JACK MAGGS (PLAY)

Written by Samuel Adamson

Based on the novel by Peter Carey

Directed by Geordie Brookman

State Theatre Company South Australia

The Playhouse, Canberra Theatre Centre to 7 December

 

Reviewed by Len Power 5 December 2024

 

Everyone remembers Magwitch, the convict character who appears suddenly in a foggy graveyard to the main character, the boy Pip, in the 1946 David Lean film of Charles Dickens’ novel, “Great Expectations”.

In “Jack Maggs”, author Peter Carey’s clever reworking of Dickens’ classic novel, an ex-convict, Jack Maggs (Carey’s version of Magwitch), returns from Australia to 1837 London in a determined quest to find his “son”, Henry Phipps, who has mysteriously disappeared. Taking a job in the household of Percy Buckle, he makes a deal with young novelist and “mesmerist” Tobias Oates to find Phipps. Oates (or is he Dickens himself?) has another agenda. Maybe Maggs will prove to be the perfect inspiration for his new novel.

Maggs’ longing to return to London from his convict past Australia has risks. He may be a prosperous free man in Australia now but would still be considered a criminal in London. This bond with the past reminds us that, instead of breaking free, modern-day Australia still has historical attachments to Britain.

In the State Theatre Company South Australia’s production of Samuel Adamson’s play, 1837 London comes vividly to life with its Dickensian characters and its dark depiction of the squalor, filth and class consciousness of the time.

Mark Saturno (Jack Maggs) and James Smith (Tobias Oates)

Mark Saturno is impressively stoic and bitter as Jack Maggs.  James Smith gives a fine, enigmatic performance as the novelist, Tobias Oates, and the ensemble cast perform the many characters in this story with skill, colour and commitment. Ahunim Abebe has an appealing warmth as Mercy Larkin, the Narrator.

Ahunim Abebe (Narrator/Mercy Larkin)

The production design by Elisa Paterson is dazzling, depicting the era of 1837 London but always reminding us that we are watching a play. Director, Geordie Brookman, uses a multitude of theatrical techniques to keep the story swiftly moving along. The use of shadows is particularly effective and the lighting design of Nigel Levings and sound design by Andrew Howard add a great deal to the creation of the atmosphere of this era in London.

Although the technical aspects of the production were impressive, some of the effects and the busy direction were often distracting, making the many characters and their motivations difficult to grasp.

Overall, the fine acting and clever production made this an enjoyable theatrical experience.

 

Photos by Matt Byrne

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.