Michael Sheen is on a mission, and it’s one that could redefine the cultural landscape of Wales. ‘I can’t let this opportunity slip away,’ he declares, as he embarks on what might be his most daring venture yet: saving Wales’s national theatre. But this isn’t just about rescuing a struggling institution—it’s about reigniting a nation’s pride in its artistic heritage. And here’s where it gets controversial: in a time when theatres across Wales are facing cuts and closures, Sheen is betting big on a bold new vision. Can it work? Or is it a risky gamble in an era of dwindling arts funding?
Since Thornton Wilder penned Our Town in 1938, the Pulitzer Prize-winning play has been performed somewhere in the world every single day. ‘Every time I read it, I feel like I’ve been jolted awake,’ Sheen reflects. ‘It’s this urgent reminder: I can’t waste this.’ Now, Sheen is bringing Wilder’s timeless tale of small-town America to Wales, but with a twist. This production marks the launch of the Welsh National Theatre, an ambitious company founded—and funded—by Sheen himself, in response to the collapse of the former National Theatre Wales. ‘Opening night isn’t just about the play,’ says Russell T Davies, the show’s creative associate. ‘It’s the beginning of something that, in 10 years, we’ll celebrate as a cultural turning point.’
The birth of the Welsh National Theatre is a defiant statement, especially as Wales’s theatres face an uncertain future. With a recent report revealing that Wales spends less on culture than almost every other European nation (second only to Greece), the arts scene has been starved of resources. Beloved institutions like the Welsh National Opera, Theatr Clwyd, and Theatr Na nÓg have faced significant cuts. Yet, despite Wales’s wealth of talent, its theatrical ecosystem has struggled to flourish. Enter the Welsh National Theatre, a company driven by the desire to create large-scale platforms for Welsh artists, both at home and abroad, and to expand the Welsh canon. Sheen calls it ‘going back to basics,’ blending community focus with global ambition. ‘It’s about building an audience and using that momentum to tackle deeper issues,’ he explains. ‘Like giving directors bigger stages and playwrights the freedom to write without being constrained by practicalities.’
The company’s opening season is a testament to this vision. After Our Town, the theatre will stage Owain & Henry, a new play by Gary Owen, starring Sheen as Owain Glyndŵr, the 15th-century Welsh rebel. This will be followed by Playing Burton, a tribute to Welsh acting legend Richard Burton, led by Matthew Rhys. ‘We’re building upwards,’ Sheen says. ‘Rediscovering Welsh plays while adapting global dramas for a Welsh audience.’
But why start with Our Town? For Sheen, it was about giving director Francesca Goodridge a larger platform. ‘Welsh directors often get stuck in studio spaces,’ he notes. ‘That limits the stories we tell.’ Goodridge, who met Sheen during the production of Nye, was the perfect fit. ‘He said, ‘I love what you do, and I want to see it on a bigger scale,’ she recalls. ‘And I thought, ‘Yeah, me too.’’ Sheen’s approach is selfless, as Davies observes: ‘He’s a man who makes things happen.’
Goodridge’s vision for Our Town is deeply personal. Raised in Fforestfach, Swansea, she saw her own community in Wilder’s fictional Grover’s Corners. ‘It’s about the ordinary moments that make life extraordinary,’ she says. ‘The smell of my mum’s kitchen, watching my niece grow up.’ She hopes the play will inspire audiences to ‘call the person they love.’
Adapting the play for a Welsh audience has been a labor of love. ‘The language is so lyrical, it’s perfect for a Welsh accent,’ Sheen says. Davies worked with the Wilder estate to infuse the production with a Welsh idiom, though some changes—like swapping baseball for rugby—were gently rejected. ‘We didn’t want to trample on Wilder’s words,’ Davies explains. Instead, they imagined the play as a ‘Welsh community in America, like the one in Patagonia.’
One bold decision was translating the hymns into Welsh. ‘Hearing the cast sing like a big Welsh choir gives me goosebumps,’ Goodridge says. With 18 Welsh actors, the production is a rare celebration of Welsh talent. Davies recalls being told in the 90s to remove Welsh characters from his writing. ‘I’ve always fought that,’ he says. ‘But it takes someone like Michael to lead the charge.’
Yet, Our Town is more than just a heartwarming story. Beneath its quaint exterior lies a steely message. ‘Wilder uses small-town life to confront harder truths,’ Sheen explains. Written on the brink of World War II, the play warns of rising fascism and the fragility of ordinary life. ‘When a character dies, the question isn’t about tragedy,’ Sheen says. ‘It’s about how they lived.’
Sheen’s decision to launch the Welsh National Theatre came amid the collapse of National Theatre Wales, which lost all its funding. ‘It felt like an emergency,’ he recalls. ‘If we didn’t act now, the momentum would be lost.’ With no public funding available, Sheen stepped in, using his own money to get the company off the ground. ‘I’m the one who can open doors,’ he says simply. This isn’t the first time Sheen has put his money where his heart is; he recently paid off £1 million in debt for people in South Wales.
The new company secured transitional funding and partnerships with BBC Studios and Bad Wolf, but Sheen is determined to diversify its income. ‘We’re not relying on one source,’ he says. ‘That’s how we’ll keep moving forward.’
For Sheen, this isn’t just about theatre—it’s about community. ‘As you get older, you realize we all need help at some point,’ he says. ‘That’s what community is.’
The production’s co-production with the Rose Theatre in Kingston highlights the importance of collaboration in today’s theatre landscape. ‘Co-producing is essential,’ says the Rose’s artistic director, Christopher Haydon. ‘It allows for greater ambition.’
As Our Town begins its tour in Swansea, it’s more than just a play—it’s a symbol of hope. ‘Now, a 15-year-old in Swansea can see local actors on stage,’ Davies says. ‘That’s how you build ambition for the future.’
But here’s the question: Can Sheen’s vision truly revive Welsh theatre? Or is it an uphill battle in an era of shrinking arts budgets? One thing’s certain: Michael Sheen isn’t waiting for permission. He’s making it happen. What do you think—is this the spark Wales needs, or a noble but doomed effort? Let the debate begin.
