By Roger Owen
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Poen yn y Bol was not Parry’s only experiment with Ionescoan drama. There was another, far less reputable, adventure into this field in which Gwenlyn played a role: Y Ffynnon [‘The fountain’], or La Fontaine, a cod-absurdist prank presented at the Welsh Students’ Collegiate Drama Festival of 1964. It was billed at the festival as a new Welsh translation by Gareth Miles of ‘one of the early works of Eugene Ionesco’, and presented on stage by a group of students mostly drawn from the university in Bangor.
16 His own practice as a lay preacher was based on the simple division of elements in life into good and evil, a ‘habit’ which brought him ‘a lot of comfort’, and had a distinct influence on his approach to the practice of writing for theatre later in life: I’m sure I composed dozens of sermons – with the help of Richard Jones, and . . the shape of a sermon or the outline of a sermon is very similar to a play – to start with you have three headings in a sermon and three acts in a play, and a sermon develops to a kind of twist in the tail, just as a three act play has some kind of kick in the tail and a kind of moral .
According to legend, they included the students themselves (among them the young Dafydd Glyn Jones, soon to be a charismatic scholar), the dramatists Huw Lloyd Edwards, W. S. ’16 The play had been motivated by a distinctly juvenile urge to wreak revenge on the Western Mail drama critic D. R. indd 23 7/24/2013 2:46:32 PM Gwenlyn Parry had disappointed some of the students with his cursory review of their production of John Gwilym Jones’s Hanes Rhyw Gymro. Some disÂ�cerning critics, including Jacob Davies and Norah Isaac, were fooled by the play, but D.