GREAT EXPECTATIONS by Charles Dickens ‘This is a new Dickens for a new century, and it is fabulous.’ This major new initiative by Aberystwyth Arts Centre was supported by the Arts Council of Wales through the Arts Outside Cardiff scheme. The production toured throughout Wales following on from its premiere in Aberystwyth, visiting Brecon, Cardigan, Newport, Swansea, Newtown and Bangor. REVIEW GREAT EXPECTATIONS It isn’t often the Aberystwyth critics get the lead on the Cardiff and Clwyd critics for a first night of any major tour, much less the world premiere of a major new work, but last night, we had the rare joy of attending the opening night of Alan Lyddiard’s bold and innovative production of Neil Bartlett’s adaptation of that hardy Dickensian perennial -‘Great Expectations’. The story of Pip Pirrip’s curious, intriguing journey from blacksmith’s apprentice to city gent and back again has been adapted for stage and screen countless times, but this was truly a new and thrusting take on the novel, in all aspects of the production. Simon Banham’s set was stark and sparse – a raked, bare-boarded rostrum formed the main playing area, a bright, white projection screen area ran the breadth of the stage behind, a black screen slid in between the two for certain effects, and seven speakers, mounted on portable stands, stood in an imposing row at the rear of the stage when the audience were filing in. These speakers are used to novel effect throughout the show, moved as they are around the stage, broadcasting a range of sound effects and voices. I did find myself irritated by their use at the start of the show – the voices seemed intrusive, and the repetition of live lines seemed trite, but, as the show progressed, they came into their own and proved a very interesting and engaging auxiliary to the main live action. Indeed, throughout, this was a show which, in a courtly manner, allowed a beautiful complementary relationship between actor and technology to develop. AV work, designed and produced by Claire Duthie and Alan Lyddiard, was a subtle but striking addition to the visual mix, underscoring certain moments and making gentle observations of its own. Grant Barden’s lighting design was fitting and satisfying to note, with all temperatures of colour represented in an appropriate manner, while Mike Beer’s sound design, complemented by actor/musician Jim Kitson’s original music, was a key part of this very new take on the classic play. The final piece of the stage environment came from Holly McCarthy’s costuming of the cast – basic, period and striking, allowing an instant recognition of the multiple characters which most actors had to play. Indeed, there was little to criticise with the scenographic elements, except, perhaps, the use of the sliding screen. Though a useful presence at times, particularly when facilitating the very striking first appearance of Pip, it was overused, and was quite distracting, particularly in the many instances of its movement whereby the end result of the move made little narrative sense. Performances from the smallish cast were of a consistently high quality throughout. Daniel Rigby, playing Pip, is a very strong young actor. Vocally and physically, his embodiment of the role was solid and very watchable. Pip’s journey was well communicated and narrated, and all of the above was conducted in a reasonably consistent manner. The principal women in his life were also strong and satisfying to watch. Karen Traynor as Pip’s sister Mrs. Joe, and also Biddy, Mrs Joe’s replacement (for want of a better phrase), was very strong and engaging while Estella, the object of Pip’s longing, was played with effortless grace and elegance by Zannah Hodson. However, Angela Clerkin turned in a show-stealing performance as Miss Havisham, perfectly embodying the delicacy, the humanity and the bitterness of the ageing, jilted bride, and doing so with an emotional athleticism that was, of itself, an example of breathtaking tainted beauty. Jim Kitson played Mr. Joe Gargery with a gentle delicacy that was gratifying to watch. He also played the lawyer Jaggers, and did so with suitably gruff élan. Though the performance was perfect for the character, the accompanying diction was not always that clear, which was disappointing, though, given how immersed Kitson was in the character, it was almost forgivable. David Rees Talbot and Simon Tcherniak also put in energetic performances – Talbot taking on a myriad of roles, each of which absolutely distinct from the others, and all played with conviction, while Tcherniak, though primarily giving a wonderfully winsome performance as Herbert Pocket, also took on the roles of Compeyson and Mr. Wopsle with fantastic clarity and earnest energy. Finally, Daniel Copeland gave a performance of some great power as escaped convict Abel Magwitch. Though, again, not always clear of diction, he too had a total immersion in his role which was galvanising. This was a production whose stark and slick stage environment was a world away from the Victorian clutter of Dickens’s age, but which retained an immense affection for the original text. Neil Bartlett has streamlined the novel into a very brief (run time is approximately 110 minutes, including interval) but very communicative stage form, and Alan Lyddiard has superbly steered the company into a very tight, exciting production, which, in tandem with Bartlett’s script, creates an environment replete with everything that is good and well-executed about storytelling. This is a new Dickens for a new century, and it is fabulous. The run continues at the Aberystwyth Arts Centre until Saturday, March 10th. Thereafter it tours to Theatr Brycheiniog, Brecon, March 13-14; Theatr Mwldan, Cardigan, March 15-16; Theatr Hafren, Newtown, March 20-21; Taliesin Arts Centre, Swansea, March 23-24; Theatr Gwynedd, Bangor, March 27-28, concluding at The Riverfront, Newport, March 30-31. I think it is safe to say that anyone who could reasonably attend one of these performances and doesn’t will, or certainly should, live a lifetime in regret. Paddy Cooper |