Written by Thomas Hardy
Adapted and Directed by Alex Harvey and Charlotte Mooney
HOME MCR
HOME plays host to a visceral, breathtaking reimagining of Thomas Hardy’s Tess of the D’Urbervilles. This dreamy production quite literally soars in this genre-blending adaptation by Ockham’s Razor.
Gone is the pastoral restraint of traditional Hardy. Instead, we’re catapulted into a raw, kinetic world where spoken word collides with aerial spectacle, and physical theatre gives pulse to Tess’s inner life. With ropes, rigging, and a shape-shifting set by Tina Bicât that conjures both rural Dorset and Tess’s psychological terrain, this production is as visually inventive as it is emotionally brutal.
From the opening moments, where Tess’s body arcs through the air, we sense a young woman buffeted by forces far larger than herself – class, patriarchy and fate. The acrobatics aren’t just decorative but truly dramaturgical. Every lift, tumble, and suspension reveals something of her journey: the elation of love, the vertigo of injustice, the weight of grief.
Hardy’s 19th-century text is refracted through a contemporary lens, but not diluted. The themes of poverty, privilege, female agency, and the policing of desire all land with fresh urgency. There’s a fury simmering beneath the lyricism of the script which fuses Hardy’s own words with piercing modern clarity. There is a piercing moment on stage as Joshua Frazer as Alec D’Urberville spins imperiosly around Tess in a hoop like a giant gold wedding ring that is both stunning and chilling.
The cast are remarkable – muscular and tender, able to pivot from aerial feats to fragile, unspoken intimacies without ever breaking the spell. Here there are two perfomers as Tess. Hanora Kamen narrates her own story and invites the audience to watch as her tragic tale unfolds. Dance artist Lila Naruse ensures that Tess is heartbreakingly rendered: strong but vulnerable, caught in the ropes of her circumstances even as she fights to break free.
The staging is constantly surprising, using vertical space and movement to express what Hardy wrote between the lines: that the social systems around Tess are as confining as any physical trap. For creative team of Directors Alex Harvey and Charlotte Mooney this production is clearly a labour of love. They are ably supported by an exquisite soundscape from Holly Khan and dreamy video design by Daniel Denton. Nathan Johnson‘s choreography is just flawless and commands attention in a similar and intimate way to his work with Punchdrunk.
TESS is a triumph of theatrical innovation and emotional storytelling that speaks directly to a contemporary audience. The solidarity of women, the enduring effects of shame, and the quiet power of resistance are all threaded through the performance with care and urgency. Hardy purists may blink but even they’ll be moved by the sheer poetry of this production’s fall and flight.
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