Adapted and Directed by Alex Harvey and Charlotte Mooney – Ockham’s Razor

Devised by  Alex Harvey, Charlotte Mooney, Macadie Amoroso, Joshua Frazer, Lauren Jamieson, Lila Naruse, Victoria Skillen, Leah Wallings and Nat Whittingham

Choreography by Nathan Johnston

Ockham’s Razor, the world-class and award-winning aerial theatre company presents a simple conundrum: can you really tell a Thomas Hardy story through circus? In short, yes. In lengthier – not only can you do it, but Ockham’s Razor also locate the light which never goes out, even amidst the original interpretations of sorrow in Hardy’s Tess of the D’Urbervilles.

Finding wonderment and spectacle, even elements of joy, Alex Harvey and Charlotte Mooney’s clean adaptation alters the narrative marginally, reframing it as an autobiography, a separation of husk and mind, body and soul. There are two Tesses here, one to narrate (Macadie Amoroso) and another to perform what many would have expected: movement (Lila Naruse). The inclusion of Amoroso’s directness with the audience draws the Traverse space even smaller than usual, intimacy becomes crucial in their captivating delivery.

Utilising a six-strong cast, the companies’ legendary feats and understanding of their craft is one full demonstration throughout. As each character is constructed with a corporeal form, clever and animated in their circus performance and aerial technique. Whether dangling from the rafters, a glimpse into the constrictive grasp of alcohol on Tess’ father, or endlessly circling on a Cyr Wheel: Joshua Frazer demonstrates how excellent they, Leah Wallings, Victoria Skillen, Lauren Jamieson, and Nat Whittinghambring all are in constructing a world for Tess – a space they occupy with varying levels of fragility or resounding strength.

Daniel Denton’s projection offers a loose definition of texture and form; rocks, clouds, wisps of something unexplainable. It’s all lifted with an almost hazy, but not confusing or rushed score from Holly Khan which strikes the tone that both movement and word as so expertly capturing. It finds a sorrowful note, mournful and accepting of the trials of life, but equally appreciating the beauty in the hushed moments. It’s a resoundingly successful capture of how, even in these dreamlike states, the bluntness of tragedy is still harsh, but not all-consuming for Tess’s life outside of her physical form – the embodiment of a woman’s resilience, all told through a movement which utilises every layer of space possible.

With the very best of set and costume from designer Tina Bicât, the formation of wood adopted any shape or form necessary for the story’s punctuations of everyday rural nature, culminating in a multi-story setting which enables the aerial nature of Ockham’s Razor’s forte to truly astonish and enrapture. Moving slowly, the first act offers tension enough between Tess and her precious Angel, Naruse’s vulnerability and earnest nature are all communicated through movement. The concluding act thunders with a quick pace, still peering into the blind spots in the heavier journey ahead through grief and isolation. But where the drama presents itself as necessary, is carried with integrity and subtle talent to not abuse spectacle, taking some of the more graphic elements of sexual assault with a degree of ambiguity (about Tess’ off-page rape within the book).

Ockham’s Razor’s eighth full-length production ensures each element has been carefully considered – but never ground down into the finer points as to lose the flexibility and scrutiny of the world surrounding it. The spectrum of Tess’ journey is significantly captured and adapted with emotional integrity that carries the storytelling from soft tumbles to nimble dexterity and adoration, before fruition and into a complete masterstroke of storytelling through a unique medium.  

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