Under Milk Wood and Roses

Magna Performing Arts delivered an engaging and thought-provoking evening with their double-bill of performances, beginning with a rehearsed reading of highlights from Dylan Thomas's Under Milk Wood and concluding with an original, hard-hitting piece by resident writer and director, B.A. Morris.

The evening began with selected scenes from Under Milk Wood, a fitting introduction to Thomas's iconic and poetic text. The ensemble did well to evoke the essence of the small Welsh fishing village of Llareggub, with authentic and consistent Welsh accents adding to the atmosphere. Many of the cast doubled up as multiple characters, showcasing their versatility. Darren Coates gave an especially memorable performance as Captain Cat, his rich, expressive voice bringing both gravity and warmth to the character’s descriptive passages. Hilary Jones shone as Mrs Ogmore-Pritchard, while director Betty Morris made a welcomed appearance in the performance. The young actors—Isabelle, Leteesha, Ruby, and Holly—brought energy and charm to their roles as the children of Llareggub. Sarah Jenkins’s portrayal of Mrs Dai Bread 2 was equally enjoyable, with her scene alongside Hilary Jones as Mrs Dai Bread 1 standing out as a highlight.

While the condensed format offered a glimpse into Thomas's masterpiece, it might have been challenging for those unfamiliar with the original text to follow the fragmented narrative. The projected image of a Welsh seaside village on the back wall effectively set the scene, immersing the audience in the world of Llareggub. A semi-circle of chairs provided a simple yet functional stage arrangement, while the water feature on stage left, paired with well-chosen sound effects, subtly enriched the atmosphere.

The second act took a starkly different tone with B.A. Morris’s original work—a powerful piece weaving together narratives from the Great Plague of the 1600s and the HIV epidemic of the 1980s, updated to reflect ongoing social prejudices in the modern day. The play tackled themes of fear, ignorance, and scapegoating with a raw emotional intensity. David Jones and Sarah Jenkins delivered heartfelt performances as Revd. and Mrs Mompesson, anchoring the historical segment with sincerity. Amy Yemm, Fred Jenkins, and Sarah Riches portrayed a family torn apart by fear and suspicion, with Fred Jenkins excelling in a particularly charged confrontation with Hilary Jones, who gave a standout performance as the Beggar Woman. Her portrayal of an outsider—persecuted and scapegoated by a fearful community—was deeply moving.

Darren Coates brought weight to the role of George Vicars and Charles, while Adrian Prew delivered a commendable performance as Revd. Stanley. In a modern parallel, Paul Oliver portrayed a man grappling with his friend’s HIV diagnosis, highlighting the persistent stigma surrounding the illness. The use of projections, including a stained-glass window, and chilling sound effects enhanced the atmosphere, while red lighting in the final moments of the play created a haunting visual impact. Young Leteesha’s poignant rendition of Ring A Ring A Roses provided a chilling and reflective conclusion, driving home the universality of disease and its indiscriminate impact.

It was a shame to see so many empty seats in the hall, as Magna Performing Arts truly delivered an evening of quality performances that deserved a full audience. The dedication, hard work, and passion of the entire cast and crew were evident throughout, making for a memorable and thought-provoking night of theatre. Well done, Magna, on another solid production.

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