If you’re looking for some Yuletide cheer, but you’re not a fan of panto, look no further than Cranford. While perhaps not strictly considered festive fare, the story is bookended by consecutive Christmases, so the winter slot at Orange Tree Theatre feels appropriate. This warm-hearted adaptation from director Josh Roche offers tender reflections on grief and independence while maximising the laughs.
Sisters Deborah and Matilda (Matty) live an uneventful life in the sleepy Northern village of Cranford, enjoying the company of the town’s other “widows and old maids”. Deborah is the prim and proper older sister, Matty the more timid, though they share a long-held grief over the childhood loss of their brother. Their simple existence is upended when a dramatic string of events befalls the town, including a terrible bereavement and the unexpected return of an old friend. The usually cautious Matty is forced to reflect on some of the missed moments in her past, and how to make bold choices in the present.
For those unfamiliar with the original novel (including yours truly), the Victorian bonnets hide something surprising: Cranford is very funny, or at least it becomes so in the hands of adapters Lin Coghlan and Shaun McKenna. The first act in particular is packed with gags, with whole sequences given over to humour. There’s the business of making a flannel coat for a cow, for example, or the magic show from a foreign illusionist that causes quite the flurry amongst the locals.
At times in the first act it maybe feels as though the extended comedic sequences wander a bit too far from the main story. Sometimes there’s a bit of whiplash between laughter and grief. But the second act is stronger on the dramatic front, and Matty’s character arc is wonderfully realised; it’s heartwarming to see her resolve harden as she chooses to forge her own path.
Part of what makes Matty such a delight is the inimitable Tamsin Greig. Her comedic timing is second-to-none; she’s able to elicit the biggest laugh of the night from just three words (“I am not”), solely thanks to her brilliant delivery. It’s a beautifully vulnerable performance, too; it’s impossible not to root for Matty.
The Orange Tree Theatre is a small space and Cranford is performed in the round (the stage amusingly doubles as the bar during the interval). Roche has done a fantastic job with this set-up; his staging is unshowy but dynamic and clever, making the most of every iota of space.
Set and costume designer Natalie Johnson provides candles, holly sprigs and suitably appealing period fashion (think bonnets, lots of bonnets). When considered all together, the word that comes to mind is cosy. It matches the heart and humour of the play, making Cranford a suitably warming affair for the midwinter months.
Listings and ticket information can be found here
