Tess of=
the
D'Urbervilles - 2001 production.
Some cr=
itical
responses.
Beautif=
ul
Seventeen-year-old Olivia Mace is a fresh faced beauty. Her =
portrayal
of Tess was spirited, haughty and poignant. Above all for an actress with
little training or experience, this performance was of a calibre pointing t=
o a
brilliant career.
Sarah MacLeod played a super
Robert Burbage was the classiest actor on stage. His Alec
Durbeyfield was believable, cold and calculating. ...Robert's characterisat=
ions
of Felix and Mr Tringham showed versatility and training. Well done to Mich=
ael
Barry for bringing this wasted actor out of premature retirement!
The Wessex Actors Company with Michael Barry's sympathetic,
uncluttered direction continues to give value with performances of local
playwrights.
Michael has superb support from talented Carolyn Free as cos= tume designer and stage manager. The simple set of hessian curtain, rostra and r= amps worked well; leaving the starring role to Thomas Hardy and his narrative. <= o:p>
The Wes=
tern
Gazette
A magnificent week... we thank you all for your hard work.
This is a good company of actors and the production is
workmanlike. Olivia Mace as Tess pursues her heartrending role... Tim Gagg
engages sympathy as her true lover and husband and Robert Burbage is suitab=
ly
odious as the outright cad. In an all-round competent company back-up roles=
are
sympathetically sketched in.
The Sta=
ge
The Wessex Actors Company totally transfixed the audience fr=
om
start to finish. The acting was superb. Olivia Mace gave a confident and me=
smerising
portrayal of Tess. Fine performances were also given by Daphne Neville....
Richard Randall.... Robert Burbage.... and Tim Gagg. The actors went from
strength to strength as the drama unfolded almost in our laps. The tension =
came
to a gripping climax in Act 4 and the sense of tragedy was almost unbearabl=
e.
The After Scene was moving and uplifting, with a powerful end met by loud
applause. A thoroughly enjoyable evening's theatre performed by a highly
talented group. This powerful production is not to be missed.
Wilts &=
amp;
Gloucestershire Standard.
Olivia Mace's fine, well-judged performance made Tess' desce=
nt
into murderous despair all too believable. Robert Burbage's silk-voiced Alec
D'Urberville was eminently hissable as the author of Tess' (and his own)
ultimate destruction. Richard Randall and Daphne Neville brought warmth and
humour to their roles... with able support provided by Sarah MacLeod and Em=
ma
Lamarque.
Daily E=
cho.
Thomas Hardy's own adaptation of his most celebrated novel is
given enthusiastic fresh airing. The tragic Tess... is given an integrity by
Olivia Mace that is subtly blended with youthful pathos which is wonderfully
captivating and moving, a fine performance from a girl who will surely go f=
ar.
Richard Randall's rich country accent provides welcome comic relief in a dr=
ama
heavy with emotion.
Heartfelt emotion... Main themes faithfully rendered.
Venue
This production, while highly charged, does offer some light=
er
moments and has been well received.
"I am writing to thank you for the wonderful performance
last Friday. We are still receiving enthusiastic reports of how much people
enjoyed the evening. We are thrilled that you attracted such a large audien=
ce.
Many thanks for all the hard work from all the company and for a fantastic
introduction to our "Hardy Weekend"."
Kilmers=
don
Village Hall Oraganiser.
"Dear Wessex Actors Company
I am writing to say how much I enjoyed "Tess" in
Bridport last night. The split-level stage was used to best advantage, the =
pace
was just right, all the characters were entirely convincing, and Olivia Mace
gave a really moving account of Tess."
In the case of this, Hardy's own adaptation - passionately
depicted by a vivacious cast - justice was expressly delivered. Olivia Mace
played Tess with exactly the right mixture of vulnerability, stoic resolve =
and
innocent sexuality, leaving the audience in no doubt as to why first Alec, =
then
Angel fell eagerly at her feet. While I felt that the lack of scenes depict=
ing
the early relationship between Tess and Alec negated much of the sense of
swirling winds of fate consigning the heroine to a predetermined destiny,
Robert Burbage sufficiently compensated with his portrayal of her nemesis:
brooding and malevolent, palpably rakish and an utter cad. His veiled threa=
ts
to Tess (disguised as sentiments of love) encapsulated tangible malice,
perfectly setting up the violent climax of the action.
Tim Gagg's Angel Clare needed to be a strong characterisatio=
n in
order to keep pace with the other members of the love triangle. It was. From
love-struck naivety, through ill-considered moral indignity and on to the
broken, shameful figure who returns from
Richard Randall was superb in his dual role as John Durbeyfi=
eld
and Jonathan Kail, easily dominating the stage and bringing genuinely comic
moments, humour all the more poignant given the sorrowful tone of the piece=
as
a whole. Daphne Neville's Joan provided an excellent comic foil for virtual=
ly
every other cast member during the course of the action with her clucking
mother hen axioms and a splendid sense of timing.
At the finale I experienced the same emotions as when I first
read the novel, total sympathy for this most downtrodden of women and was
barely able to prevent myself crying out in her defence.
Mention must also go to the solid support from Sarah MacLeod=
and
Emma Lamarque, to the stage management of Carolyn Free, and the pacy, evoca=
tive
direction of Michael Barry (founder of the company). In all this was a comp=
act,
shoulders-to-the-wheel effort from a highly capable collective of performer=
s,
and a compelling night's entertainment.
Rep isn't dead, it's alive and well and producing mini-maste=
rpieces
like this all over the country, and long may the tradition continue.
Steve H=
arris,