Graeme Farrow & Sharon Gilburd on the Co‑Production of Owain & Henry
The room feels charged before the interview even begins. Cast members drift between conversations, creative teams cluster in corners, and the energy of a landmark Welsh production hums beneath every exchange. I listen back as Chris Birch sits down with Graeme Farrow, Chief Creative Officer of Wales Millennium Centre, and Sharon Gilburd of Welsh National Theatre — two leaders whose collaboration has made Owain & Henry possible.
What unfolds is a conversation about ambition, identity, risk, and the kind of cultural confidence Wales has long deserved.
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“This is going to be one of those cultural moments for Wales.”
When Chris asks what this collaboration means, Sharon answers with a clarity that fills the room.
“When WNT and WMC first started talking about this project, Michael said, ‘This is going to be one of those cultural moments for Wales,’ and I think it will be.”
I can see how deeply she believes it. She describes the production as something unprecedented:
“A Welsh story by a Welsh writer, with a Welsh cast, a Welsh crew, two Welsh organisations — on a scale that I don’t think a Welsh production has seen before.”
It’s not just a show at this point; It’s a statement too.
A landmark moment for the Wales Millennium Centre
Graeme picks up the thread, reflecting on what it means for the WMC to host a production of this magnitude.
“We said, ‘We have to do a big Welsh story.’ And this is it.”
He talks about the convergence of opportunity — the success of Nye, the conversations with Michael Sheen, and the moment they read Gary Owen’s script.
“We thought, ‘This is it.’”
There’s pride in his voice when he describes the Donald Gordon Theatre:
“This place is a national iconic building. Playing host to a foundation story about Wales with incredible Welsh talent — that’s what we’re here for.”
It’s clear that Owain & Henry isn’t just another production. It’s the kind of event that reshapes how a nation sees its own cultural institutions.
“It’s a national and international event.”
Graeme and Sharon both speak about the scale of interest — not just in Wales, but beyond.
Graeme notes:
“It’s an event. A big event. A national and international event.”
Sharon adds:
“People are talking about Wales in a way they haven’t before — not just theatre people, but people passionate about culture and history.”
Risk, new writing, and a queue 368 minutes long
Chris asks about the risk of staging new writing at this scale. Sharon laughs — not dismissively, but knowingly.
She explains that new writing is rarely seen as commercially safe:
“A commercial producer wouldn’t invest in new writing — it’s risky.”
But the collaboration gave them confidence. And the audience responded.
“Within a few months of launching ticket sales, we had sold nearly fifty percent.”
Graeme adds the detail that makes everyone in the room pause:
“On the day we released tickets, it was 368 minutes in the queue to buy tickets.”
You don’t get that for many productions in Wales. Or anywhere.
“This doesn’t happen anywhere very often anymore.”
Sharon gestures toward the cast and creative team gathered nearby.
“A piece of new writing with twenty‑five actors and a creative team like this doesn’t happen anywhere very often anymore. Never mind in Cardiff.”
It was a leap of faith — but one grounded in belief:
“We were confident enough in the collaboration and in Gary’s script that this was going to be something that could achieve that level of interest and excitement.”
And it has.
“People from all over the world are communicating with us.”
Sharon speaks passionately about the global reach of Welsh stories.
“We get queries every day about when we can tour internationally.”
She describes how Our Town, adapted and performed with Welsh accents, sparked international curiosity — and how Owain & Henry is amplifying that momentum.
“This could not be a more Welsh story, and yet people from all over the world are communicating with us.”
You can feel the pride in her voice — not boastful, but deeply rooted.
“It’s a statement about confidence.”
Graeme closes the conversation with a reflection that feels like the heartbeat of the entire project.
“It’s a statement about confidence… hopefully it will breed more of that.”
Confidence in Welsh writing. Confidence in Welsh institutions. Confidence in Welsh stories told at full scale.
Listening to Chris, Graeme, and Sharon, it’s impossible not to feel that confidence growing.
A new era for Welsh theatre
Watching this conversation unfold, one thing becomes clear: Owain & Henry is not just any co‑production; It is a cultural milestone, and a moment where Wales steps forward with ambition, pride, and a willingness to take risks worthy of its stories.
It is, as Sharon said, “one of those cultural moments for Wales.”
