A bold move for Wales: Michael Sheen's risky venture to save the nation's theatre scene.
Imagine a play so powerful that it's been performed every single day since its creation in 1938. That's the story of Our Town, a Pulitzer prize-winning masterpiece by Thornton Wilder. Michael Sheen, the star of an upcoming touring production, describes it as a play that 'wakes you up' and inspires a sense of urgency.
But here's where it gets controversial: Sheen is using this iconic play as the launchpad for a new, ambitious venture - the Welsh National Theatre. In a country where theatres face cuts and closures, this move is a bold statement of intent.
The Welsh National Theatre aims to showcase big stories on grand stages, standing up against the devaluation of the arts. Wales, it seems, has been spending less on culture than almost every other European nation, with beloved institutions like Welsh National Opera and Theatr Clwyd facing significant cuts.
Enter the Welsh National Theatre, a company driven by the desire to create opportunities for Welsh talent on a global scale. Sheen wants to 'go back to basics,' combining a community focus with grand ambitions. He aims to build an audience and use that as a catalyst to address infrastructural issues, like giving directors and playwrights the freedom to create without limitations.
The opening season promises an exciting lineup. After Our Town, the company will present Owain & Henry, a new play by Gary Owen, followed by Mark Jenkins' Playing Burton, starring Matthew Rhys. Sheen's vision is to rediscover Welsh plays and adapt world drama for Wales.
The decision to launch with Our Town began with a desire to showcase the talent of Francesca Goodridge, the show's director and artistic director of Cardiff's Sherman Theatre. Sheen believes that Welsh directors deserve a chance to work on main stages, and Goodridge's plays, while terrific, were straining at the leash.
Goodridge, drawn to large ensemble pieces, saw the essence of Wilder's Grover's Corners as a perfect fit for Wales. The community dynamics felt familiar, and the Welsh cast has embraced the play, finding the language lyrical and sing-songy.
Russell T Davies, the show's creative associate, has worked with Sheen since the actor's teenage years. He describes the production as an 'immense pride,' especially given the challenges faced by Welsh theatre. The play, with its stage manager introducing a jumble of characters, might seem twee, but it's a powerful story beneath the surface.
Wilder, writing just before WWII, used the stereotypical small-town life to tell a harder, steelier story. The play ends just before WWI, with a sense of rising rivers and suffering that goes unaddressed. Sheen believes Wilder was warning about the rise of fascism, but the point is not tragedy, but celebration of life.
The timing of this venture is crucial. National Theatre Wales, after losing all its funding, was crumbling. Sheen, initially reluctant to get involved, saw an emergency situation. The journey to establish a national theatre in Wales had been tortuous, and he felt a responsibility to act.
With no public money available, Sheen stepped up. He used his own funds, 'paid for whatever needed paying for,' and secured funding from the Colwinston Charitable Trust. Partnerships with BBC Studios and Bad Wolf provided additional support, ensuring the company wouldn't be vulnerable to a single funding source.
Sheen's instinct to make this company a reality seems innate. His clarity of vision and community-focused mindset drive his actions. As he says, 'At some point in your life, you're going to need help, and at that point, one has to hope that help will be there. That is what community is.'
The co-production with the Rose Theatre in Kingston, modeled on the success of Nye, is another example of collaboration. Christopher Haydon, the Rose's artistic director, emphasizes the importance of co-producing in the current financial climate. It allows for greater ambition and scale, which Goodridge agrees is essential for telling big stories.
Our Town opens at the Grand Theatre in Swansea, a place close to Goodridge's heart. The production matters, not just as a show, but as a symbol of hope and possibility for Welsh theatre. As Davies says, 'That's how you create a community, that's how you create ambition for generations to come.'
So, what do you think? Is this a risky move or a necessary step to revive Welsh theatre? Let's discuss in the comments!
