DAVID COPPERFIELD

Jermyn Street Theatre

★★★★★

“It all builds to a delightfully satisfying panto-esque cacophony of characters”

With only three actors on a tiny (but intricate) set, Abigail Pickard Price’s magical adaptation of David Copperfield somehow brings an entire Dickensian universe to life, deliciously populated with a stream of vibrant characters, the requisite plot twists, and an attention to detail that would make Charles Dickens proud.

As a young David Copperfield (Eddy Payne) flees his stern and violent stepfather to seek his way in the world, Neil Irish’s masterfully evocative set and costumes bring us inside law offices, outside onto small village streets, and even into the sea and along its rocky shore with no more than a cleverly placed piece of fabric here, or a stackable trunk there. Together with the soundscape (Matt Eaton), lighting (Mark Dymock), and movement direction, the overall design seamlessly journeys from place to place and character to character. Each scene change is more creative and surprising than the next – and yet never distracts from the story’s momentum.

The acting is exemplary – every character is finely drawn and a tribute to Dickens’ imagination and keen observations of human nature. Louise Beresford morphs from cunning villain to cocky scoundrel to radiant love interest without a glitch. Luke Barton brings utterly absorbing heart and individuality to each of his nine characters. The verbosity and geniality of his Mr. Micawber in particular is a tour-de-force in itself. The dizzying spin of characters is anchored by Payne’s earnest and endearing David Copperfield.

Amy Lawrence’s movement direction is outstanding: whether leaping from boulder to boulder or riding in a carriage or – most impressively, being beaten by the fearsome Mr. Murdstone (who is hauntingly represented by a large brown top hat and empty coat) – the movement is so precise and believable that the audience becomes willing conspirators with the ensemble, suspending our disbelief and diving headfirst into this brightly painted world. What must have taken hours of disciplined rehearsal looks effortless and fun to us.

It all builds to a delightfully satisfying panto-esque cacophony of characters represented by hats and puppets and actors alike, made possible by the extremely well-oiled transitions these gifted actors have perfected.

To condense a Dickens novel of epic proportions into a two hour play on a miniscule stage is no small feat, and this production is anything but small. In her adaptation, Pickard Price expertly selects the most salient of the many details the book offers, and as a director, she squeezes every juicy morsel out of her talented team to create something that is bursting with fun and colour. Go see it. It is the perfect antidote to the long grey winter that is upon us.

DAVID COPPERFIELD

Jermyn Street Theatre

Reviewed on 25th November 2025

by Samantha Karr

Photography by Steve Gregson

Previously reviewed at this venue:

RAGDOLL | ★★★★ | October 2025

EXTRAORDINARY WOMEN | ★★★★★ | July 2025

LITTLE BROTHER | ★★★ | May 2025

OUTLYING ISLANDS | ★★★★ | February 2025

THE MAIDS | ★★★ | January 2025

DAVID COPPERFIELD

★★★

“the relationships all seemed forced and lacking the genuine intimacy to make them believable”

Girl meets girl in Joanne Fitzgerald’s Her Not Him, a romantic drama with a transvestite twist. Produced by Lughnacy Productions, this is the story of Bea, a woman who has grown bored of her younger lover, and her attraction to Jemima, a transvestite who gatecrashes her birthday party. Set to a salsa rhythm, the play tackles issues of gender, sexual attraction and maturity, it’s Fitzgerald’s debut full length play, enjoying a short week run at Theatre 503.

It’s a very promising start. The script is warm and witty, presenting its characters with affection and depth. The production has a clear agenda, but doesn’t get bogged down trying to make a grand statement. Jemima is who she is unapologetically with no need to defend or politicise her choices, and is a far stronger champion for gender equality and acceptance for it. Older woman Bea, faces the conundrums of a single woman reaching a certain age – she doesn’t want to be alone and she wants to have fun, the type of fun that is more easily shared with younger partners, who have yet to want what Bea has already put aside. Her relationship with Ellie is doomed from the outset, not by Ellie’s immaturity, but by Bea’s inability to accept her for who she is, either now or in the future.

Unfortunately, this production still feels unfinished. The cast all do a spirited job – John James gives a charming and naïve turn to the otherwise feisty Jemima, Leah Kirby is a lively, fun and slightly ridiculous Ellie while Orla Sanders stoical Bea keeps the show grounded – but the production lacks connection. They inhabit their own skins, but aren’t quite comfortable with each other yet. The direction does not help them. Amy Lawrence has given the play a lovely rhythm and the set choreography is impressive. But the effect is a little too clinical, highlighting the lack of emotion and the salsa section serves to tell the audience what we should be feeling, rather than heightening what we already are. It’s telling, not showing, too often; as a result the relationships all seemed forced and lacking the genuine intimacy to make them believable.

On the whole, I feel like I’ve seen this show prematurely. It still needs time to bed in, get comfy and enjoy its rough edges. Perhaps after a week, when it’s found its feet it will be on stronger ground. It certainly has all the right elements. It just needs the right chemistry.

Reviewed for thespyinthestalls.com

Tag Archives: Amy Lawrence

DAVID COPPERFIELD

★★★★★

Jermyn Street Theatre

DAVID COPPERFIELD

Jermyn Street Theatre

★★★★★

“It all builds to a delightfully satisfying panto-esque cacophony of characters”