‘The Massive Tragedy of Madame Bovary’ playing at Southwark Playhouse, attempts a brave, comedic overhaul of Gustave Flaubert’s sobering classic, with varying degrees of success.
For those of you not familiar with the novel (which is, as pointed out at the start of the show, most of us), the story centres around a woman battling the constraints of the patriarchy. Emma is portrayed as profoundly disenchanted, bored with her uninspiring doctor husband, her mundane provincial village, and her stifling role as a dutiful wife in nineteenth-century France. The character extravagantly spends beyond her resources to flee the dullness and void of provincial existence. This narrative is upended by Ha Hum Ah Productions & Minack Theatre as the audience is ushered into a more modern and raunchier reinterpretation. Adapted by John Nicholson, directed by Kirstie Davis and performed by a nimble cast of four, the production attempts to interject a whimsical farce into the tragic narrative of Emma Bovary, yet struggles to find a consistent comedic rhythm.
Performers Georgia Nicholson, Stephen Cavanagh, Ben Kernow and Darren Seed navigate the multiple roles with a comedic flair that is evident in their swift costume changes, slap stick humour and dynamic physical interactions, but the play is long, in desperate need of editing and whilst the work ambitiously aims to both honour and satirize Flaubert’s work, it wavers between reverence and mockery, never fully committing to either, resulting in a chaotic production that, though visually imaginative and certainly energetically performed by all, misses several opportunities for sharper wit and more a robust humour. This leaves the audience feeling perplexed about the play’s intentions.
The set, designed by Marion Harrison with simplicity, is a playful playground for the actors, with moving set pieces and opening doors, however, while inventive, lacks the sophistication and technical finesse typically seen in larger-scale theatrical farces. Its simplicity, though sometimes charming, fails to deliver the visual impact expected in more elaborate productions. In contrast, the sound and composition crafted by Dan Bottomley add a commendable layer to the production, skilfully utilizing sound effects and underlying tracks to underscore the narrative’s unfolding events. His work is particularly adept at accentuating key moments, seamlessly blending with the play’s shifting tones from light-hearted banter to deeper, more sombre reflections. However, there is a sense that this sonic landscape could have been even more prominent. At times, certain scenes brim with potential that suggests they could have soared as full-blown musical numbers, offering a richer, more immersive experience that could have elevated the play’s dramatic and comedic impact.
Unfortunately, the relentless toggling between humour and sorrow started to grate halfway through, making it a challenge to return from the intermission. The tone grew progressively grimmer as the play progressed, and yet the script abruptly shifts to light-hearted antics as the conclusion nears, culminating in an unabashedly cheerful finale. While the adaptation aims to conclude on a light-hearted note, its effectiveness will vary by viewer, making it a unique but polarizing theatrical experience.
For those looking to draw their own conclusions, ‘The Massive Tragedy of Madame Bovary’ runs until 11th January 2025. Tickets are available at https://southwarkplayhouse.co.uk
Reviewer: Alan Stuart Malin
Reviewed: 9th December 2024
North West End UK Rating: