In addition to his highly successful career as an actor, Geoffrey Beevers is also a writer and director. He has a particular love for George Eliot’s work, having adapted a number of her novels for the stage – most recently Middlemarch, which premiered at the Orange Tree Theatre, Richmond, in 2013. Here, Geoffrey discusses why he was drawn to the project, and how he approached the task of putting this long and multi-faceted story on stage.
I had always been fascinated by the challenge of adapting Middlemarch, and to discover whether it could work on stage. The characters are so rich and their problems so close to our own, in spite of the difference in time – misguided relationships and money worries, future expectations raised and dashed – and it seemed to me to carry a detail of original observation not often portrayed in theatre.
I was also inspired by the thought of bringing Eliot’s language alive for a live audience. On the page, one’s eye can glide over the sentences, and sometimes miss her subtlety and, above all, her sense of humour. People sometimes confess to giving up on George Eliot because they find it ‘heavy’. But, like Shakespeare, her dialogue reveals so much more when spoken aloud and shared; her language dense, but very speakable. And I wanted to include her own distinctive voice, shared by the cast, and her ironic comments on the action as it unfolds.
DOROTHEA. Come and look at my plans for some workers’ cottages. I shall think I’m a great architect!
Dorothea was remarkably clever.
CELIA. But Celia was spoken of as having more common sense.
DOROTHEA. Dorothea was enamoured of intensity and greatness.
BROOKE. She was not yet twenty.
I’ve tried to use only her words throughout.
I’ve always loved the challenge of huge themes in intimate spaces, where the principle must be, not: ‘What can we do with this?’ but: ‘What can we do without? How can we tell this story, as simply as possible, so the story will shine through?’ I wanted to use only a few actors and a minimum of setting, and leave as much as possible to the audience’s imagination.
BROOKE (as he changes into SIR JAMES’S DRIVER). One day,
Dorothea and Celia had been to see the building site for the
new cottages on Sir James’s estate, and were being
The table has become an open carriage, a chair the driver’s seat. A cold day. They bump along.
I also believe audiences enjoy the versatility of actors. I relished doubling characters that have dramatic similarities but are, in fact, very different – the indulgent Vincy parents could double with the stricter Garths; the introverted Casaubon with the extrovert Featherstone; the vague Brooke with the focused Bulstrode; Will, who has so much pride, with Fred, who has so little.
The shape of the trilogy emerged as I worked on it. I took the three main strands from the book – Dorothea’s story, the Doctor’s story and Fred and Mary’s story (county, town and country) – to make three self-contained plays, each in its own social sphere, with differing attitudes to status and money. I knew I would need certain scenes repeated from one play to the next, as the stories overlapped, but enjoyed the fact that these scenes could be angled differently to meet a different perspective. I also became interested in the structural similarities between the stories. It’s obvious that each is based on a marriage, or a potential marriage, and at least the hint of an ‘eternal triangle’; but each play also has, at its centre, an onstage death which has unexpected repercussions on everything that follows. And it became clear that the third play (a strand sometimes considered more of a lighter subplot in the novel) answers the first two plays, and provides solutions to the problems the protagonists face. Dorothea impulsively leaps into her first marriage, Lydgate drifts into his, both with disastrous results. Each expects something from their partners that they are unable to give, because they have opposite ways of thinking. But Mary waits for Fred until he has found his feet, and they both know each other well enough so they can truly share the same values.
Of course, a trilogy can be no substitute for a great novel. For a start, there is little place in drama for description or philosophical digression. But every examination of a classic should throw up something of interest, if attempted honestly. My aim was to reach, as simply and directly as possible, the dramatic heart of the book, where the characters are tested by their actions; and above all to share with a live audience the compassion, the wit and the irony of George Eliot’s incomparable mind.
The plays in The Middlemarch Trilogy premiered at the Orange Tree Theatre, Richmond, from October 2013, to critical acclaim:
★★★★ – ‘a delight from beginning to end… one of the most captivating literary dramatisations I’ve ever encountered, as rich as a Christmas pudding’ Telegraph
★★★★ – ‘inspired… a terrific achievement’ Evening Standard
★★★★ – ”it has an elegance and wit, and, above all, it’s eminently digestible’ The Times
Here are a few words from our Performing Rights Manager, Tamara von Werthern:
Dorothea marrying dry old academic Casaubon, despite being better suited to his young cousin Will; Dr Lydgate’s disastrous marriage to beautiful but self-centred Rosamond and childhood sweethearts Fred and Mary whose union is threatened by Fred’s dependance on an as yet unsecured inheritance. From whichever angle you approach this magnificent novel, there’s plenty of drama and wonderfully conflicted characters within it. Each of these three plays can be treated as a complete stand-alone play and offer a unique perspective on the great Middlemarch story. But perform them as a trilogy, and you end up with a multi-faceted masterpiece.
The play can be fluidly and very simply staged, with as little furniture as two chairs, one table and a chaise longue by a cast of at least five women and six men (although there are fifty speaking parts throughout). There are incredibly helpful production notes with the published play trilogy, but in case you need only one of the plays, we are also happy to supply you with print-on-demand scripts for the single play.
The performing rights are £69 plus VAT for each stand-alone piece, or £150 plus VAT for the whole trilogy – do apply before rehearsals begin!
We’re delighted to publish the script to Geoffrey Beevers’ The Middlemarch Trilogy, a masterfully realised adaptation of Eliot’s classic novel.
To buy your copy now at a 20% discount – no voucher code required – click here.