Review: London Tide, National Theatre

When a Charles Dickens story is adapted for stage or screen, it can go one of two ways: it can bring the writers thrilling words to life, or things can get muddled, convoluted and on occasion, boring. Sadly, this production falls firmly and unmistakably in the latter.

Dickens is known for weaving storylines together like threads of a tapestry, usually uniting in a twist of cruel fate for characters we come to know and love. Lost family fortunes, hidden identities and forbidden lovers are commonplace in his stories. London Tide featured all three - almost predictably so.

This new adaptation from Ben Power is taken from the lesser-known story of Our Mutual Friend from Dickens.

Due to being presented in a uniquely bleak and dull way, the story was made to be extremely predictable. Characters act with mock shock when true identities are revealed, and revelations fail to land with the audience members who ‘figured it out’ an hour prior. With a minimalist set, the audience's attention was solely placed on the pitchy singing for over 3 hours. With regular use of melodrama, at times it felt as though I had been binge-watching Eastenders.

The songs, from PJ Harvey and Ben Power, attempt to mimic the dense drudgery of life in the London smog, which they do well. However, this leaves the audience wading through the story with the characters, forcing the production to become arduous long before the interval.

Harking back to David Benedict's recent piece in The Stage on purposefully asking why a production should or should not be a musical, I have to agree that this example details that query perfectly. With blunt, monotonous songs brutishly shoved between scenes, and all-but-one character speaking in a ropey East London accent, it is hard to understand why the show was presented as a musical in the first place.

One strength of the show can be found in its innovative use of physical theatre, creating cars and boats out of tables and planks of wood with mime. These could be relevant and applicable case studies for GCSE students who may be tackling these topics in the classroom.

Sadly, this is a far cry from the likes of Great Expectations or Bleak House. If you are looking to explore Dickens with your students, look elsewhere if you want your class to leave the theatre impassioned.