Directed by Alex Harvey and Charlotte Mooney of circus company Ockham’s Razor and produced by Turtle Key Arts, Tess (based on Thomas Hardy’s Tess of the d’Urbervilles) embraces the techniques and strengths of physical theatre to bring new life to this familiar tale.

The titular role of Tess Durbeyfield/’d’Urberville’ is played by two actors. Firstly there’s Macadie Amoroso who talks directly to the audience as a narrator and observes the scenes from her past on stage. She also takes part in the choreography of the ensemble. Then there’s Lila Naruse, who plays Tess ‘in real time’, interacting with all the characters who appear in the show.

It has to be said, there is virtually no dialogue in the show apart from what’s said by Amoroso herself, in conjunction with the actions taking place on stage. In some ways, Amoroso’s narration is ‘unnecessary’ as the audience is able to gauge much of what is taking place. However, in terms of the plethora of nuanced thoughts and feelings that Tess experiences throughout the show, Amoroso’s role is pivotal to conveying her interior reality. Certainly we see through her facial expressions and body language that the intense and painful memories she has are experienced anew.

The music composed by Holly Khan is really a character in its own right, suffusing the show and along with the action on stage, wordlessly evoking the ebb and flow of movement and change. Similiarly the lighting and backdrop projections created by Aideen Malone and Daniel Denton are to be commended too, adding another layer of visual language to the proceedings.

As for the ensemble/performers on stage, there are all deserving of praise and there are too many moments to list as favourites. However, a few scenes that automatically spring to mind include Joshua Frazer’s introduction as Alec d’Urberville; Lauren Jamieson, Victoria Skillen and Leah Wallings as the three milkmaids who in a moment of levity while pining for Angel Clare, exhibit extraordinary upper body strength and dexterity; plus Nat Whittingham’s ‘Atlas’ moment and the ‘cows'(!). The cast’s acrobatic feats have to be to seen to believed and what is immediately apparent is their trust and faith in each other, knowing that in any given moment, everyone will be in the right place at the right time.

While it’s not traditionally one of the themes of Hardy’s novel, each of the characters on stage is trying with varying degrees of ‘success’ to maintain ‘equilibrium’ with their lot in life and we see this manifest within the choreography throughout the show.

Some may wonder whether the probing questions that Hardy usually poses about the unfair nature of life and the dark underbelly of Victorian society are still present. They are very much indeed, but while it would be very easy to concentrate on the ‘Sturm und Drang’ elements of Hardy’s novel, Tess is able to coax out the moments of relative happiness before the darkness sets in.

A show like Tess is normally only performed in dance venues such as Sadler’s Wells. But the fact that it has been touring across the UK is a boon for theatre-goers outside the M25 and they should seize the opportunity to see this show, given the chance. Tess is a visual feast – some much for the eyes to drink in.

© Michael Davis 2024

Tess ran at the Belgrade Theatre from 10th to 12th April. It continues its national tour at the following venues and dates:

Tue 30th April and Wed 1st May 2024
New Theatre Royal, Portsmouth

Wed 8th – Sat 11th May 2024
York Theatre Royal

Thu 16th – Sat 18th May 2024
Worthing Theatres

Tue 21st and Wed 22nd May 2024
Norwich Theatre Royal

Wed 5th June 2024
Salisbury Playhouse