Image: Johan Persson
Middlemarch is one of those novels that - like Anna Karenina - looks intimidating at first, but is worth the commitment. Yes it has a lot of characters and no it’s not particularly fast paced, but it provides a unique perspective on the time in which it was written. The same could also be said about Austen, but whilst her storytelling is amusing, Eliot’s is more cynical. With that in mind, I was not expecting the RSC’s epic two-part drama of Middlemarch to be so funny.
Nina Raine has taken George Eliot’s beloved novel of provincial life and transformed it into a heartfelt story that is - despite being almost six hours in total - engaging, amusing and delightful. Jeremy Herrin's direction is thoughtful, considering the period of the text and the modern audience.
Our narrator is the author herself, played spectacularly by Amanda Root, who dominates the stage, interacting with cast members and keeping the audience informed as to who’s who and what’s what (although the programme has a helpful family tree and map which is a lovely touch, especially as it’s been years since I read the book). The use of the author device works really well, as characters use her almost as a therapist at times (such as asking for help with difficult conversations), and it also allows for a few tidbits about Eliot and her own interesting life.
There is not a weak link in the cast, with measured performances, a multitude of accents and fantastic expressions throughout. Unexpectedly, there are myriad laugh out loud moments, which are testament to the strength of the script, direction and timing of the actors. There is perhaps a little too much hand trembling and some awkward foot shifting in the third act, which is also the slowest of the four, but these are minor points.
Standout performers include Nia Towle as Dorothea who perfectly captures the emotional journey of our heroine as she realises that marriage is perhaps not the raison d’être. The relationship between Dodo and her sister Celia (Lizzie Annis) is heartfelt, but written in a way that captures the true nature of sisters’ bickering, teasing and unconditional love. Both actors enhance the script with their natural chemistry and these moments are lovely to watch. Annis also has some wonderful moments in her other role as Mary Garth, as she and Fred (Ebenezer Gyau) navigate their feelings for one another.
Emma McDonald offers a fantastic performance as Rosamund: stubborn, naive and borderline cruel; the later moments with her and Andrew Richardson (Tertius Lydgate) have real depth as they portray awkward, frustrated marital conversations. The scenes between Fred, Rosamund and their parents (Dave Fishley and Anita Reynolds) add a little extra humour into the production and are a real joy.
Grace Smart’s staging is simple but the production is a masterclass in slick set change and how it can be incorporated smoothly into actors’ roles with minimal disruption. Furniture and props are raised up and down through trapdoors in different parts of the stage, which is extremely effective. One moment of particular poignancy using this mechanism is where Mr Featherstone (Peter Forbes) dies, and he and his bed are lowered below, as if his coffin is being laid to rest.
Costumes are clever, allowing actors to switch between roles quickly and efficiently, showing clear contrast between the characters. Rosamund’s dress is a real highlight, and Celia’s sleeves almost need their own section in their programme! There are also some fabulous wigs and props, including a collection of insects, and an effigy.
Ben Jacobs’ lighting is evocative, especially the sun’s rays through the decorative window, and the use of candles at various intervals to create shadow, but also remind us of the time period of our story. These scenes are enhanced through Paul Englishby's music, which is discreet, yet adds to the emotions portrayed on stage. The final scene is particularly beautiful to watch, as all the staging elements come together for a picturesque tableau.
Despite its length, the play flows well and is a fantastic homage to the book. Audience members with little to no knowledge of the story will have no trouble following the characters’ journeys and will no doubt be swept up in this heartfelt and humorous tale of provincial life. A stunning production that shows how classics can be revived and retold without losing the essence of the original.
Middlemarch Part 1 and 2 play at the Swan Theatre until 16th January 2027.
★ ★ ★ ★ ★
Written by Mia for Theatre and Tonic, October 2026.
