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Reviewers
Guildhall School of Music and Drama presents
Hard Times
by Charles Dickens
Adapted by Stephen Jeffreys
Wyn Jones – Director
Susannah Henry – Designer
Wendy Allnutt – Movement Director
Bridewell Theatre
9 – 12 February 2009
 ary Couzens
A review by Mary Couzens for EXTRA! EXTRA!
This production of Dickens’ state-of-the-nation novel is a well-staged one which features some fine performances from its six principal actors. However, the characterisations in Dickens’ dense texts tend to pose difficulties for even the most seasoned of actors, often leading them to take their characters down broader avenues than the author may have intended. For young actors such as these to be playing multiple roles within the context of this storyline, often changing characters from one scene to the next with little more than a quick change of shawl or hat, can sometimes, lead to momentary confusion on the part of the those watching, especially for those not overly familiar with Hard Times (1854), one of Dickens’ oft overlooked novels. However, this review is written with admiration for the hard-working actors, director, designer and other connected to this well mounted production, and their dedication and enthusiasm for the work they have done.
As is often the case in today’s political and social arenas, in the time this novel is set in, statistics were often stated as concrete fact, with little or no regard for the feelings of those subjugated to them. In Hard Times, Mr Sleary’s down at heel travelling circus offers rare moments of magic, however fleeting, to the beleaguered inhabitants of Coketown, Dickens’ densely populated metaphoric northern mill town where life drudgingly passes beneath the sooty glow of endlessly smoking chimneys. Similarly, at Mr. Gradgrind’s school, facts reign supreme and there is no room for imagination or fancy, either for his children, Lousia and Tom or their classmates. Mr. Josiah Bounderby, self made mill owner shares Mr. Gradgrind’s penchant for fact over fancy. However, when Sissy Jupe, daughter of the circus horse trainer is taken in by Mr Gradgrind after her father abandons her, she becomes Louisa Gradgrind’s confidant and friend. But even Sissy’s earnestness and faith is not enough to prevent the inevitable from happening, either to Louisa, or any of the other characters, rich or poor, of Hard Times.
Dickens’ novels always feature characters who are polar opposites in terms of class in more ways than one, and Hard Times is no exception. School-master Thomas Gradgrind and his son Tom are portrayed with Dickensian stoicism and reckless elegance respectively by Oliver Gatten. Out of the two characters, Gatten is most convincing as Tom Jr., possibly because his youth lends more credibility to that portrayal. However, Gatten’s mutton-chopped school-master is not without merit, as he manages to convey the fact that however factual Mr. Gradgrind may be, he is not heartless. As Gradgrind’s daughter Louisa, Lauren O’ Neil is one of the standouts of this cast, adding depth and feeling to her role in moments of pathos as well as delight, though the latter may be few. Nevertheless, stooping over isn’t enough to convince that she is really Mrs. Pegler, the ‘old woman from the country.’ However, such devices may actually be close facsimiles to those exhibited in the more melodramatic presentations of Dickens’ work staged in his own time. Graham Butler turns in a convincing performance as Stephen Blackpool, the weaver determined to stick to his own opinions, whatever the cost, and his fine acting in the role helps lend more credence to the production itself. Lois Jones as Cecelia (Sissy) Jupe lends the Dickensian voice of reason, and also, back-handed humour, as she makes a rather remarkable onstage transformation from young Sissy to gossipy ex-dowager, cum keeper of Mr.Bounderby’s house, Mrs. Sparsit. The rotund Mr. Bounderby is well played by Mark Desebrock who also does nice turns as both Mr. Sleary, proprietor of Sleary’s Horse-Riding a.k.a. travelling circus, and opportunistic James Harthouse Esq., the proverbial young man of means in relentless pursuit of Louisa. Desebrock handles his character’s various accents well, though his Bounderby must be visually aided by the addition of substantial stomach padding. Last, but certainly not least in this talented cast is Samatha Beart who plays no less than five characters of various classes and accents convincingly, from Mrs. Gradgrind, the school-master’s wife to four characters of a, shall we say, lower class for lack of a better, more socially correct term, including Emma Gordon, tight rope walker. Other members of the company fill in as narrators, hands (millworkers), wedding guests, station officials, rescuers and other characters as needed.
The set, designed by Susannah Henry consists of a raised platform performance area, covered in vibrant red and beige patterned rugs of the sort you’d be likely to see in one of Dickens’ own residences, with a wooden ladder and spiral staircase suggestive of a library which are put to all sorts of imaginative uses, from a train carriage to a coach and four. In addition, all manner of wooden cupboards suggestive of a curiosity shop line the walls behind the performance area. Lanterns of various shapes and sizes descend or ascend as needed furthering the 19th century feel. It is easy to understand why movement director Wendy Allnutt’s input was crucial as the actors are put to the test in terms of the multi-sided logistics of the set, with most of their well-timed comings and goings visible to the audience. Gemma Harrison’s lighting design enhances the Victorian atmosphere, as do the well chosen, versatile period costumes, thanks to the assistance of Zoe Richardson and Lucy Hancock. Tim Middleton’s sound design puts horses, trains and other items related to work or opulence in the picture, and a lovely narrative song, especially composed for this production by Luke Rogers sets the tone at the opening of the production, as well as showcasing the singing voices of various members of the cast, among them, Lauren O’Neil as Louisa Gradgrind.
The presentation of this adaptation, as directed by Wyn Jones is a very professional one, with the principal actors enthusiastically introducing the three books of the novel: ‘Sowing’, ‘Reaping’ and ‘Garnering’, and narrating portions of the story in turn, often as they are in the process of making the small alterations in attire necessary to their character changes, thus furthering the story as they go along so that little time is wasted and audience interest is sustained. One of the most vibrantly stimulating portions of the production takes place during a weaver’s meeting when the house lights go up and each character states their case one by one, with Stephen Blackpool seeking sanctuary in the back row as his fellow mill workers vote on whether he should be banished for his solitary views.
Despite the fact that this production is a lengthily one, at nearly three hours, it is also a solid, well-constructed one designed to please both Dickens’ enthusiasts as well as those seeking an interesting evening of theatre.
Lighting Designer – Gemma Harrison
Sound Designer – Tim Middleton
Song Composer – Luke Rogers
Unreserved tickets £7.00 (concessions £3.50) available from the Barbican Box Office
0845 120 7500 www.barbican.org.uk
Group discount available (020 7382 7211)
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