Review: 'Another bold choice captures the magic at Rugby Theatre'

It’s probably not the done thing to link Legally Blonde and a Thomas Hardy classic but having last been in the building to see the youth project’s musical telling of the Elle Woods story it was fascinating to be back for the life and times of Bathsheba Everdene.

Both are in essence tales of women stepping into alien worlds and challenging the prejudices they face, against a background of love and affection - though obviously it’s a long way from the madding crowd of Harvard Law School to the rural idyll of Hardy’s Wessex.

It’s that very isolation in the latter instance that provides the intensity to the relationships that punctuate Bathsheba’s progress as she inherits her uncle’s farm and does things her way, not the usual way.

Whether or not you’ve read the book, this popular adaptation by Mark Healy captures the magic of the original in a way that is easy to follow, helped along here by a generally well-behaved slide show on a big tv screen to the side of the stage.

Bathsheba Everdene has three suitors with different stories and thus different personalities that are weaved through the plot and whose paths often cross.

They are well and distinctively played here but everything thrives, because in a play that depends on getting the casting right, Emma Marshall is superb as Bathseba.

As the carefree spirit of the opening scene quickly moves to a new life as farm owner – and manager – this is a significant lead role.

The spotlight is on her for most of the play and while other members of the cast add depth and humour to proceedings, it’s Bathsheba’s story and the choice here is perfect – it’s hard to think of anyone else who could embrace and sustain the range of emotions

demanded by the part.

There are plenty of examples on stage and film of brief moments of impact that threaten to steal the show and Meg Cubitt’s ability to sustain her cries of agony as she returned as Fanny was one of those.

Mia Ballard was consistently chirpy as Liddy Smallbury and the villagers offered some rich variety to the telling of life on the farm – or in the Malthouse.

Another distinctive feature was the simple brilliance of the music from Elinor Nunn both on and off stage – perfect for my vision of Wessex – and director Ash Hirons brings some clever ideas that enhance the flow of the story.

But to talk of a vision of this village life is to recognise it’s not all fluffy lambs and good times, Victorian farming was hard and there’s plenty of true grit here.

It’s another bold choice by Rugby Theatre and a job well done.