The classic novel is revisited this Christmas through The Tabard’s new adaptation of its iconic tale. Guilermo Nazara shares his views on the show, to let us know if the production is worth rooting for.
Where you tend a rose my lad, a thistle cannot grow. Frances Hodgson Burnett’s turn-of-the-century classic has captured the hearts of readers and viewers alike with her inspiring tale of personal development. A story of self worth and struggle, the reinterpretations of the material have explored every possible media – from radio to television, to film and, of course, the stage.
London’s Theatre at the Tabard is no stranger to oldies but goodies – a few months ago, putting on a most excellent production of Van Drutten’s spellbiding comedy (and Bewitched basis) Bell, Book and Candle. The rework, on this occasion, seems to have been more thorough: a new adaptation featuring a script by Louise Haddington, which unavoidably requires the usual trimming and grooming to make it suitable for treading the boards. But in doing so, they may have pulled out more than just the weeds.
Directed by Simon Reilly, the show manages to drag us into its own universe with sufficient effort. However, introducing us to this world is sadly all that it really manages to do. Too much exposition is, in fact, what prevents the narrative from properly flourishing – wistfully, withering the interest out by providing us with too little action and, all in all, not much of an arc during the performance’s first half. All of the elements of Burnett’s plot are there, but unfortunately none of them are either covered or structured in a way that makes the recount neither bonding or compelling.
All of the rhythm is confined to the second act, thus making the storytelling feel rushed and slightly unresolved – with the conflict mentioned but not explored, and its evolution almost completely missed. As a result, connecting with the characters and their journeys comes, unfortunately, as an impossible task, since none of their motivations and goals are presented with enough insight to make them relatable – let alone, sympathetic to us, as viewers.
Some praise must be given, regardless, to the show’s visuals – counting on an efficient set design by Hazel Owen, but on top of it, Nat Greene’s well-executed lighting, able to transport and paint an intricate atmosphere (especially, when it comes to the indoor scenes). In addition, the production also excels for its elaborate treatment of music – cleverly blending diegetic and non-diegetic excerpts through a memorable use of leitmotifs. Yet, the score’s orchestrations (relying on primarily synthesized instruments) washes its emotional effect out – a problem that could be easily corrected by counting on solely piano accompaniments; thus, enhancing the intimacy of the account’s overall vibe.
As for the cast, the company carries out their portrayals rather adequately, with some renditions worthy of a mention. Jordan Rising brings out charm and stamina in the role of Dickon Sowerby, while Richard Lounds boasts a refreshing register in the much opposite parts of gardener Ben Weatherstaff and master of the house Archibald Craven. Yet, the highest praise goes to Sam McHale as Colin Craven, exuding charm and warmth through a difficult character who could have easily come as obnoxious if not fairly understood.
Stemming from a sage premise, this new take on The Secret Garden unfortunately fails to rake the same richness as its counterpart, hosing off many of the components that made it unique and, all in all, work in the first place. A detailed revision would be necessary to make the piece rise from the ground and, ultimately, spread its branches until it touches the audience’s souls as the novel once did. The seeds have been planted, but the harvest is yet to be collected.
All pictures credit to Charles Flint.
The Secret Garden plays at London’s Theatre at the Tabard until 31st December. Tickets are available on the following link.