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Latest items? Unedited? Fringe Report Uncut
Great Expectations
Verdict: Atmospheric Dickens
Newcastle – Tyne Theatre – 19.30 (2:20) 10-15 Oct 05
The theatre’s proscenium arch is covered in a white gauze, its ragged edges spilling into the auditorium. Projected onto it is a still and silent black-and-white beach scene. There is loud music, and the beach scene comes to life: a shackled Magwitch Mark Lloyd) emerges from the sea, while young Pip (Theo Nickols) runs across the mudflats pursued by Magwitch as a criminal. The screen turns to colour to show the adult Pip (Matt Blair) remembering his earlier life. Around him birds rise and playing cards fall.
The gauze drops to reveal all the characters and fragments of their speech and story. At the stage edge, Magwitch encounters the young Pip (Peter Peverley). Young Pip helps him while adult Pip narrates.
The plot follows Charles Dickens’ original story as young Pip grows up: an orphan, he lives with the blacksmith Joe (Mark Calvert) and Mrs. Joe (Rebecca Hollingsworth). He is summoned to visit Miss Havisham (Sue Mound), and falls in love with her ward, Estella (Julia Dalkin).
There are some effective atmospheric devices – an overlarge Gothic chandelier exposes Miss Havisham’s decayed, cobwebbed existence, for example. And young Pip is transformed into adult Pip through the removal of a coat: a simple and effective transition. But there are also less successful moments. The back projection of a storm, sound effects and too much dry ice detract from Magwitch’s capture, and when Pip tells Biddy (Rachel Dale) that he wants to be a gentleman, there is some unnecessary business with a human washing line that does not add to the scene.
After the interval, Pip is in the busyness of London. One of the most effective scenes comes when he is invited to meet Estella again at Miss Havisham’s house. Estella cannot love him, but he accompanies her to the Richmond Subscription Ball. Here, ten partnerless people waltz – is it a metaphor for Pip and Estella’s relationship? Or for Miss Havisham, who was deserted on her wedding day?
The rest of Dickens’ story follows. Though shortened and simplified it moves slowly, lacking the vibrancy of the first act. At the end, a fragmentary dream sequence mirrors the opening of the play: Jaggers (Jack Power), the lawyer who helped Pip become a gentleman, reveals Estella’s story but distances himself from the events.
This ending is the happier of two possibilities: Dickens wrote both, but this one disappoints - it seems trite and obvious.
Great Expectations has high production values and good ensemble playing, but to those who do not know the original novel the action could appear fragmentary. Sometimes the atmospheric effects - good though they are – detract from moving the plot forward. Yet the emotional charge in Pip's journey is clear, and Dickens’ concerns about the inequalities of the class system are well shown. Ultimately the play develops fully formed characters living in a believable world, tackling universal themes that are still relevant today.
Cast Credits: (alpha order) Matt Blair – Pip. Mark Calvert – Joe. Rachel Dale – Biddy. Julia Dalkin – Estella. Rebecca Hollingsworth – Mrs Joe/Molly. Jim Kitson – Mr Wopsle/Bentley Drummie. Mark Lloyd – Magwitch. Sue Maund – Miss Havisham. Tony Neilson – Wemmick. Theo Nickols – Younger Pip on film. Peter Peverley – Young Pip/Herbert Pocket. Jack Powers – Jaggers
Company Credits: Director and Designer – Neil Murray. Lighting Designer – Malcolm Rippeth. Film/Sound Editing – John Alder. Sound Design – Rob Brown. Sound/AV Technician – Stephen Patterson. Re-lighter – Steve Stubbs. Company Manager – Colin Holman. Deputy Stage Manager (2005) – Andrew Sloane. Deputy Stage Manager – Andy Stephenson. Company – Northern Stage.
END
(c) Peter Andrews 2005
reviewed 13 October 05 / Tyne Theatre, Newcastle upon Tyne
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
