Tag Archives: Thomas Hardy

FAR FROM THE MADDING CROWD

★★

UK Tour

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.



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:

PRIDE & PREJUDICE (SORT OF) | ★★★ | February 2025
BOYS FROM THE BLACKSTUFF | ★★★★ | January 2025
FILUMENA | ★★★★ | October 2024
THE GATES OF KYIV | ★★★★ | September 2024
ACCOLADE | ★★★½ | June 2024
OH WHAT A LOVELY WAR | ★★★★ | April 2024
CLOSURE | ★★★★ | February 2024
THE GREAT GATSBY | ★★★ | February 2024

FAR FROM THE MADDING CROWD

FAR FROM THE MADDING CROWD

FAR FROM THE MADDING CROWD

TESS

★★★★

UK Tour

TESS

New Theatre Royal, Portsmouth

★★★★

“The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose”

Ockham’s Razor has achieved something extraordinary with Tess, a bold and breath-taking adaptation of Thomas Hardy’s Tess of the D’Urbervilles that fuses theatre, movement, and contemporary circus to re-imagine Hardy’s 1891 tragic novel. Through inventive staging and visceral physicality, the company distils this tale of endurance, injustice, and resilience into something immediate and deeply affecting.

The story follows Tess Durbeyfield, a young woman from a poor rural family who is sent to seek kinship with the wealthy D’Urbervilles after her father learns of their supposed aristocratic lineage. There, she falls prey to the manipulative Alec D’Urberville, an event that alters her life forever. Seeking a fresh start, she later finds love with the idealistic Angel Clare, but when he learns of her past, his rejection leaves her struggling to survive in a world that offers her little compassion. As Tess fights against the rigid moral codes of Victorian society, she finds herself once more in Alec’s grasp, leading to a final desperate act that seals her fate.

The striking set design of shifting wooden planks, towering walls, and billowing linen is integral to the storytelling, creating a constantly evolving landscape that mirrors Tess’s emotional and physical journey. The performers interact seamlessly with their surroundings, swinging, climbing, and manipulating the set with an urgency that reflects her struggles. Production designer Tina Bicât keeps the staging simple yet evocative, while Aideen Malone’s lighting and Daniel Denton’s projections shift fluidly to enhance the ever-changing atmosphere.

The cast of seven deliver extraordinary performances, both physically and emotionally. Tess is portrayed by two performers: Lila Naruse, who serves as the narrator, recounting her story with a soft West Country lilt while slipping in and out of dialogue, and Anna Crichlow, who embodies Tess’s physical journey through movement, expressing her emotions with acrobatics and dance. Their dual performance is quietly powerful with one Tess speaking, while the other relives events with no ability to change them. A particularly moving moment comes when one Tess reaches out to hold the other’s hand in silent support, reinforcing the sense of inevitability that haunts her story.

The predatory Alec D’Urberville is played with an unsettling charisma by Joshua Frazer, while Angel Clare is brought to life with both idealism and naivety by Nat Whittingham, making his betrayal all the more painful. Both actors also take on ensemble roles, and particularly in Frazer’s case, it is striking to see how posture, movement, and a quick costume change transform him from one of Tess’s mischievous younger siblings into a predatory seducer.

Lauren Jamieson, Victoria Skillen, and Leah Wallings play multiple roles throughout, from the romping Durbeyfield children to barroom brawlers, but particularly shine in two comedic sequences as the trio of dairymaids vying for Angel’s attention.

The adaptation, by directors Alex Harvey and Charlotte Mooney, streamlines the novel’s plot while maintaining its emotional depth. Tess’s journey is strikingly depicted, for instance, her initial trip to the D’Urbervilles sees her navigating an intricate sequence of angled planks, with projected mountain ranges behind her emphasising the sheer scale of her world. This is later mirrored when she flees from Alec, retracing her route backwards, a breathtakingly choreographed sequence performed in reverse that heightens the sense of her desperation.

One of the production’s most visually powerful moments comes during Alec’s seduction of Tess, represented through a Cyr wheel routine. What starts as a peacocking display of skill becomes something darker as Alec lures Tess into his orbit, quite literally drawing her into his circle, trapping her. Their final encounter, which drives Tess to flee, is almost unseen, shrouded in darkness and accompanied by an unsettling soundscape. With one Tess watching helplessly as events unfold, reinforcing how ingeniously this dual portrayal captures the inevitability of her fate.

The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose. The integration of circus arts is not just for spectacle but a vital storytelling tool, making Tess’s struggles feel immediate and visceral. The music and sound design by Holly Khan further heighten the drama, weaving folk-inspired melodies with an atmospheric score that underscores Tess’s emotional journey. The costumes, designed by Bicât, balance historical authenticity with functionality, allowing the performers full range of movement while remaining firmly rooted in Hardy’s world.

This production masterfully transforms Hardy’s prose into something immediate and deeply affecting, distilling its themes of power, privilege, consent, and female agency (or lack thereof) in a way that still resonates today. Through bold direction, inventive staging, and an emotionally rich interpretation, Tess proves that even the darkest of literary classics can be re-imagined with breath-taking vitality.



TESS

New Theatre Royal, Portsmouth then UK Tour continues

Reviewed on 25th February 2025

by Ellen Cheshire

Photography by Kie Cummings

 

 

 

 

Previously reviewed at this venue:

BEAUTY AND THE BEAST | ★★★★ | December 2024

 

Tess

Tess

Tess