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09
May
Review: Tess, a bold circus adaptation of the Hardy classic, at York Theatre Royal
Lauren Crisp is a book editor, writer and keen follower of arts and culture. Born and raised in Harrogate, Lauren recently moved back to North Yorkshire after a stint in London, where she regularly reviewed theatre – everything from big West End shows to small fringe productions. She is now eager to explore the culture on offer in and around her home town. You can contact Lauren on laurencrispwriter@gmail.com.
(Lead image: Kie Cummings)
Thomas Hardy’s classic novel, Tess of the D’Urbervilles, is not obviously synonymous with acrobatics. Contemporary circus company Ockham’s Razor, however, think otherwise, and in a bold new vision, make Hardy’s world a vessel for the magic of physical movement.
The part of Tess is performed by two players. Narrator Tess, played by Hanora Kamen in a speaking role (sadly hampered somewhat by sound quality), gives voice to the heroine’s inner world. Dancer Tess (Lila Naruse), meanwhile, physically enacts this mostly tragic character’s existence, along with six other cast members who use dance and mind-boggling acrobatics to tell Tess’ tale.
In a feast for the eyes, the performers cartwheel, balance and flip their way through the story, building and scaling wooden structures, and each another, to drive the narrative.
With bustling ensemble scenes and more subdued, individual expressions, we understand these characters, with few words required; a rural world comes to life, its various settings and many hardships told by the bodies on stage. The cast performs with vigour and vitality, their choreography sublime: it’s a wondrous spectacle.
The whole piece is hazy and dreamlike, underpinned by rustic beige-hued costume and long flowing hair. Hardy’s pastoral world comes alive on stage, with an organic set by Tina Bicât, constructed almost entirely of wood and billowing natural fabrics.
Holly Khan’s sound design matches the tone, with evocative, earthy soundscapes rooted in folk. Not a stone goes unturned in building a distinct atmosphere to envelop the audience.
The play is at once full of joy and humour while delving deep into the pathos and pain that Tess endures. While part one is a touch long and meandering, it is a mesmerising piece, visually exhilarating, one which proves the power of the human body to portray meaning.
(Image: Kie Cummings)
The characters’ movement gives them freedom. The audience (which included many students reading the novel as part of their studies) sees Tess anew, giving us a sense of freedom, too – to interpret stories, as classic as they may be, in completely new ways.
Tess is at York Theatre Royal until Saturday, 11 May.
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