ADAM BEDE. To 2 April.

London

ADAM BEDE
by George Eliot adapted by Geoffrey Beevers

Orange Tree Theatre To 2 April 2005
Mon-Sat 7.30pm Mat Sat & 3,10,17 March 2.30pm
Audio-described 15 March
Runs 3hr One interval

TICKETS: 020 8940 3633
www.orangetreetheatre.co.uk
Review: Timothy Ramsden 28 February

Always efficient, this adaptation comes to life in the second half.3 reasons why realistic adaptations of Victorian novels are a bad idea:

1. The natural rhythm of scenes is different on page and stage. The impression of narrative time is given by exploring characters' internal processes. Change these to actors' behaviour and the rhythm gets dislocated.

2. Written dialogue is different from stage dialogue. Dramatists leave space for actors to infuse vocal and physical qualities into the total meaning. Novelists generally don't.

3. There's too much going on to squash into a play.

Ways have been found to make adaptations work. In his Adam Bede Geoffrey Beevers uses the device developed in the 1970s by Mike Alfreds with his company Shared Experience, combining narration and dialogue - actors moving in and out of character as they veer between dialogue and narration.

But Alfreds used this as a convention throughout. (And gave himself space. By the standards of his 4-evening Bleak House, Eliot's novel should be at least a 2-parter). Beevers begins with an apparent address to the audience that turns out to be a sermon by Methodist Dinah Morris, then moves into a realistic jog, awkwardly introducing direct address to audience for any comment that can't be worked into the action.

For the first hour-and-a-half events pass in rapid scenes, making limited impact, despite six spot-on performances that etch momentary cameos and develop central characters. Like well-intentioned young Donnithorne, gentry having its semi-conscientious way (Christopher Harper catching the torn conscience) with a local milkmaid, worthy workman Adam (Jack Sandle, open-faced and honest) or the milkmaid herself, Hetty Sorrel (Daisy Ashford, sympathetically convincing in the move from innocence and happiness through misery to despair).

The adaptation only takes hold post-interval when Beevers' script springs into life with the sustained external action of Hetty's search for her lover and the insight of her prison speech. Even here, the trial scene is sketchy, an averted execution won't work for anyone who knows The Threepenny Opera's mockery of such things.

Yet the closing moments are deeply moving; Eliot's moral insight and the Orange Tree's fine cast combine to add passion to the stage's bare planks.

Dinah Morris: Charlotte Asprey
Adam Bede: Jack Sandle
Lisbeth Bede/Mrs Poyser: Tilly Tremayne
Captain Arthur Donnithorne/Seth Bede: Christopher Harper
Hetty Sorrel: Daisy Ashford
Mr Irwine/Mr Poyser/Bartle Massey: Peter Forbes

Director: Geoffrey Beever
Designer: Sam Dowson
Lighting: Stuart Burgess
Choreographer: Nicole Tongue
Fight director: Philip D'Orleans
Assistant director: James Kyle Wilson

2005-03-02 11:57:40