As the festive season approaches, London's theatre scene traditionally welcomes the enduring presence of Charles Dickens. While A Christmas Carol often dominates December programming, Jermyn Street Theatre offers something refreshingly different with its inventive new production of David Copperfield.
A Triumph of Minimalist Storytelling
Adapted and directed by Abigail Pickard Price, following her successful three-person Pride and Prejudice last year, this production demonstrates how less can indeed be more. Staged by the Guildford Shakespeare Company, the show features just three performers: Luke Barton, Louise Beresford, and Eddy Payne, who previously collaborated on Price's Austen adaptation.
The production channels the spirited theatricality reminiscent of the Reduced Shakespeare Company, distilling Dickens' sprawling Bildungsroman into an energetic seventy-minute performance. Rather than attempting to include every subplot, Pickard Price focuses on the essential narrative arc of David's journey from childhood adversity through to maturity.
Dazzling Character Transformations
Eddy Payne takes on the central role of David Copperfield, convincingly portraying both the character's youthful innocence and adult determination. Luke Barton delivers exceptional physical comedy, seamlessly transitioning between roles including the maternal Peggotty and the eternally optimistic Mr Micawber.
Louise Beresford proves equally captivating as she shifts between characters as diverse as David's delicate 'child-wife' Dora and his charismatic but flawed schoolfriend Steerforth. The actors frequently change costumes on stage, using hats and minimal props to signal character transitions.
The production continues at Jermyn Street Theatre until 20 December, offering London theatregoers an innovative approach to classic literature that proves particularly resonant during the festive season.
Inventive Stagecraft and Emotional Depth
The staging employs remarkably simple elements to powerful effect. Suitcases pivot to indicate scene changes and serve as repositories for props, simultaneously symbolising David's physical and emotional journeys. The coastal setting of Yarmouth emerges through the clever unfolding of waves from the folds of Emily's turquoise dress.
One particularly striking moment sees David's formidable stepfather, Edward Murdstone, represented solely by a hat and coat puppet. This abstraction makes the character's violent 'firmness' toward his stepson feel even more menacing through its faceless authority.
While certain plot elements and minor characters necessarily receive less attention, and David's emotional connection to Emily feels somewhat rushed, the production remarkably captures the essence of Dickens' densely populated narrative. The tragic fates of secondary characters including Emily and Ham still resonate powerfully amidst the generally comic tone.
Occasionally the rapid-fire character changes approach freneticism, but overall the production maintains a delightful balance between comic eccentricity and genuine pathos. In its inventive spirit, it recalls Armando Iannucci's recent film adaptation while establishing its own distinctive theatrical identity.
This David Copperfield proves that Dickens' magic doesn't require elaborate sets or large casts – just imagination, skill, and three remarkably versatile performers.
