Great Expectations
With Great Expectations of Great Expectations this new adaptation will leave you with fresh perspective on a well known novel.
Tanika Gupta's adaptation of Great Expectations is having its third outing in 2023 this time at the Royal exchange in Manchester, having been first previewed 10 years ago in Watford and then again in 2017 in Chicago.
Together with the Royal Exchange, Tamasha are bringing this production to Manchester. Tamasha is a dedicated home for both emerging and established Global Majority artists. Since it's breakthrough show EAST IS EAST it has been a powerhouse of new writing, talent development and digital innovation, they invest in stories that celebrate the shared histories and cultures of those that sometimes don't get a voice in the theatre.
Pooja Ghai is the artistic director of Tamasha and the director of this production. Having played the part of Krishna in the original production of this adaptation, she felt she got a real sense of Dickens which she is now bringing a fresh approach to. The creative vision is further supported by the designer Rosa Maggiora who works her magic with the impressive in the round set and costume designs, all the senses are catered for, with exotic incense wafting through the theatre space immersing you in an India of old.
What is exciting and fresh about this adaptation is that not only does it stay true to the original Charles Dickens novel with 80 percent of the dialogue coming straight from the novel – Tanika Gupta has created an interesting expansion of the story by starting it in 1861, in this adaptation, the politics are much clearer, more contemporary, more relevant. Reflecting on issues of discrimination, postcolonial India, and what is left of the empire of Britain. This is an updated version of her original so those that have seen it before will notice a few tweeks.
Namely how the drugs trade of the time affected families, not just of the users but of the forced manufacturers, making individuals step away from that lifestyle and persue a simpler life, that may seem common but in the end are more desirable.
Asif Khan as Jagu really shows this with his impeccable performance, both vulnerable and strong.
Adapted from the original Pip, Pipli played by Esh Aliadi is no stranger to the royal exchange having grown up locally and performing here three times he seemed to use the space well, although when playing a young Pipli it's wasn't that discernible to the coming of age Pipli off to make a new life in Calcutta. His stage movements and physicality in later scenes are emotive and his battle with the complex levels of wanting to make something of his life but losing his cultural identity do come to the floor eventually.
A character usually seen sat in a dark room Miss Havisham is a difficult character to transfer to a theatre in the round but Catherine Russell has taken previous incarnations of the character and the books original description and amalgamated them into a undone woman. There is no elegance to be found, she is a woman that has been damaged by men, her father remarrying, her fiancé plotting with her half brother to strip her of her money, and so she has locked herself away. In taking in a small child, Estella, that she could mould and use as puppet master for her own entertainment. Bringing children to play with her only to ensure she breaks their hearts. She demonstrates that nurture over nature is the undoing of all. When she finally realised the damage she has caused to so many people just because people have damaged her it's too late.
Cecilia Appiah's Estella is an intriguing character and the jump between hating Pipli and then allowing him to kiss her is a little odd. The moment she softens whilst watching the fight could be made more of to help the flow between love and hate. To show the manipulation instilled in her from a young age. She is supposed to have had a strong bond with her father until she is removed from him age five and left in the care of Miss Havisham, this could also be explored further giving a reason for the ease of which revenge on men could be experienced.
Andrew French as Malik deserves a special mention also. A man lost in a land forced to survive, forced to serve and then again forced to survive. Finally making something of his life and sharing his wealth with those that showed him kindness you really feel his pain in his actions and movement round the stage.
The special effects are spectacular with a lot of blood and even a fire on set. The fight choreography is well done especially for a performance in the round when hiding the miss thrown punch is more difficult.
Unfortunately the soundscape let the production down slightly, at moments it could have really been pushed and would have made you feel even more immersed, especially when Pipli first arrives in Calcutta. With the subtle movements and twisted body shapes performed by Esh you got the feeling of a busy city he had never seen before but the occasional bike bell could have been loader, as could the fire scene when you can hear the smoke machine noice over the crackle of the flames.
Overall it has funny moments that will have you laughing and moments that will make you feel sad, bringing to life traditional well known characters in a whole new world.
The show will run at the Royal Exchange Theatre, Manchester until the 7th October 2023