Review: Cranford (Orange Tree Theatre)

Review by Ruth Sealey

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Set in a fictional Victorian village, Cranford brings Elizabeth Gaskell’s much-loved novel to the Orange Tree Theatre in a festive addition to its programme. Having neither read the novel nor watched the BBC adaptation, I was interested to see how this social commentary on Victorian life would resonate with a modern audience. The Orange Tree Theatre has a reputation for consistently high-quality productions and, under Artistic Director Tom Littler, continues to attract a varied programme to its intimate space in the heart of Richmond. This production also marks the final performance in the current space as the theatre’s redevelopment draws to an end, adding an extra sense of occasion. Would Cranford prove a fitting production to mark the end of this chapter in the theatre’s history, and bring Gaskell’s world to life in a way worth remembering?

Elizabeth Gaskell’s novel Cranford was published in 1853, first appearing as a series of individual stories and sketches in Charles Dickens’s magazine Household Words. It was adapted for the stage in 1951 and then for a BBC series in 2007, starring Dame Judi Dench, Imelda Staunton and Michael Gambon. It is widely believed that Gaskell based the fictional town on Knutsford, where she spent much of her childhood, having been brought up by her aunt following the death of her mother when she was just a year old. Although a work of fiction, the novel draws on elements of Gaskell’s own experiences, with themes of grief and loss woven throughout both the novel and this stage adaptation. The loss of loved ones, siblings and children provides an underlying sadness to a story that is rich with humour. It is also a sharp social commentary on a society in flux, standing on the brink of significant change with the Industrial Revolution looming ever-present in their lives. Gaskell was interested in recording the lives and eccentricities of the women at that time, capturing a world that might otherwise disappear from history. 

Cranford is a town largely populated by unmarried women, whose individual stories and relationships form the framework for the play. At a time when marriage was closely tied to social standing and financial security, these women occupy an interesting position. Sisters Matty and Deborah are devoted to each other, united in a shared grief and the uncertainty surrounding the fate of their absent brother. Their maid, Martha, is secretly courting young Jem, torn between the expectations of Cranford society and what her heart truly wants. Mrs Jamieson, Miss Pole and Mrs Forester represent the wider community, with all its social conventions, eccentricities and fiercely protective friendships. The arrival of Eliza, an outsider bringing new ideas and perspectives, introduces further challenges, while her own personal tragedy tests the strength of these relationships. Through their concerns about social respectability, appearances and their place in society, Gaskell exposes the restrictions and expectations that shaped women’s lives. Beneath the comedy, however, lies something more significant: a celebration of women’s independence, resilience and the bonds of female friendship.

Lin Coghlan and Shaun McKenna have taken a novel published over 170 years ago and adapted it for the stage and for a modern audience, while staying true to all that Gaskell captured of society at the time. Much of the dialogue is fast and funny, and the slower scenes are heartbreakingly sad, with Eliza’s direct address and exposition perfectly judged. Bringing together a series of individual stories and characters into one cohesive production is handled with great care, ensuring that each has its place within the narrative. The balance between comedy and the more poignant moments is beautifully judged, while the humour never diminishes the emotional weight of the stories. There are subjects, such as the treatment of Matty’s brother following his decision to dress as a woman, which are touched upon almost in passing. However, this is perhaps reflective of the attitudes at the time, when such a challenge to accepted gender norms could bring about rejection. For a modern audience, there is an added significance in seeing these attitudes portrayed, offering a glimpse into the expectations and constraints that shaped people’s lives. The skill lies in retaining the spirit of the period and of Gaskell’s characters, while making their experiences accessible to a contemporary audience. To hear laughter and see tears around me in the audience was a testament to the quality of the writing and the range of emotions that it evokes.

The writing is strong, and Josh Roche’s direction clearly understands the vision of the writers. The use of the space is among the best I have seen in theatre in the round. The four corner entrances are used with such ease and imagination that the audience almost feels part of the village itself. There are so many clever touches, from the excessive use of the curtsey, reinforcing the rigid social conventions of the time, to the passing of the pie around the table. The movement of the stools and the fluid choreography around the stage make excellent use of the space, with every detail, gesture, nod and touch feeling purposeful. In one scene, when the women go to watch a ‘magician’, they join the audience, and the way they are seamlessly absorbed into the crowd is both clever and subtle. It creates a genuine connection between audience and cast, drawing us into the world of Cranford rather than simply having us observe it.

With a cast of predominantly older female characters, there is a danger of them becoming similar caricatures of Victorian women. However, as an ensemble, the cast is quite frankly exceptional, with each character developing into a distinct individual with her own story, personality and place within the community. Saffron Dey, as Martha, captures the innocence and excitement of young love, providing a welcome contrast to the older women in the village. The men have fewer central roles, but Michael Lumsden as Tom brings a gentle kindness to his interactions with the women, making his storyline particularly moving. 

Alexandra Gilbreath’s Miss Pole is a particular highlight. Her numerous comedic one-liners are delivered with such assurance and impeccable timing that she draws the most laughter from the audience, and her entrances are some of my favourite comedy moments. Yet it is her versatility that stands out in this production. When delivering one of the play’s saddest moments, her physical presence changes entirely, demonstrating how effectively she moves between comedy and tragedy. Gilbreath also develops an endearing friendship with Sara Crowe’s Mrs Forester, another character who reveals more depth as the events in Cranford unfold.

Tamsin Greig and Abigail Cruttenden are simply superb as sisters Matty and Deborah. Greig brings a certain fierceness as Matty, and her emotional journey is a joy to watch unfold as she gradually finds the confidence to challenge what society expects of her. Cruttenden’s Deborah is more strait-laced and rooted in the conventions of the time, but beneath this is a deep love for her sister that comes through beautifully. Phoebe Pryce as Eliza is the standout, delivering a truly memorable performance. She conveys Eliza’s position as an outsider through the smallest details, and her ability to remain completely engaged in the scenes around her, watching and listening to the women of the village, is a masterclass in ensemble acting. As the play develops, we begin to see what has brought Eliza away from Manchester. Pryce carries her grief with a quiet restraint, simmering beneath the surface, until the emotional outpouring provides a striking counterpoint to the comedy that runs throughout the play. 

Sound designer and composer Max Pappenheim has created some genuinely beautiful music to accompany the play, which is atmospheric and subtle but also all-encompassing. ‘The Coventry Carol’ is played several times during the production in a stunning choral arrangement, and it is also sung by Robert Merriam’s Jem, bookending the production. It is a perfect choice, bringing together the festive season and the grief that runs throughout the production. Natalie Johnson’s set and costume design is equally well-considered. The rustic wooden floor grounds the staging in its rural setting, far removed from the approaching Industrial Revolution, while the costumes are intricate and detailed. The contrast of the colours worn by Eliza and Martha with those of the other women, reinforcing their position as outsiders, albeit for very different reasons, is a clever touch.  

One of my favourite things in theatre is the portrayal of strong female characters, and Cranford delivers this in abundance. Do not be fooled by the comedy or assume that it mocks these women; to do so is to miss the point entirely. Their humour is their strength, sitting alongside sadness and grief that threaten to overwhelm them but never quite do. These women challenge society’s expectations, and the exceptional writing, direction and performances allow the comedy and tragedy to ebb and flow in a beautiful example of what theatre can achieve. If this is how the Orange Tree Theatre ends in its current form, I am excited to see what theatre in a new and improved space will bring in the future. 

Cranford plays at Orange Tree Theatre until 16 January 2027. Tickets from https://orangetreetheatre.co.uk/whats-on/cranford/

Photos by Marc Brenner.