FAR FROM THE MADDING CROWD

Theatre Royal Windsor

★★

“lacks the necessary passion and pace to engage us fully.”

The heroine of Thomas Hardy’s nineteenth century novel, ‘Far from the Madding Crowd’, was named after the Biblical queen consort Bathsheba, the beautiful Israelite who captivated David. Witnessing her bathing, the young shepherd is overcome by lust – which was the least of his ensuing problems. Hardy borrowed the name and some of the characteristics for his protagonist. Most notably the vanity, independent spirit and the magnetic hold she has over the men who pursue her. Set in the fictionalised Wessex, the story centres on Bathsheba’s three infatuated suitors, Gabriel Oak, William Boldwood and Sergeant Francis Troy. As they each vie for her affections she plays with their hearts, often unaware of the devastating effects on those around her – and on her.

Conn Artists Theatre Company have created a faithful interpretation of the novel, even if their regard to include all the key moments results in a rather long evening. It is a brave undertaking to tell the story with just five actors onstage and for the most part they pull it off. We are never left in any doubt as to what is going on and, despite the multi-rolling, the characters are easily identifiable and clear cut. The commitment to their characters is evident and each performer is adept at intermittently stepping into the role of narrator without tripping up the narrative. Director Nick Young’s job has been made that much easier by the diligent cast.

The tone is set with a touch of folk music; time and place pinpointed by Laura Kimber’s costume. The practical limitations of touring, though, leave Kimber’s set (particularly the rural Shutterstock-style video backdrops) a touch misaligned with the playing space, and little thought has gone into the props, with an over reliance on cuddly toys or offstage animal noises. But there’s the rub! The often harsh and adult themes of the story – of love, betrayal, honour – clash unforgivingly with the play’s execution. Bordering on patronising, we feel the need to look around to check that we are not in a school hall. Heightened gestures and raised voices teeter on the verge of parody, yet this show takes itself too seriously to follow through and we are left confused as to who should be watching.

A calm, solid figure in the midst is Abi Casson Thompson’s Bathsheba. An assured stage presence, she is the anchor that prevents the others from wading too far out into the depths of melodrama. Yet still unsure enough of herself not to realise it is she who is pushing them out there in the first place. Joshua Davey, as the humble and honest Gabriel, is the first to fall for her charms but cannot break her independent spirit. Time passes, during which Gabriel loses his fortune and Bathsheba finds hers, and when they meet again after Gabriel saves her newly inherited farm from a fire, he thinks he has another shot at her affections. But enter William Boldwood. Ross Muir (also the co-writer along with director Nick Young) takes the character’s name to heart in a portrayal that is bold yet wooden as he refuses to give up his pursuit. The tragic consequences of his obsession are ultimately diluted in a farcical denouement. Meanwhile, Jaymes Sygrove vainly struts and frets as Sergeant Troy. Even more narcissistic than Bathsheba, he is the one who traps her into marriage. But as he has already impregnated poor orphan girl, Fanny Robin, we know it’s going to end in tears. Or worse. Emily Huxter gives a waif-like vulnerability to Fanny, whenever she isn’t singing or adopting an array of ensemble roles.

We are in for the long haul. A little short of three hours we feel that a crack of the whip wouldn’t go amiss. And ultimately, we never feel the struggles Bathsheba endures to assert herself in a man’s world. The elements are all there, but the essence hasn’t been captured. The touches of live, period music add atmosphere but still don’t let us into Hardy’s world. We have been led through storms, fires, thwarted love and tragedy; and witnessed betrayal and disloyalty, recklessness and retribution. Yet, unsure of its intended audience, this show lacks the necessary passion and pace to engage us fully.