October 7, 2008
Given the length of Hardy’s novel, together with the story’s popularity, bringing this popular classic to the stage effectively is no small task. However, The English Touring Theatre’s production, directed by Kate Saxon, is a definite triumph.
After a somewhat ambiguous opening, which may well confuse audiences encountering the work for the first time, the play goes from strength to strength and, despite its relatively long duration of 2 hours 45 minutes, keeps the audience engrossed throughout.
The casting director, Ginny Shiller, has brought together a fine set of actors who work well together. Arguably the most crucial aspect of this play is the performance of the part of Bathsheba Everdene, played by Rebecca O’Hara. Not only does O’Hara look the part but she delivers a fantastic performance, balancing the feisty thoughtlessness, vanity and stubbornness of Hardy’s self-sufficient ‘strong woman’ with a human fragility and suffering that counteract any irritation one might feel with regard to her character. Bathsheba’s haunting scene with the coffin of her husband’s lover and illegitimate child, probably the most moving moment in the play, leaves the crowd gripped and stunned.
O’Hara is surrounded by an impressively solid cast and the chemistry between the characters is extremely strong. This is particularly true of Bathsheba’s scenes with her trio of love interests, all of whom are distinctly different characters: Boldwood (played by Steve Billington), the awkward English gentlemen, whose unrequited obsession with Bathsheba ends in desperate madness and murder; Frank Troy (Adam Croasdell), the dashing young sergeant whose irresistible charm and cunning prove a dangerous combination; and Gabriel Oak (Phil Cheadle), the hard-working, humble and watchful farmer, whose loyalty to Bathsheba is constant despite his often unwelcome honesty to her. The only slight complaint one might have is the placing of Troy’s and Oak’s accents, which seem to oscillate between thick country and Irish / American. No real matter though, as the acting comes out on top throughout.
The farm workers deserve a special mention too, with their jovial spirit and gossiping ways providing much-needed relief from the tense drama and fluctuating emotions.
The choreography was effective and the minimal use of props well-adapted to the limitations of the stage. The sound effects also deserve praise (the fire scene early on in the play was particularly well done). The entries of live music from the flute, violin, guitar and drum, meanwhile, provide a wonderful authentic folky backdrop to the action at various points of the play.
All in all, a job very well done, particularly given the enormity of the task at hand. Very much recommended.
After a somewhat ambiguous opening, which may well confuse audiences encountering the work for the first time, the play goes from strength to strength and, despite its relatively long duration of 2 hours 45 minutes, keeps the audience engrossed throughout.
The casting director, Ginny Shiller, has brought together a fine set of actors who work well together. Arguably the most crucial aspect of this play is the performance of the part of Bathsheba Everdene, played by Rebecca O’Hara. Not only does O’Hara look the part but she delivers a fantastic performance, balancing the feisty thoughtlessness, vanity and stubbornness of Hardy’s self-sufficient ‘strong woman’ with a human fragility and suffering that counteract any irritation one might feel with regard to her character. Bathsheba’s haunting scene with the coffin of her husband’s lover and illegitimate child, probably the most moving moment in the play, leaves the crowd gripped and stunned.
O’Hara is surrounded by an impressively solid cast and the chemistry between the characters is extremely strong. This is particularly true of Bathsheba’s scenes with her trio of love interests, all of whom are distinctly different characters: Boldwood (played by Steve Billington), the awkward English gentlemen, whose unrequited obsession with Bathsheba ends in desperate madness and murder; Frank Troy (Adam Croasdell), the dashing young sergeant whose irresistible charm and cunning prove a dangerous combination; and Gabriel Oak (Phil Cheadle), the hard-working, humble and watchful farmer, whose loyalty to Bathsheba is constant despite his often unwelcome honesty to her. The only slight complaint one might have is the placing of Troy’s and Oak’s accents, which seem to oscillate between thick country and Irish / American. No real matter though, as the acting comes out on top throughout.
The farm workers deserve a special mention too, with their jovial spirit and gossiping ways providing much-needed relief from the tense drama and fluctuating emotions.
The choreography was effective and the minimal use of props well-adapted to the limitations of the stage. The sound effects also deserve praise (the fire scene early on in the play was particularly well done). The entries of live music from the flute, violin, guitar and drum, meanwhile, provide a wonderful authentic folky backdrop to the action at various points of the play.
All in all, a job very well done, particularly given the enormity of the task at hand. Very much recommended.