If one said this was a haunting and marvellous tale about a Welsh mother whose baby is stolen by faeries, they would be correct. If one said it was a piece of riviting physical theatre which relied on a troupe of talented and dedicated actors, capable of presenting subtle performances, this would also be true. The Tylwyth Teg is both these things. It is also soft, charming, and delightfully malevolent, with the company showing the same trademark unflinching honesty that made their 2003 production of The Duchess of Malfi so stunning.
Director Mark Edel-Hunt has done a fine job conducting this visual symphony, and performers Benedict Hitchins, Rachel King, and Ros Steele tell the story of Jenny Gill and her changeling baby by playing both fae and human characters. Like in Duchess, costumes play a significant role in the distinction between settings and characters, and these switches are always crystal clear. Elongated movement pieces have been excellently coordinated by movement director Marie Gabrielle Rotie, while Andy Hewson's set recalls an earlier age of darkly threatened innocence. Dan Steele's music contributes a critical atmosphere, and, as in any devised production, dramaturg Clare Slater has ensured that the both sides of this story are clear and easy to follow.
(Originally awarded 4½ stars.)