Review: The Forsyte Saga Parts 1 & 2, Park Theatre

This Saga is such an epic that John Galsworthy wrote the drama of the Forsyte family, told between the 1880’s to the 1920’s, over multiple books.  Shauna McKenna and Lin Coghlan took on a big challenge to adapt so much story into four hours of theatre split into two parts, which could be accessible and satisfying individually.  They have succeeded tremendously.

Part One: Irene covers two decades of the 1800’s and is presented as a more traditional period drama, with the Victorian view that duty outweighs any personal desire.  The focus is on Irene Forsyte (Finona Hampton) who is trapped in an unhappy marriage with the controlling Soams Forsyth (Joseph Millson), who views her more as property than a person.  Irene has a chance for happiness with ambitious architect Philip Bosinney (Andy Rush) and with family maverick Jo Forsyte (Jamie Wilkes).  Irene’s choices lead to a dark event which causes a deep schism in the family.  With so much to cover, McKenna and Coghlan creatively use an omniscient narrator to address the audience and frame the story, provide an overview of the family members and explain time jumps.  This is Fleur (Flora Spencer-Longhurst), the future daughter of Soams, who has not yet been born.  Using Fleur to look back into the family history also allows for a thoughtful modern reflection on how different the standards of society were.

Care has been taken to ensure that Part One has a narrative conclusion and it does not feel as anything has been cut off short.  Although character arcs do progress in Part Two, none feel unresolved come the conclusion.

Part Two: Fleur jumps into the more liberal 1920’s and therefore takes a more playful approach, feeling like a romantic comedy.  As the focus is on Fleur, Spencer-Longhurst can bring her to life more and joyfully continues to address the audience and provide mischievous insights to which others are unaware.  Fleur embarks on a romance with Jon Forsyte (Andy Rush), the son of Irene, much to the disapproval of both sets of parents.  There is also a tone of light mystery as Fleur and Jon attempt to uncover the reason for the family schism and learn of the dark event from Part One.  Like Irene before her, Fleur is also caught in a love triangle when she meets the charming and wealthy Michael Mont (Jamie Wilkes) and must choose whether to prioritise wealth or happiness.

Fleur’s quick summarising of the family history and efforts to uncover its dark past does effectively allow new audiences to catch up and appreciate this as a standalone story.  This recapping never feels obtrusive to those who have seen Part One.

However, it is undeniably a more enriching experience to watch both parts.  The exploration of whether women are better satisfied by material gain through their husbands or through independence is more satisfyingly told with the knowledge of the very different expectations of the times, especially as not all characters take the stance you’d expect.  The similarities between Fleur and Soams are also more apparent, and therefore cause more tension, for those with a greater understanding of his behaviour in Part One.

Director Josh Roche keeps up the momentum throughout the different tones of the story and showcases the talented cast conveying the overt and subtle emotions.  The scripting by McKenna and Coghlan provides each character with different layers.  Millson artfully presents glimpses of the softer side of Soames, who enjoys beautiful artwork whilst preferring to keep them locked away to maintain their value.  Hampton portrays the pride the Irene feels in fulfilling her family duty, whilst conveying her distaste that it must be so.  Emma Amos, Nigel Hasting, Michael Lumsden and Florence Roberts portray multiple roles and successfully adapt their mannerisms to ensure that each is immediately distinct.  Roberts goes the extra step by artfully adopting English, French and American accents.

Designer Anna Yates uses costumes to presents the two period settings and convey personalities.  The rigid Victorian society in Part One is reflected in the three-piece suits and sombrely coloured dresses whilst the more relaxed social values in Part Two are reflected with the casual blazers and colourful dresses.  Irene’s bright yellow dress highlights that she is not a natural fit with the Forsyte family; the trauma cause by the schism is reflected by her switching into more sombre grey.  The serious nature of Soams is clear as he is dressed all in black; the fact that he maintains his Victorian attire in Part Two signals that neither his fashions nor his mindset has changed.  Jolyon, Jo and Jon are identifiably the kinder Forsyte men, in lighter grey suits and colourful ties.

Because the story rapidly changes locations, the set design is a minimal one by necessity; the plush red carpet and velvet curtain backdrop conveys the ostentatious wealth of the family estates.  The curtain is taken down in Part Two to reflect the less extravagant nature of the time.  The small collection of chairs are generally used for sitting, but in Part Two are very imaginatively used as a punting boat, to great comedic effect.  In the absence of props, Max Pappenheim uses sound to create a great sense of ambiance for what is off stage; chattering crowds for busy venues, horses and cars for the bustling streets of London, and the sounds of nature for outdoor scenes.  Pappenheim’s music and the lighting by Alex Musgrave reflects the joyful, sad or serious natures of the scenes.  The lighting is also well used to represent the imaginary paintings, trees and other items which the cast interact with.

This is a remarkable achievement to have presented so much story in an accessible and entertaining way, and to alter the tone of the production to reflect the different time periods and experiences of Irene and Fleur.

Written by: John Galsworthy
Adapted by: Shauna McKenna and Lin Coghlan
Produced by: Ashley Cook for Troupe Productions
Directed by: Josh Roche
Set and costume design by: Anna Yates
Lighting design by: Alex Musgrave
Sound design and composition by: Max Pappenheim
Movement directed by: Patrice Bowler

The Forsyte Saga plays at Park Theatre until 7 December. Further information and tickets available here.