Bird Grove at Hampstead Theatre Review
Elizabeth Dulau (Mary Ann Evans) in Bird Grove. Photo by Johan Persson
Written by Stacy for Theatre and Tonic
Disclaimer: Gifted tickets in return for an honest review
Inspired by the life of the famous 19th-century novelist George Eliot, Alexi Kaye Campbell debuts their new play ‘Bird Grove’ at Hampstead Theatre. Directed by Anna Ledwich, the period drama is an empowering exploration of female independence, societal convention and the relationship between a father and daughter, which is complemented by standout lead performances from Owen Teale and Elizabeth Dulau.
Set in the new family home of Bird Grove, Mary Ann Evans (the young George Eliot, played by Dulau), has dreams of becoming a writer. Her father Robert (Teale), has plans to find her a suitable husband via the local church, which clash with Mary Ann’s continually progressive ideologies towards religion and feminism. Tensions brew and, as their relationship becomes increasingly fractured, both must navigate their differences and interrogate larger, existential questions of the world around them and their place in it.
Act One plays out on an evening where an entertaining mix of characters are being hosted at Bird Grove. Potential suitor Horace (Jonnie Broadbent) is visiting with the intention of gaining a blessing from Robert and proposing to Mary Ann, while Mary Ann herself has her radical friends, the Brays, present. This clashing blend of individuals leads to some great humorous moments. Teale’s sarcasm in negotiating marriage, alongside Broadbent’s more uptight and unflattering Horace, made for some hilarious exchanges, and these interactions are ultimately where the script shines.
Act Two, in contrast, is more serious, where Mary Ann has to figure out alone how to move forward with her life and navigate her strained relationship with her father. Dulau’s performance is passionate and she does well to portray Mary Ann’s conflicting emotions of grief, anger, uncertainty and yet unmistakable love towards Teale’s character.
For all the emotional gravity the second act builds, it unfortunately undoes itself with a rushed conclusionary scene. The final few minutes undermine the subtlety and symbolism the play has earned to this point, feeling rather out of place in the script. The audience are told rather than shown, and this detracted from what could have been a more profound resolution.
The remarkable set design by Sarah Beaton was striking, and notably symbolic of Mary Ann’s situation. The giant, uncanny window at the back of the stage loomed over the rest of the set and was often used as a theatrical tool in the play's more dramatic moments. There is an excellent moment when a blizzard physically comes through the stage at the end of Act One, punctuating the mounting tension and emotional storm ahead.
A historical play with a modern message, Bird Grove is another successfully ambitious piece of new writing to feature in Hampstead Theatre’s programme, where it is performing until 21 March.
★★★★
