The Grapes Of Wrath – National Theatre

For a novel written almost 100 years ago, the parallels with today are striking. A family of overcrowded refugees trying to make their way to safety, to employment and a home. Yet along the way people won’t even recognise them as human and are happy to cheat them, underpay them and generally take advantage of them. The systemic exploitation of the desperate hasn’t changed from the 1930s until today.

Inevitably adaptations sacrifice depth for brevity. Frank Galati’s 1990 adaptation making its London debut under director Carrie Cracknell suffers from this, particularly in character development leading to less impact when some characters don’t make it to the end of the long drive. We are told about Tom’s great relationship with his grandpa but spend so little time in it that it does not land. Similarly, we spend so little time with each of the characters, it is hard to invest or to root for anyone – perhaps maybe with the Joad family as a whole. It leads to a sense of detachment with the audience which leaves it difficult to really connect with the characters.

Albeit this does allow smaller character moments to really pierce through, Cherry Jones’ portrayal of Mother Joad is a standout. She embodies humanity and selfless compassion, consistently thinking of others inside and outside the family no matter the circumstances and even without enough food for everyone she will share what she has left. Natey Jones’ former preacher Jim Casyis the outsider, invited along on the journey with the Joads. Jones too makes the most, the preacher fallen to sin but still with a view of how the world should treat people – how people should treat people. His unwavering belief in the inherent worth of all people fuels his determination to stand up against injustice and support those in need. In a story of loss, sorrow and suffering the humanity of these two characters provides a shining beacon.

Alex Eales’ set design uses the full space of the Lyttleton stage, allowing for sets to be easily swapped in, gas stations on the road through to camps along the way. The creative use of water, initially offering a cool break on the road but later transforming into a destructive storm is particularly effective. While the exposition-heavy dialogue can occasionally slow the pace, the physicality of the Joad family’s journey, conveyed through their cramped car being pushed across the stage by the cast, is a powerful visual that captures the essence of their ordeal and the slog of a journey they are undertaking.

Maimuna Memon’s singing is always a highlight, but the interludes feel unnecessary and perhaps tacked on to allow for set changes. It fits much more naturally with a barn dance in a scene bringing joy and connection right to the front, everyone altogether reminding us that even in the worst of times, there are moments of hope and optimism and togetherness. 

Reviewer: Dave Smith

Reviewed: 31st July 2024

North West End UK Rating: 3