Following the remarkable success of his solo interpretation of Under Milk Wood, Guy Masterson has compiled 90 minutes of his favourite 'other' - rarely heard and rarely performed - works of the Welsh genius, Dylan Thomas.

The programme includes three of Thomas' wonderful short stories; A Visit To Grandpa's, Holiday Memory and, of course, A Christmas Story (more popularly known as A Child's Christmas In Wales), plus a selection of his greatest verse including Fern Hill, Do Not Go Gentle Into That Good Night and Death Shall Have No Dominion.

Each element of the production is delivered in a unique style: Masterson brings each story to life with using his trademark physical performance style (à la Under Milk Wood) and each poem is given an individual setting. Reminiscent of his Great Uncle, Richard Burton, Masterson makes the words sing, echo and vibrate in a way that will be remembered for a long time.

For venue, festival and event programmers, this show is completely adaptable. It can be presented as a 70 minute show using only the three short stories or as a 25, 35 ane 45 minute after dinner presentation. It can be presented in a formal theatre style, in a less formal cabaret style, as an outdoor performance or as simple recitation in a room. Postshow discussions, workshops and talkbacks on the works of Dylan Thomas tailored to any group - educational, special interest or drama - can also be scheduled in conjunction with a performance.

Fern Hill:

Adelaide Fringe Festival, 2007

"Compelling and beautiful... Guy Masterson is arguably the world's leading stage exponent of Dylan Thomas. We had his Under Milk Wood last year (and again in this Fringe) and now we have his alternative Thomas performance - a range of stories and poems which, in some ways, is yet more rewarding. Masterson is an athletic and highly animated performer who imbues even the character of passing mention with a sense of style and personality. He has the rich nasal timbre of classic Welsh delivery, one which, with a purse of the lips, he can transform to Richard Burton and even Anthony Hopkins. He has the agile tongue for the rapid ebb and flow of Thomas and the artistry to bring to vivid life each and every word of that superb master of the language. "
Samela Harris, Adelaide Advertiser, March 2007

"This is a charming and delightful production of works by Dylan Thomas. The much-lauded, amiable and amazingly productive Guy Masterson presents a one-man show of energetic readings of the famous Welsh booze-hound's poetry and short stories.
On a bare stage with nothing but his beautiful voice and vigorous physicality, Masterson launches into 'Holiday Memory', an enchanting story of a family holiday at the beach. As we warm to Masterson, we are drawn into this nostalgic and appealing tale. Masterson bounds about - grinning, puffing and twisting - bringing the words to life. And so he continues, reciting Thomas' poems with verve and affection. Particularly effective are 'The force that through the green fuse drives the flower' and the sad, elegiac trio of poems 'Death Shall Have No Dominion', 'Do Not Go Gentle Into That Good Night' (which builds stirringly from a reluctant whisper to a plaintive cry of uncertain bravado) and 'Lie Still, Sleep Becalmed'.
The real star of the show is Dylan Thomas. Masterson's charismatic and vivid evocation of the poems makes us appreciate Thomas' great gift."
John Wells (theatreguide.com.au)

After seeing his Under Milk Wood in 2006, I felt compelled to see more of Guy Masterson's work. So this presentation of Dylan Thomas' lesser-known works - or, as Masterson put it, "the not-Milk Wood Thomas" - afforded me the opportunity to see the man/men at work again.
As per previous efforts, Masterson recites Thomas' works with boundless energy, roaming the stage with swoops and sweeps, his face alive with obvious gleeful appreciation. He covers around ten pieces, each displaying Thomas' evocative style - but the words are just an outline for the performance; Masterson adds gobs of colour with his oration, texture with gesticulation. Genuinely remorseful for Thomas' death, Masterson makes the poems his own.
But what really made this performance for me was the casual nature of the performance. Dressed in dark board-shorts and a t-shirt, Masterson intersperses witty asides to the audience with the poems; a true gem was his comparison of various renditions of Under Milk Wood, successfully aping Richard Burton, Anthony Hopkins and even Dylan Thomas himself.
In short: brilliant. See it. Go on, there's a FringeTIX link up there; click it!
(A super-duper added bonus for me, of course, was listening to a bunch of first-year TAFE students pontificate about the performance afterwards. "He was oooooooookay - not as good as I thought he'd be, though. I mean, what's with the one-man-show?")
(It's also worth noting that this is a much better venue for Under Milk Wood - much more intimate than the cavernous Union Hall. If you didn't catch UMW last year, give that a go as well.)
Festival Freak - 07/03/08

Punter's Reviews from Adelaide Fringe Festival, 2007 (source: talkfringe.com.au)

Edinburgh Fringe Festival, 2001

WINNER: The Stage Award - Best Actor

Fern Hill: Suggested Brochure Copy:

TTI & GUY MASTERSON PRODUCTIONS PRESENTS:
FERN HILL AND OTHER DYLAN THOMAS

Fern Hill requires only a tall bar stool (to be provided by venue if possible) on a bare, open stage.
Minimum theatrical playing area is 6 meters wide by 4 meters deep. This is compact. Larger is preferable. For Cabaret style or non-theatrical performances, ANY size will suit.
It can play auditoria ranging from the intimate (100 seats) to the large (1500 seats).
Good computerised lighting facilities are preferable although the lighting can work manually with a minimal rig.
Good sound amplification is important. Sound effects are on Minidisc and CD (MD is domestically tourable).
One on the road domesticallyand internationally.
Lighting Cues: 36 - 7 main states. Lighting map supplied by downloading.
• Cue script provided on day.
• Post programing rehearsal time with technician - 2 hours.