PROGRESS THEATRE has had an incredible season of productions, with Yous Two, Angels In America, and Catch 22 as just some of the great works it has staged just this year.
Its return to the annual open air production was no different.
It may be a given that any production based on a work more than half a century old might need a few tweaks to make it more palatable for modern sensibilities, but the company has again managed to do so through staging and portrayal rather than through dilution of the text.
It’s also clear why the company continues to make use of the abbey ruins as a performance space.
The auspicious surroundings really lend themselves to classical works, such as Shakespeare, and Dickens is no different.
If anything, the overhang of the gaol through the gaps of the abbey ruins lends an extra Dickensian dimension to proceedings.
The constant reminder of the thin line between prosperity and incarceration in a debtor’s prison is merely a theme in the source text, while Progress’ unique staging means that it becomes an ever-present, looming character.
Pip is played with a ready, endearing awkwardness by Dean Stephenson.
His portrayal of the discomfort of a poor man who has his wealth thrust upon him is accomplished, conveying the lack of self belief excellently.
In the last act especially, Stephenson lays the entire character bare, earnest and heartfelt as the supporting cast are whittled away.
His final few minutes of the piece are a triumph.
He is joined by Peter Knightly and Paul Gittus in their Magwitch and Joe Gargery respectively, whose performances rang through with authenticity and heart.
Magwitch’s wild abandon harks to Father Jack from Father Ted, though Knightley imbues the role with more soulful empathy.
Gittus’ Joe is out forward with such warm affection and gentle touch that his scene towards the close of the play forms one of the highlights.
The supporting cast hold the stage well when required, and make ample space for the foreground characters without disappearing entirely, which is to their credit.
While Miss Havisham can feel like an overbearing, morose character even in the source material, this production at once makes her more likeable and more believable, which is in no small part thanks to the portrayal by Ali Carroll.
The direction is considered, with even the most pragmatic of theatrical necessities, the passage of time, worked into a comedic moment as the play progresses towards the end of the first act.
This then becomes a running joke, which only adds to punchy pace of the production.
The costume work in this production is particularly noteworthy, with the more wealthy characters’ top hats and tails giving a tailored look to much of the cast.
The fabric-based practical effects really sell the events of the end of the production without making too much of a show or gimmick of them, a balancing act which Progress seems to have mastered in its long history.
Overall, as Progress closes it’s 75th season, it’s take on Dickens shows that Great Expectations of the theatre are very well founded.
Great Expectations runs at the Abbey Ruins daily from Wednesday, July 20, to Saturday, July 30, excepting Sunday, July 24.
Tickets are available via: www.ticketsource.co.uk
