Under Milk Wood

To begin at the beginning: it is spring, moonless night in the small town, starless and bible-black, the cobble streets silent and the hunched, courters'-and-rabbits' wood limping invisible down to the sloe black, slow, black, crow black fishing boat-bobbing sea. [...] And all the people of the lulled and dumbfounded town are sleeping now.

Subtitled "A Play for Voices", Dylan Thomas's best known work, Under Milk Wood, carries the double legacy of the author's extensive work for radio--a medium for which, like the very different Samuel Beckett, he had an almost intuitive grasp--and his skill and ability as a poet. A polyphonic evocation of a day in the life of an imaginary small Welsh seaside town, Thomas's play--"a green leaved sermon on the innocence of men"--visits in turn the inhabitants of Llareggub (read it backwards for the joke) while they sleep, when they wake and go about their daily activities, as the night falls. Balancing a rhythmic, densely poetic language with a nuanced ear for the musical cadences of speech, the play's gentle, affectionate charm and humour resonate to create a deeply textured portrait of a community responding almost mythically to the awakening of spring.

The introduction to this new edition details the book's slow genesis and reveals a more serious aspect of Thomas's creation--it was composed in part as a response to the terrible inheritance of World War II--in which the affirmative, redemptive cast of the play carries a moral dimension, an imaginative, lyrical empathy for the regenerative innocence of the average human being and their capacity for grace. Llareggub becomes a space in which eccentricity is tolerated, sin is forgiven and love is nurtured--or at least dreamt about and possible. Thomas has a democratic compassion for the small dramas of the everyday and a belief that what is commonplace unites us, all underscored by the transformative power of the language he bestows on each inhabitant. His characters--Captain Cat, Myfanwy Price, Organ Morgan, Willy Nilly the Postman, Polly Garter, Dai Bread, and others--generously animated and blessed by their author, have entered many people's affection and literary memory. In this light, it is easy to see why Under Milk Wood has remained one of the best-loved works of the 20th century and one of the great plays for radio. --Burhan Tufail

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Pure Delight - Rated
This is the best of Thomas. His affinity with the Welsh, his love of language, particularly their language, his melancholy and his air of delightfully mischievous humour just permeate this work through and through.
This was originally written to be heard, as a play for voices, i.e. radio. Reading it, however wonderful, and it is, is never going to replace the joy of listening to it, or seeing it in production. The play brings out the musical quality and the joyous rhythm of the words, and I would recommend using the book as a companion piece to the radio play, which is also available to buy.
I love the wonderful use of alliteration and repetition which makes this work seem so primal and ritualistic. I love the cheekiness of the characters; the blind captain, who reminds us that what we have to do is listen, the anally retentive housewife with two dead husbands who she still henpecks even after death and the drowned sailors like a Greek chorus pulling us back to the reality of ever present death roiling under all that effervescent life.
A masterpiece.

Hunting on pig-back, he shoots down the wild giblets - Rated
Excellent - improves every time I listen to it.
Don't be put off by the arty context its easy to listen to...

Original 1954 recording with Richard Burton, all-Welsh cast. - Rated
Written as a "play for voices" for the BBC, this historic audiotape features the all-Welsh cast of the original BBC production from 1954. Richard Burton is the First Voice, which connects all the characters, played by twenty-eight men, women, and children. With perfect diction and the sense of character which only a great actor can convey, Burton rolls his R's, modulates his voice in pitch and intensity, and makes Thomas's poetry come fully alive--full of alliteration and various kinds of rhyme, with nouns and adjectives used as verbs to convey action and sense impressions simultaneously, and always a wry humor and honesty of feeling.

Depicting one full day in the life of a small town in Wales, Thomas shows its motley residents as they awaken, perform their daily tasks, socialize, gossip, and daydream about the past that might have been and the future that may yet hold hope. When night falls and the residents retire, their losses and disappointments, along with their escapes into dreams, are given voice and poignancy. Polly Garter, with her numerous children by numerous fathers, dreams of Willie, a very small man who was the love of her life. Captain Cat, the blind bell-ringer, thinks of all the sailors he knew who died at sea. Mr. Pugh dreams of poisoning his wife, and young Gwenny, who has extorted pennies from the little boys who do NOT want to kiss her, plans for the next day and more pennies.

The sound effects provide context for the drama without overpowering the narrative--a cock's crow, the clip-clop of horses, the bark of dogs, footsteps, the sea, bell buoys--and simple songs add to the realism and the sense of character and place. A mournful tune performed by Polly Garter in a minor key, as she remembers Willie and compares him to her other lovers, is beautifully sung by Diana Maddox, her clear, bell-like voice and almost palpable sadness making her one of the most memorable of the characters. A humorous children's singing game, sung by local school children, gives added realism, and little Gwenny's song to three very young boys is delightfully cheeky. Both enchanting and historically important, this memorable recording is worth seeking through Used sites or through amazon.co.uk--the best recording ever made of this wonderful "play for voices." Mary Whipple

Five Stars For Captain Cat - Rated
Under Milk Wood seems to be very out of fashion at the moment, maybe suffering from a hangover of being so popular in the 1970s. I don't think any schools or universities put it on their reading lists these days.
It is colloquial, but at the same time universally appealing. The lyricism of the language is so nice to read. And there's a bit of everything here, sadness, love, humour, marriage, poisoning, dreams. In its themes it is rather like James Joyce's Finnegans Wake, with the difference that Under Milk Wood is always a pleasure to read and never frustrates.
This play maybe sad in tone, but is never maudlin or cynical.
It concentrates on small town life, and small town squalor but is never political. Overall it's a very affectionate book.

A great performance of a truly great work - Rated
Under Milk Wood is one of the finest examples of writing you will ever read, or in this case hear. Words of such depth, lilt and lyrical rhythm that they take the breath away. It is genuinely difficult to find terms that do this masterpiece of the English language justice - so I will not try, just listen and be entranced by the magic of Dylan Thomas's unique genius.

To find a recording of this work that does it justice is rare indeed - and the BBC production on these CDs is as close to perfection as I have ever heard. This is the "Under Milk Wood" by which all others are judged and found wanting. Buy it. Listen to it. Please.