Ockham’s Razor’s Tess
Ockham’s Razor is unbounded in its imagination as it tells the story of Tess of the D’Ubervilles through a circus-adaptation, sweeping you away with its unparalleled brilliance.
Directed by Alex Harvey and Charlotte Mooney, an ensemble of seven performers deliver a scintillating and original interpretation of Hardy’s classic novel, weaving together aerial, physical theatre, and acrobatics. A story of privilege, class, bravery, ambition, and love, as relevant today as it was in 1891, is told through a feminist eye.
Tina Bicât’s set design of wood and neutral-coloured fabrics transports us to an agricultural environment, emulating Hardy’s rural Wessex. The initially simplistic set transforms as wooden planks facilitate light and fluid movements that cascade bodies from heights, rolls them across the ground, and encourages balancing acts.
The visuals remain striking throughout, so much so that a blink could mean missing a maid’s cartwheel or front flip. Choreographed by Nathan Johnston, bodies morph into carriages, human towers, and the undulating landscape, delivering a fresh and captivating performance.
Tess is played by two actresses; Macadie Amoroso who narrates the story, and Lila Naruse who enacts the physicality. With Amoroso’s West Country accent, she provides an emotive recount of Tess’s turbulent life, whilst also giving a voice to other characters when needed. Naruse’s spellbinding dance movements are seamless and expressive, allowing the audience to empathise. The two Tess’s certainly complement each other and provide a surge of female empowerment.
Joshua Frazer’s portrayal of the arrogant Alec D’Urberville is frightening yet alluring, particularly when he commands the stage by spinning in a Cyr wheel; a skilful act that appears effortless. His encirclement of Tess fittingly symbolises her entrapment, and as the wheel gradually thuds to the floor, it denotes the sealing of her unforgiving fate.
Similarly, Nat Whittingham is beguiling in his embodiment of Angel Clare. Unintentionally gaining attention from the milkmaids, they admire him from the stiles in a myriad of humorous movements, swinging and dangling upside down with their bloomers on show. However, the sensitive soul is still bound by societal norms which govern his relationship with Tess. Upon learning the truth about Tess’s past, Angel’s backward tumbling and erratic swirling across the stage is a powerful expression of his inner turmoil about the woman he loved and thought he knew.
Despite the tragic events that unfold in Tess’s trajectory, subtle comical moments are also incorporated. As Tess starts work at a dairy farm, the performers begin to turn in circles with sacks above their heads, allowing them to fill with air. After tying a knot, the sacks are presented in the unassuming shape of a cow and the performers proceed to ‘milk’ them. An innovative depiction which evoked quite the laughter from an amused audience.
From start to finish, the score and soundscape of Holly Khan can be heard. It is a gentle but effective continuum that moves the audience through Tess’s fateful journey. The music is atmospheric, and is able to conjure both the dark and sorrowful nature of the play, as well as the lightness and joyful moments such as country dances and the budding romance between Tess and Angel.
A mesmerising spectacle that not only does the novel justice, but itself deserves genuine applause, delivered by incredibly talented performers who convey a beautiful and unforgettable interpretation of the timeless story.
Following a run at The Peacock Theatre, Tess will embark on a tour all around the UK. Review by Amie Bawa.
