⭐⭐⭐⭐
By Pierre Donahue
Swansea Grand was buzzing for opening night of Thornton Wilder’s classic play Our Town, the very first production by Welsh National Theatre. With Welsh cultural icons Charlotte Church, Melanie Walters, Steffan Rhodri, Luke Evans and Iwan Rheon in the audience adding a sense of occasion, the anticipation was palpable, but all eyes were on Michael Sheen. Sheen, who has single handedly driven this relaunch of national theatre in Wales, also takes the starring role here.
Thornton Wilder’s Pulitzer prize winning play first opened on Broadway in 1938, and has since become a beloved part of American theatre repertoire. It’s a tender portrait of small town America and set in New Hampshire. So it seems, on the surface, a bold choice of material for a brand new Welsh company. On explaining why this particular piece was chosen Michael said “Our Town is about life, love and community. That’s what matters to us in Wales. It’s a play that compels us to celebrate the everyday, to hold the ones we cherish.”
Opening with Sheen as the ‘stage manager’, striding alone onto the stage with the house lights up, he signifies for the lights to dim, and we begin. Wilder’s stage instructions specify ‘No curtain, no scenery’, but here they have been creative. Hayley Grindle’s production design is subtle but effective. The cast use planks of wood, step ladders and plants painting an impression of buildings and furniture and movement. It’s very physical. No doubt the cast have had to work hard in rehearsals. With Swansea natives Francesca Goodridge as director and Russell T Davies creative associate, it is beautifully staged and lit.
It may be set in America in 1901, but it’s clear that this is a Welsh community with Welsh accents. Early Welsh settlers did move over in the 17th century, so they do exist. In fact the state of Pennsylvania has some well known areas with names such as Bryn Mawr, Bala Cynwyd, Narberth and Gwynedd that prove it. However, here it’s a somewhat awkward mix. Phrases like ‘playing ball’ and ice cream ‘soda’ make you a little unsure where this fictional town is supposed to be.
Grovers Corners, we are told, is a place where nothing ever happens. This is comically reinforced by listing the mundane aspects of small town life. But it’s also a place where Emily (Yasemin Ozdemir) and George (Peter Devlin) are destined to fall in love. Together we learn that life is precious but fleeting. Sheen, in magnetic form here, tells us early on that some of the characters will die. But not who or when. So when we find out who it has a real emotional impact.
Wilder originally intended for the audience to see themselves on common ground, unified by being in each other’s presence, alive at that moment. This is definitely keenly felt by me and many in attendance. This is my hometown, my people, my community, and the power of seeing this less than a mile from where I was born cannot be underestimated. My thoughts turn to my family and my loved ones and pretty soon I’m a blubbering wreck. That’s not to say it’s depressing. Far from it. It’s uplifting in its celebration of the beauty in all of our daily lives that perhaps go unnoticed. There is a line that has stayed with me “Does anyone ever realise life, while they live it..every minute?”
Is it sentimental? Yes. Is it a little dated? probably. But it holds up well. There is a clear parallel to Dylan Thomas’s play for voices Under Milk Wood. Which is perhaps no coincidence as Thomas was known to be a big fan of Wilder’s work and the two are known to have met. However whilst Thomas’s work is darker and he delves deeper into the secret lives of a town’s residents, Wilder’s is much simpler but with no less a poetic punch.
When the play first opened in 1938, Wilder wrote “Our Town is an attempt to find a value without price for the smallest events in our daily life”. In a troubled world on the eve of World War II, this was a revelation, and it seems a comfort for many. With world events taking a dark turn in 2026, it is perhaps then no coincidence that audiences may well take the same comfort from this play as I do.
As the lights go out, I wipe the tears from my eyes and stand to applaud Michael Sheen and the cast who get a deserved standing ovation. I’m not sure I’ve ever seen something so sweet and warm and quietly devastating. I’m quite sure it will be a great success. Michael deserves immense credit for getting all of this off the ground. Theatre in Wales is in safe hands.
