Reviewed – 16th December 2019
“an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène”
Theatre Lab Company brings to the Playground Theatre their gothic twist on the classic Charles Dickens’ tale, Great Expectations.
The well-known to British audiences tale of love, loss and journey from rags to riches got some intensive and extensive tuning. While retaining the main, basic plotline, Theatre Lab Company’s adaptation completely changes perspective and load factor, shifting attention to a more feminine point of view.
Cleverly adapted by Lydia Vie, the show’s main focus is on Miss Havisham (Helen Bang) and her doomful influence on Estella (Denise Moreno) and Pip’s (Samuel Lawrence) lives and their relationship; she remains on stage throughout almost the entire first act. Bang’s star shines the brightest of the entire – admittedly brilliant – cast, with hardly any stage movement whatsoever, her ferocity and vulnerability create a powerful, emotional volcano. Lawrence and Moreno are excellent as never-to-be lovers, and the arc of their relationship, particularly in the context of the very subtly altered ending, is beautifully complete. The other subplots are sort of rushed and actors, except Shaun Amos (Herbert Pocket), hardly have time for their characters to really vibrate on a similar wavelength.
The most impressive part of this show is, and by far, the direction by Anastasia Revi. The exceptional set (Eirini Kariori) and lighting design (Chuma Emembolu) help to build a gloomy, gothic atmosphere. Scenes from Pip and Estella’s childhood are especially engaging, played to the haunting tune of The Garden by Einsturzende Neubaten. Scene shifts are beautifully subtle and the use of dance immensely clever. It is, by all means, a five star direction of a show that otherwise tells a tiny bit too much and shows a tiny bit not enough.
Pacing of the adaptation is probably its biggest downside of. The first act is 70 minutes long, whereas the second one lasts only 30 minutes – the story in the first is unwinding slow, which results in the second act being crammed with the biggest reveals and the story “jumping” from one character to another just to finish their respective subplots. It does not, though, diminish the opportunity to immerse oneself in this show – there is just too much to admire.
It is, overall, an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène. The perfect play it is not – but you will love it.
Reviewed by Dominika Fleszar
Photography by Panayis Chrysovergis
Previously reviewed at this venue:
Fanatical – the Musical | ★★★ | November 2018
Sacha Guitry, Ma Fille Et Moi | ★★★½ | January 2019
My Brother’s Keeper | ★★★★ | February 2019
Gaslight | ★★★★ | October 2019
The Jazz Age | ★★★★★ | October 2019
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