoyed immensely. My congratulations to all involved for a thought-provoking and rewarding evening at the theatre.

I eagerly anticipate my next visit to The Windmill Players to see them take on John Buchan’s classic, The 39 Steps.

 

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