We studied it in school, some of us may have re-opened its pages as adults and a few of us might even have been fortunate to see what’s hailed as Dylan Thomas’s greatest masterpiece – ‘Under Milk Wood’ – performed on stage. 

I fall into all three categories, but never have I been made so aware of Thomas’s sheer literary magnitude as I was during Theatr Clwyd’s production of ‘Under Milk Wood’, currently showing at The Torch Theatre, Milford Haven.

The cast’s command over this mighty work becomes manifest within minutes of curtain-up thanks to some exquisite stage definition and a magnificent yet unadorned script delivery.  This, after all, is a poem where rhythm and precise diction are essential. 

With each character dressed in white, characterised solely by a specific clothing item or prop, it was initially difficult to work out who was who.  But then ‘Under Milk Wood’ was first aired in 1954 for radio, where the spoken word was the audience’s sole pilot.

Throughout Theatr Clwyd’s production, I was constantly reminded of just how strongly the Llarregyb community – I’m deliberately spelling it this way to match Theatr Clwyd’s laudable captioning – unites.  So much happens during those intertwining 24 hours when everyone is interconnected in so many different ways.  And Theatr Clwyd makes one realise just how canny Thomas was in his social observations of the busy lives that bustled around him.  The play takes its inspiration from so many segments of the poet’s life, be it his childhood letters, his adolescent poems and the time he spent at his waterside homes in New Quay, Ceredigion, and Laugharne. The friendships and the social understanding that existed between the people of Llarregyb was intense but Thomas’ writing also depicts an honesty so indicative of post-war society.  How many houseproud women would echo the words of the controlling Mrs Ogmore-Pritchard – she who’s already nagged two husbands to death – as she  caws ‘Before you let the sun in, mind he wipes his shoes’?

In many ways the play typifies ‘Under Milk Wood’s’ ‘clock without hands’ as it presents a solid and changeless society, with many traits remaining just as strong in 2026.  How many of us know a Nogood Boyo (Jacob Coleman) who flirts shamelessly with that deliciously naughty sparkle in his eyes, an uptight Mrs Ogmore-Pritchard (Georgia Griffiths) who hates people breathing over her immaculate home and maybe even an Evans the Death (Macsen McKay) who loves his job just that little bit too much.

Theatr Clwyd has to be commended for some creative staging set against Llarregyb’s piled up, box-like houses, their windows illuminated by nightlights, capturing the dreamlike, often dark nature, of Llarregyb’s bible blackness.  Lighting, in many ways, is used to exemplify Thomas’ narrative as well as the relationship between darkness and light – good and evil – that’s found within the town.

The choreography is also exquisite, each character moving as one, with the result that the movement becomes an integral part of the production’s strength.  Not once did I feel this movement overpower the words, but rather support it and magnify the poem even more.

Initially I felt that being able to see the script printed on the backdrop would be a detraction from what was going on on stage.  But how wrong can one be?  Seeing the text helped me appreciate the way in which Dylan Thomas was able to metamorphose his words into such an overwhelming power force but is also reinforces them as we watch the actors on stage. 

Under Milk Wood also uses integrated BSL with signing, audio description (which doesn’t require headsets), and captioning, all built into the design of the show.  This, incidentally, doesn’t detract one iota from the performance’s strength.

The play has over 60 characters, played by a cast of 11.  And despite their considerable task, the actors capture the intimacy of this tightly-knit community so well. This particularly comes to the fore with Jacob Coleman’s Organ Morgan and Sean Carlsen’s portrayal of the Reverend Eli Jenkins who captures the Welsh passion and musicality so beautifully.  “Praise the Lord! We are a musical nation.”

Mirain Fflur oozes sexiness with her stunning looks and her slightly revealing costume, speaking in a seductive manner as she delivers Rosie Probert’s immortal words ‘Come on up, boys. I’m dead’.

Talking of voices, I was immediately struck by Georgia Griffiths’ dulcet tones as she plays Polly Garter and Mrs Ogmore-Pritchard. But when Griffiths breaks into song, her vocal quality takes on a completely new level.  Truly beautiful.

Also wonderful to watch is Macsen McKay as he flits through no fewer than five characters –  the local undertaker Evans the Death; the town’s draper Mog Edwards who’s hopelessly in love with Miss Price in the sweet shop; Mr Pritchard who is one of Mrs O-P’s two long dead husbands; the would-be wife murderer Mr Pugh and finally the sadly troubled Lord Cut-Glass, for whom darkness always lurks on the horizon.  McKay gives us five outstandingly quirky individuals, each displaying some fabulous facial expressions and a sizeable helping of humour. 

In a nutshell, this is a truly magnificent performance that captures every essence of Dylan Thomas’ legacy.

‘Under Milk Wood’ will be showing at The Torch Theatre, Milford Haven, from Tuesday April 21 to Friday, April 25.

WHEN looking at new online gambling sites, it’s important to do your research to ensure the site is legitimate, enjoyable, and safe.

However, finding trustworthy gambling insights isn’t always easy. It’s not uncommon to come across ‘reviews’ that are biased, affiliate-heavy, and even misleading, and it can make finding a suitable online gambling site feel almost impossible. 

Luckily, there are a few ways to separate impartial guidance from promotional waffle so you can make a more informed decision – here’s how.

Stick to Independent Review Platforms 

Platforms that prioritise transparency over promotion typically offer more than a simple star rating and instead use an analytical approach. Insights from Gambling Insider, for example, are in-depth, rating online slots by taking factors such as game quality and usability, payment methods and withdrawal, and licensing and player safety into account. 

Cross-Reference Expert Analyses 

Game analyses can provide useful context for users, especially when it comes to things like user experience and withdrawal processes. However, not all content written by ‘experts’ is as trustworthy as it may seem. 

Since many review sites operate on paid promotion or affiliate models, it’s important to double check their claims with independent sources, particularly if a review seems overly positive. 

Use Official Records 

Verifying licensing and legitimacy should be your top priority when it comes to choosing a gambling site. Platforms that don’t have a license, or use an unverified one, may be fraudulent, meaning the risk of scams or data breaches is much higher.

Even if you find a trusted review site, it’s important to confirm that a site is legitimate using official records. The UK Gambling Commission, for example, has a directory of sites that are legally authorised to operate in Britain, which includes details on what license they hold. These insights can help you make a more informed decision on your next gambling destination. 

Gather Evidence From Multiple Sources 

When looking for genuine gambling insights to inform your next gambling destination, it’s best to look at more than one source. Independent review platforms can offer excellent insight into things like overall enjoyability and bonuses, and offer valuable information like what payment methods are available. But it’s always important to cross-reference the claims made with other independent sources, and complete a final verification using official records. 

By making an informed choice, you can ensure you’re using safe online gambling sites and have a more enjoyable experience.

Full-band tribute show led by award-winning Annie Lennox lookalike Stacy Green promises a night of eighties nostalgia in Milford Haven

THE TORCH THEATRE in Milford Haven is inviting audiences to celebrate one of the biggest acts of the 1980s with a night of unforgettable hits and nostalgia.

Taking fans on a journey back in time, Yourythmics brings the music of Eurythmics to life with favourites including Love is a Stranger, Here Comes the Rain Again, Would I Lie to You?, Right by Your Side and, of course, the chart-topping Sweet Dreams (Are Made of This).

Yourythmics promises the ultimate full-band tribute to the legendary duo, combining energetic musicianship, striking costumes and plenty of audience participation. Leading the show is Stacy Green as Annie Lennox.

Stacy has already earned recognition as the UK’s number one Annie Lennox tribute and lookalike, an honour awarded by the National Agents Association. She has also been recognised by Annie Lennox herself.

The production promises an evening of singing, dancing and classic songs that are sure to have audiences on their feet and joining in.

Yourythmics comes to the Torch Theatre on Saturday, June 20 at 7:30pm.

Tickets are £25 and can be booked through the Torch Theatre website or by calling the Box Office on 01646 695267.