Image credit: Ellie Kurttz
Adapted by Tanika Gupta
Directed by Pooja Ghai
ROYAL EXCHANGE THEATRE
Great Expectations by Charles Dickens has been a crowd pleasing classic since first published in 1860. It has inspired numerous films, television and stage adaptations. Here Tanika Gupta takes this coming of age story and places it in 1899 in Bengal where rumours swirl of the British Empire’s intention to implement partition. A version of this adaptation was first staged in 2011 with English Touring Theatre and Watford Palace Theatre but perhaps it is even more relevant now with the rhetoric of politicians such as Suella Braverman and Priti Patel. Director Pooja Ghai sees this classic tale as ‘a rags to riches to rags story’ and Tanika Gupta uses the narrative to explore themes of religion and caste, race and colonialism. The outcome of this artistic collaboration is a success with the narrative staying true to Dickens and the new elements, for the most part blending in effectively.
The staging design by Rosa Maggiora is simply gorgeous. All ombre hues and intricately carved wood and metalwork, it flows as effortlessly as the glistening aquamarine of the surrounding river; a constant reminder of the impact of the looming Partition. The division between the world Pipli inhabits versus that of Miss Havisham and Estella is deftly delineated by the high carved gates. This is vividly accentuated by Lighting Designer Joshua Carr who paints the hopes and possibilities of having great expectations with a warm golden light whereas the home of Miss Havisham is dimmed and dulled as it reflects the chill and joylessness of all hope and love being long gone. With each moment the stilled, cobwebbed clock descends there is a sense of decay and wasted expectations.
Although certain characters’ names are altered to South Asian ones, they remain true to Dickens’ original vision. Pipli wears his heart and hopes firmly on his sleeve as he strives for what he perceives as a better life and naively entrust his heart and fortune to Estella and Miss Havisham. Esh Alladi does a good job with the younger Pipli but really hits his stride as Pipli grows up and experiences the brutality of heartbreak and the difficulties of straddling two worlds of class and culture in a rapidly changing world. Some of his later scenes are genuinely riveting and incredibly emotive.
Overall this is a strong cast with Andrew French creating a memorable take on the convict Malik. There is an added richness in how his beleaguered history has created a man still capable of love and generosity whereas the heartbroken but privileged Miss Havisham is cold and embittered and seems only capable of revenge with no redemptive qualities. Catherine Russell is a riveting onstage presence eliciting all Miss Havisham’s ghastly prejudice and disdain but flitting into moments of laudanum induced reminiscences that show the coy, innocent girl that was snuffed out on the morning of her wedding day. Cecilia Appiah as Estella captures the cold, haughty girl who is trapped knowing how she must be in order to keep her rank and privilege and discarding her joy and her capacity to love in the process. Some of the lighter moments come from a deftly comic and endearing performance by Giles Cooper as Herbert who befriends Pipli and steers him through the pitfalls of his new life and remains a constant despite the wavering fortunes of his great expectations.
Image credit: Ellie Kurttz
Running at 3 hours including an interval, Director Pooja Ghai keeps the action flowing and the energy high. There are issues such as the running around the stage that feel unnecessary and not the most imaginative use of this wonderful theatre space yet the fight scenes are fresh, visceral and well crafted. Towards the end the political speech may feel essential to drive home the narrative but feel slightly rushed and does not work as well as it could, followed by a comedic touch which spoils the pitching of both. Overall there is much to love and appreciate in this production. It feels like a genuine celebration of placing talent old and new above race, religion or class. Perhaps it is even more special taking place in a theatre repurposed from a commodities exchange that built its success on colonial systems.
Live Art Alive 