English Touring Theatre, 25 Short Street, London, SE1 8LJ. +44(0)20 7450 1990
Registered in England No 2746850 Registered Charity No 1016895 VAT No 595 9805 71
ETT gratefully acknowledges the support of Arts Council England
| DIRECTOR | Kate Saxon | |
| DESIGNER | Libby Watson | |
| MOVEMENT DIRECTOR | Georgina Lamb | |
| COMPOSER | Gary Yershon | |
| LIGHTING DESIGNER | Oliver Fenwick | |
| SOUND DESIGNER | Duncan Chave | |
| ASSISTANT DIRECTOR | Helen Leblique | |
| VOICE COACH | Majella Hurley | |
| CASTING DIRECTOR | Ginny Schiller |
| WILLIAM BOLDWOOD | Stephen Billington |
| FANNY ROBIN/TEMPERANCE | Jennifer Bryden |
| GABRIEL OAK | Phil Cheadle |
| SERGEANT TROY | Adam Croasdell |
| LIDDY SMALLBURY | Laura Elphinstone |
| BATHSHEBA EVERDENE | Rebecca O'Mara |
| HENRY FRAY/SHEPHERD MERCHANT 2 |
Jack Sandle |
| MARYANN/MRS HURST | Cleo Sylvestre |
| SOLDIER/MATTHEW MOON | Gwynfor Jones |
| SOBERANCE | Ruth Westley |
| JAN COGGAN/VICAR | Noel White |
| JOSEPH POORGRASS | Gareth Williams |
| PENNYWAYS | Johnson Willis |
I shall do one thing in this life. That is love you, long for you and keep wanting you 'til I die.
Thomas Hardy's much-loved classic is brought dramatically to life in this thrilling new production which fuses vivid story-telling, live folk-song and humour in a dynamic ensemble staging.
Having inherited her father’s farm, a spirited and feisty young woman - Bathsheba Everdene, finds herself playing mistress in a man’s world. She is pursued by three would-be lovers: the constant shepherd, Gabriel Oak; the obsessive landowner, William Boldwood and the reckless Sergeant Troy. But are any of them a match for the wilful Bathsheba?
Based upon one of Hardy’s most popular and enduring novels, Far from the Madding Crowd takes us on a theatrical journey through Hardy country, following a passionate young girl propelled into womanhood by her experiences of love and loss.
Went to catch up with the show in Malvern last week and to lead an education event. Each time I visit, the company are further enthralled with each other which is great to see – they’ve really bonded as an ensemble, which gives me a warm feeling as the person who brought them all together! And even better, I feel they’ve gone from strength to strength on stage, too. Their close bond helps this, as does that fact that they are proud of the work we did in the rehearsal room and have been absolutely committed to keeping it true to our choices and fresh for each new audience. It’s a good place to be. (Kate Saxon - Director)
How great to be playing a space so expansive and open. It suits the show. It's wide and with a great acoustic. It is purposeful and lively in the building and there's a lot going on. We've been greeted warmly and received with enthusiasm by all inside and audiences have been brilliant. More or less full for the rest of the week--it looks like being a memorable time. Lucky man me! (Johnson Willis - Pennyways)
This has already been said, but Ipswich has been a really lovely space to work in. I think everyone was a little apprehensive about its shape (bits of the set had to be removed) and more studio-y feel. But we had a fabulous warm welcome from the local staff and the general feeling is that being in a very different space has given the show a refreshing lift to counter any mid-term tiredness! Wicked. (Ed - Tour Tech and Sound)
Another week another town. This is my first time in Ipswich. The theatre is lovely, very intimate, and the houses have been full and very responsive.
We are all loving it at the moment and wish Ipswich could go on and on, however Newcastle beckons. Bring it on. (Jack - The Shepherd)
And so understudying continues...I think we were all feeling a bit slow on the lines today, mainly due to me personally being shattered after the double shows yesterday. It's amazing how quickly I seem to forget the lines. Thank God we have rehearsals every week! Despite having to be in today we were all in high spirits...Ipswich has a lovely jubbly vibe! (Ruth - Soberance)
Moving the set into different theatres certainly keeps us on our toes. We had an array of bruises, cracked heads, and momentary embarrassments doing the first show here last night. A few of us found ourselves scrabbling at blacks to get off, we also walked into posts and flats. It keeps it interesting.
The Wolsey is also our most intimate space yet, with the audience so close we seem to be belting it out as we had to at Oxford, but feel we need to reign it in so as not to frighten the punters.
Nice thoughtful crowds, though, and the space is great. Full or nearly full houses are also a thing to enjoy. (Stephen - Boldwood)
Today we experimented with gaffer tape moustaches. We looked like Adam. It was cool. (Andy - TSM)
I would have to concur. (Adam - Sergeant Troy)
Having spent most of our week in Cambridge mournfully staring at the canals through freezing winds and driving rain we finally got some extremely unseasonable sunny weather in Oxford and took the opportunity for a 'work outing' on the punts. Cue six befuddled actors and two stage managers trying to navigate The Isis without falling in or getting so lost we missed the show. Luckily neither happened and we had a great time taking in the beautiful scenery and racing our two punts (our boat won by the way, and there was certainly no underhand behaviour of tugging at each others' ropes or stealing oars). Afterwards we rewarded our valiant efforts with a trip to 'Pieminister' in The Covered Market where we quite literally ate all the pies, so a perfect day all in all. As Wolverine then pointed out - what could be better than a good pie and a punt? Nothing much I reckon. (Susie - ASM)
Cambridge - after three long, but neccessary weeks in Exeter. I have to say that visiting beautiful cities across the UK like this one, is one of the amazing perks of touring a show. The downside is that the wings in this theatre are absolutely miniscule, leading to countless panicked interchanges between white-faced actors elbowing each other out of the way to make it onstage on time. It's that sort of brilliant theatrical appearance versus reality - the audience (hopefully) see calm, controlled performers - but if they only knew. To give you some idea of the realities of our time so far in the theatre here in Cambridge watch Noises Off again. Excellent fun actually, although I think some punting on the Cam is probably in order now to soothe my ragged nerves. Ah, second show tonight - everyone's looking remarkably calm and collected. Watch this space....(Adam - Troy)
Well we have to play catch-up on these blogs as we were all too tired, busy and unsettled during Tech and Previews to be able to even think about what to write.
For me, arriving in Exeter, for some reason brought with it a facial hair epiphany! It must be said that Kate (Director) had been trying to convince me throughout rehearsals that Boldwood should have mutton chops (partly because there were more than enough beards in the cast already), but I had been sticking to my guns. Whether it was insecurity or a change of air, no sooner had we begun the Tech than I felt a strong urge to shave my chin. And my top lip. The chops were an instant success and as a result my nickname in the cast, and some of the crew, is now Wolverine!
We all felt daunted by the idea of running the whole play with an audience of invited dignitaries. Did we feel ready? Certainly not. But with reassurance from Kate that it was to be a 'stagger-through', we resigned ourselves to the inevitable.
Well, the play flew by, for me at least, and it was great to sit on the side and watch the scenes I'm not in. I thoroughly enjoyed the stuff with Bathsheba and her other men. My particular favourites: Oak proposes and the Epilogue: funny and moving. Plus the ensemble scenes are very engaging and at times exhilerating.
I, though, felt like I'd forgotten how to act and had that weird sensation of feeling hyper-aware and naked. My subsequent bout of despair was solved by Kate during the notes, apparently Boldwood's journey was becoming clear. Reminded me of something my old tutor Yat Malmgren used to say in his irresistably parodic Swedish accent: 'You can never judge a performance by the way that it feels'. (Stephen-Boldwood)
The coffin has arrived, been built and now.......got in. The idea of lying in a coffin I've found more than freaky! But if we all call it a box then somehow it's a little more cope-able with. Although I'm sure that'll change once I've been in it with the lid down! (Jen - Fanny)
Have finally found us a coffin! Having researched 'poorhouse' coffins with Cripps of London - who referred us to 'The English Way of Death: the Common Funeral Since 1540'. We have established it would have been a plain unfurnished wooden coffin (not a box) with rope handles. Lo and behold! you can get just such a thing from eco-coffins.com (check them out, they're brill) who are sending us one tomorrow. It's flat-pack though; images of Ikea-style nightmares are floating before my eyes! (Susie - ASM)
Sitting in the Green Room on my own listening to the 'Harvest Supper' music coming from the rehearsal room. I must admit to feeling a little left out, though it is sensible that Boldwood, and therefore I, should not be involved in the big physical/elemental scenes with the rest of the ensemble. I am left reflecting how in my one physical scene George has really got to the heart of Boldwood's agony and madness - poor guy - how painful love can be...(Stephen - Boldwood)
It's Saturday morning and we're in rehearsal. It think the idea of working on a bank holiday is having an adverse effect on us all, we reached a level of hysteria not yet witnessed in the rehearsal room. It's childish, I know, but it was bound to happen at some point; we all rather immaturely found amusement in Liddy's line "I'm not afraid of Fanny!" We were laughing so much that Kate called a very well timed tea break, so we could all grow up a little bit. (Phil - Oak)
Singing this morning. Gary always manages to make learning so enjoyable. I'm just hoping that next time we do it in rehearsals I can remember the tunes unlike yesterday! (Cleo - Maryann)
We are all preparing to deliver our research projects - there is some nervousness about this; "It's like being back at school" one cast member was heard saying. But Johnson is keeping the atmosphere relaxed and soothing in the Green Room by sweetly plucking his guitar - lovely! (Stephen - Boldwood)
Had our first attempt at a stagger through on Act One - and it really was a stagger through! It was really good to see the shape of the first act and it was a great way of seeing where the huge holes were. Also had a bit of accent coaching - that is coming on quite nicely but it's the real detail of the accent that i'm finding hard. But I shall persevere! (Laura - Liddy)
Had a useful production meeting - we have resolved many of the issues raised by this week's rehearsals - here till 9pm! (Helen, Karen, Cat, Cathy and Kate - Stage Management/Wardrobe/Director)
Still stiff from Monday - we did seven hours of country dancing! The dance morphs into a storm scene, so come the end were were flinging ourselves about with abandon. Still it feels good. The number of physical pieces/moments means we are constantly practising crazy pitchfork dancing over cups of coffee. (Jack - Henry)
Exeter Northcott Theatre

The cast of thirteen rise to the challenge of this very physical production and capture the essence of Hardy's characters as we move through the story of Bathsheba Everdene's turbulent life as she struggles to asset her independence in a man's world.
British Theatre GuideTheir latest production, a new adaptation of another of Hardy's finest works, is everything the trudging TV mini series isn't - shocking, fast paced and, above all, completely gripping.
The Cambridge Evening NewsHaunting...Brooding...Smouldering...DYNAMIC DRAMA
The GuardianI have just returned from a couple of days in Woking and was lucky to see your fabulous production of 'Far from the Madding Crowd' at the Yvonne Arnaud Theatre LAST NIGHT. it was one of the greatest evenings I have ever spent in a theatre. What a superb cast. Many congratulations
John RuddockHi! Just wanted to congratulate you on a brilliant production of Far From the Madding Crowd, which I and my friend saw at the Richmond Theatre last night. It was an absolutely stunning evening - a real theatrical experience that had us gripped and enthralled until the very end. Such imagination in the staging and the set and all the movement and dances that enhanced the unfolding of the story. I hardly like to mention the actors, as they didn't seem to be acting at all - everything was so real and one was just carried along. We chose the theatre evening as a birthday celebration for my friend and were very pleased with ourselves for making such an excellent choice! Thank you for your great dedication and the huge enjoyment that you gave. The very best of good wishes for the rest of the tour.
David WalkerLast week at the Northcott Theatre in Exeter I saw possibly the best performance I have seen there in 30 years. Far from the Madding Crowd was dynamic and riveting. Great acting and choreography. Thank you.
Dr Mike AndersonFar From the Madding Crowd
A new adaptation by Mark Healy, based on the novel by Thomas Hardy
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