A bold vision for Wales' theatrical future: Michael Sheen's risky role in saving the nation's theatre scene
In the world of theatre, there's a timeless classic that has never taken a day off since its creation in 1938 - Thornton Wilder's 'Our Town'. Michael Sheen, the star of an upcoming touring production, describes it as a play that 'wakes you up' with its urgent message: 'I have to not waste this.'
But this production isn't just about the play; it's a launchpad for something much bigger - the Welsh National Theatre. This ambitious company, founded and funded by Sheen, rises from the ashes of the former National Theatre Wales, which collapsed amidst funding cuts and closures.
'Opening night will be more than just a play's debut,' says Russell T Davies, the show's creative associate. 'In a decade, we'll celebrate how it all began with 'Our Town'.'
The creation of Welsh National Theatre is a bold statement, especially considering the challenging times for theatres in Wales. With a focus on big stories and grand stages, the company aims to counter the devaluing of the arts in Wales, which spends less on culture than almost every other European nation, according to a recent cross-party report.
Welsh National Theatre bursts onto the scene with a mission to create large-scale platforms for Welsh talent, both at home and internationally. Sheen explains his vision: 'Going back to basics, blending a community focus with global ambition, to build an audience and address infrastructural problems. Directors should be able to step up, and playwrights should write freely, not limited by practicalities.'
The new company's opening season showcases this vision. After 'Our Town', they present 'Owain & Henry', a new play by Gary Owen, followed by 'Playing Burton', a tribute to Welsh actor Richard Burton, starring Matthew Rhys.
The idea to start with 'Our Town' originated with Sheen's desire to showcase the talent of director Francesca Goodridge, also the artistic director of Cardiff's Sherman Theatre. 'One challenge in Wales is getting Welsh directors onto main stages,' Sheen says. 'They're relegated to studio spaces, which limits the stories we tell.'
Sheen and Goodridge met on Tim Price's 'Nye', where Goodridge co-directed with Rufus Norris. Sheen played Aneurin 'Nye' Bevan, and was impressed by Goodridge's work on 'Sorter' and 'Rope'. 'I love what you do,' Sheen told her, 'and I want to see it on a bigger scale.'
Goodridge's plays are 'terrific,' says Sheen, 'but I could see she was straining at the leash theatrically.' So, they decided to collaborate, with Sheen's involvement ensuring a main stage production. 'He's a man who makes things happen,' notes Davies.
For Goodridge, who loves large ensemble and movement-led pieces, transposing Wilder's Grover's Corners to Wales felt natural. 'It's like where I grew up,' she says, describing the familiar routines and characters. 'This play says we're an ordinary town, but the mundane builds extraordinary moments.' It's about the details we miss, the life worth living.
As the Welsh cast explored the American play, the fit felt perfect. 'It's ideal for a Welsh accent,' says Sheen, 'with its lyrical, sing-song language.' Davies, who directed Sheen in his youth, has worked with the Wilder estate to adapt the play with a Welsh idiom, preserving its essence while making it culturally relevant.
'We can use our own language,' says Goodridge. One decision was to translate the hymns, creating a powerful moment for the Welsh cast. 'Hearing them sing like a big Welsh choir gives you goosebumps,' she says.
The play, with its 18 Welsh actors, is a rare and wonderful event. Davies recalls being told to remove Welsh characters from his writing in the 90s. 'People don't like the Welsh,' he was told. 'But Michael leads the way, and I'm proud to be part of this grand Welsh story.'
'Our Town' can be misread as twee, but it's a powerful story. 'Wilder uses small-town life to tell a harder, steelier story,' says Sheen. Set just before World War I, with the rise of fascism, Wilder warns of suffering and the need for action. 'The point is not tragedy,' Sheen says, 'but to celebrate life.'
As Goodridge and Sheen planned the show, National Theatre Wales was collapsing. 'There was discontent,' says Sheen. 'The closure left a huge absence, and it was unclear what would rise.'
Sheen initially resisted involvement, but saw an emergency. 'It was a tortuous journey to get a national theatre,' he says. 'I realized I had to do it. I can open doors, and I don't need payment.'
With no public funding, Sheen used his own money, 'paying for what needed paying, doing what was needed.' The company secured funding for the opening season and partnerships with BBC Studios and Bad Wolf. 'We're looking for funding from all sorts,' says Sheen. 'I'm still underwriting, and that's how we'll move forward.'
For Sheen, making this company possible is instinctive. His clarity of vision drives him to act when he believes in something. 'As I've gotten older,' he says, 'it's clear we all need help at some point, so we should all give help.'
The co-production with the Rose Theatre in Kingston, modeled on the success of 'Nye', is essential for ambition and scale. 'Co-producing is vital,' says Christopher Haydon, the Rose's artistic director. 'It enables greater ambition and collaboration.'
'Scale is important,' agrees Goodridge. 'We have big stories to tell.'
'Our Town' opens at the Grand Theatre in Swansea, a place close to Goodridge's heart. 'When you read a play, you read it in your accent,' she says. 'So you see your own community.'
Welsh National Theatre aims to build talent, belief, and possibility. 'That's how you create a community,' says Davies. 'That's how you create ambition for generations.'
'Our Town' is a Rose Theatre and Welsh National Theatre co-production. It runs at Swansea Grand Theatre until January 31, then transfers to the Rose Theatre in Kingston, London, from February 26 to March 28, with runs at Venue Cymru, Llandudno, and Theatr Clwyd, Mold, in between.
