Original Writer: Thomas Hardy
Adaptors and Directors: Alex Harvey and Charlotte Mooney
To describe this retelling of Tess of the D’Ubervilles as a ‘circus’ adaptation could suggest perhaps something other than the utterly beautiful and captivating production that was performed in Leeds Playhouse’s Courtyard Theatre.
Many will know Thomas Hardy’s best-known novel but those who don’t will have no trouble in eliciting the significant moments of the story. Tess (Anna Chrichlow) narrates her own history as an observer whilst Lila Naruse embodies her experiences through movement and dance.
Tina Bicât, in association with Ockham’s Razor, designed minimalist staging, constructed simply from planks of wood – significantly a ceiling high fence – and then, initially, just ropes hung with linen sheets. But this is to underestimate the extraordinary furniture that is used throughout the performance. With immense skill and stunning choreography, all the scenes are played out amongst what feels to be a full set as bridges, buildings, seats, walls, hills and valleys are conjured by the cast as the audience watches.
An ensemble of seven perform all the characters of the story, differentiating them with choreography which can be ungainly to suggest the roughness of farm hands or lither and more fluid when depicting the more sympathetic or romantic. Alec D’Uberville’s seduction of Tess has him approaching her first as he turns in an enormous cyr wheel. He taunts her with his spinning, initially encircling her charmingly, before trapping her within his turning circle as it clatters noisily to the stage. In a performance which for the most part is quite ethereal and bucolic, this discordant clang is significant. And then later, he moves towards her in serpent like, creeping across the forest floor under cover of darkness as she shelters there. Once he’s left her in distress, he continues to appear in the wings, always watching – an unnerving presence not quite out of sight.
To counteract the tragedy there are moments of great levity – the joy of the milking scene with the most brilliantly created cattle – so clever – or the wonderful flirtation of the milkmaids (Lauren Jamieson, Victoria Skillen and Leah Wallings) as they go all out to bewitch the handsome Angel Clare (Nat Whittingham).
Finding the vocabulary to describe the physicality of this piece is a challenge. The movement is extravagant, dangerous and visceral – every emotion is keenly felt and powerfully expressed. There is lightness and joy which turns to horror when the story descends into the inevitable tragedy of Tess’ undoing and betrayal. Angel Clare’s torment has him writhing and turning like a man possessed whilst the milkmaid ensemble’s back bending walks across the stage is suggestive of the worst of Brueghel’s depictions of hell.
Watching Tess balance precariously on a board supported by the narrowest uprights as she teeters agonisingly, is juxtaposed by the slippery acrobatics of Alec D’Uberville (Joshua Frazer) as he watches her, leaving no doubt as to the imbalance of the powers at play.
Supporting and enhancing the remarkable action on the stage is a soundscape which heightens it. Composed by Holly Khan, the music switches keys and instruments to wonderful effect as it soars or scrapes, whispers and weeps along with dancers.
The creative team of Alex Harvey, Charlotte Mooney and Nathan Johnston, directing and choreographing this piece have conspired to make this one of the most memorable and stirringly emotive around – such a different take on a classic which had the audience bursting to applaud on their feet at the end.
Runs until 31st May 2025
