There have been theatrical adaptations of the novels of Charles Dickens ever since they were first written, with some unauthorised stagings being mounted even before the monthly instalments of some of the novels had been published. ‘Our Mutual Friend’ has been less frequently dramatized than some, and it is good to see a version of this most London-centric of the novels on the Lyttelton stage at the National Theatre.

Ian Rickson’s direction and the adaptation by Ben Power unite to include a surprising number of the characters and plotlines in a running time of three and a quarter hours. Inevitably, some minor though well-drawn characters from the novel are omitted, as are the final twists in the saga of just who is to benefit from the Harmon legacy.

Less successful is the inclusion of songs by P. J. Harvey and Ben Power. The music itself is often supportive of the action and summons up the surging power of the Thames, but when the characters sing the lyrics do not always scan (presumably for effect) and the overall impression is of the same song again and again. The choral pieces by the whole cast are much more effective, and one of these provides a stirring conclusion. Having the musicians on stage, however, was distracting and tended to pull focus from the actors at times.

Much more successful is the work of Bunny Christie as designer. Costumes deftly sketch in character and help greatly in following the narrative, while the set is apparently non-existent, with just a few tables and chairs and a looming lighting grid overhead. When that grid starts continually moving and re-forming it is at first distracting, before it becomes clear that the pulsing movements of the individual bars stand in most effectively for the surging River Thames, such an important aspect of the story. Characters convincingly fall into the Thames through the orchestra pit, or are reborn from it, and the battle to the death between Headstone and Riderhood is staged strikingly with a large sheet of polythene: poor theatre then, but with a National Theatre budget and staging.

Performances are all committed and worthy, but not all the cast seem to be comfortable in their roles. As rival suitors, Jamael Westman and Scott Karim seem understated despite their efforts, with Karim (so memorable in Dara on this stage) mis-cast in the role of the stern and unyielding Bradley Headstone. Much more effective are Ami Tredrea as the spirited Lizzie Hexam, a difficult role in which to convince an audience but in a performance which achieves this, and Bella Maclean as her namesake in the Wilfer family.

Jake Wood and Joe Armstrong are a pair of convincing watermen, Brandon Grace contributes a thoughtful performance as one of Dickens’ heroes flawed by his own snobbishness and shame at his lowly background, and Peter Wight is a genial and confident Noddy Boffin. Wight (also in the most recent TV adaptation) understands the need to balance caricature and genuine feeling in Dickens’ minor characters.

The other characters (including an Inspector now re-named Bucket who seems to have wandered in from Bleak House) complete the picture, and the whole ensemble is as much a character in the play as is the river itself. Perhaps the most memorable performance of all is that of newcomer Ellie-May Sheridan, heartfelt, endearing and truthful as Jenny Wren, maker of dolls clothes. She provides one of the few examples of a wholly flawless character in the novel. London Tide is a clear re-telling of this most convoluted of Dickens’ novels by an ensemble that create a world of murky water, murkier goings-on, deception and abandonment.

*** Three Stars

Reviewed by Chris Abbott

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