★★

“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.

FAREWELL MR HAFFMANN

Park Theatre

★★★★

“Tension and relief are hallmarks of this production as director Oscar Toeman steers us through the shifting moods with slick clarity”

There is a recurring line in Jean-Phillipe Daguerre’s play, “Farewell Mister Haffmann”, that is reprised by nearly all the characters at some point. ‘Courage is stronger than fear’. The quotation could have come from the hand of Mark Twain, Martin Luther King or Nelson Mandela. In some paraphrased version it has probably been cited by many of our respected world leaders and philosophers. It carries the danger of becoming a glib, self-help-manual style platitude, but in the context of this play (translated by Jeremy Sams) it is a crucial motif. Sometimes delivered comically, but more often with poignancy; it exemplifies the fearless way in which Daguerre tackles his subject matter – turning a global narrative into an intimate, human story that is funny – almost farcical. But don’t be complacent. It can suddenly turn on you with the unpredictability of a dangerous dog.

Inspired by Daguerre’s great-grandparents who hid Polish Jews from the Nazis, it is set in Paris over two years from May 1942. Joseph Haffmann (Alex Waldmann), having sent his wife and children to Geneva, decides to hand over his jewellery shop to his loyal, hardworking, non-Jewish assistant, Pierre Vigneau (Michael Fox). It comes with a condition, however. Pierre and his wife Isabelle (Jennifer Kirby) must agree to move into Joseph’s house and hide him in the cellar until normality is resumed. A further twist has Pierre lay down his own condition. His marriage is childless. Unable to get his wife pregnant, he asks Joseph to do the honours as his side of the bargain.

It is all very matter of fact. The scenes flash by in a series of short bursts. Patently, Isabelle is initially reluctant of the proposition made by her husband on her behalf. Less obviously, Pierre is modestly reticent to take over the business. The conversations are awkward and wrought with moral dilemmas. The decisions are made during the semi-dark scene transitions, so we see the causes and the consequences. Kirby is marvellous as Isabelle, presenting the fragile façade that all is well, but letting us know that it will shatter at any moment. Fox’s Pierre, nervous yet jovial at first, slips into angst and jealousy. Whilst his wife does the ‘deed’ with Haffmann, he goes out tap dancing; a routine that he uses to distract himself from what’s going on in the cellar. As the months go by, the dance steps acquire more and more freneticism. All three performances remarkably show the unravelling nature of each personality as the stakes are raised.

It is a jagged little piece. Not every issue is followed through successfully, but the character arcs are well formed. This feels very much like a three hander. Until art-loving, Nazi ambassador Otto Abetz (Nigel Harman) arrives at the eleventh hour. His presence has already been felt and has been a major source of contention between the others so far. Everything changes when Otto arrives for dinner, along with his loose-tongued wife, Suzanne (Jemima Rooper). A dinner served with huge side orders of tension, broken only by Suzanne’s coarse and tactless interjections. Rooper is a sheer delight with her precise comic timing and delivery. Harman, however, keeps her in check with a performance that chills. We teeter between wanting to laugh or letting our jaws drop to the floor in shock. The stillness of Harman’s portrayal conceals a simmering and dangerous mind.

The shift in tone works remarkably well as we are caught as much off guard as the characters within the play. Tension and relief are hallmarks of this production as director Oscar Toeman steers us through the shifting moods with slick clarity; while Asaf Zohar’s sound and Christopher Nairne’s lighting slice the action into glorious bit-sized vignettes. It is a unique portrayal of a much-explored piece of history, made all the more pertinent and unsettling by its light-hearted intimacy. A hasty epilogue slightly dampens the overall effect, but is arguably necessary to cement where Daguerre’s – and our – sympathies lie. We can only imagine the choices people had to make at such a perilous time in history. “Farewell Mister Haffmann” fires our imaginations brilliantly and powerfully. Refreshingly short and sharp but full of savage twists, it is shockingly funny.

FAR FROM THE MADDING CROWD

Theatre Royal Windsor

★★

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

FAR FROM THE MADDING CROWD

Theatre Royal Windsor then UK tour continues

Reviewed on 11th March 2025

by Jonathan Evans

Photography by Sam Pharoah

Previously reviewed at this venue:

FAR FROM THE MADDING CROWD

FAR FROM THE MADDING CROWD

FAR FROM THE MADDING CROWD

FAREWELL MR HAFFMANN

Park Theatre

★★★★

“Tension and relief are hallmarks of this production as director Oscar Toeman steers us through the shifting moods with slick clarity”