Tess of the D’Urbervilles – New Wimbledon Studio Theatre

Nick Hayes and Jessica Daley in Tess of the D’Urbervilles at the New Wimbledon Studio Theatre, London. Picture: Michael Brydon

Tess of the D’Urbervilles continues at the New Wimbledon Studio Theatre, London until 27 September.

In today’s world of commercial theatre where even the most famous musical theatre writers, namely Andrew Lloyd Webber and Tim Rice, have trouble keeping their new shows running because of lack of public interest in new material, it is great to have original musicals by talented young writers such as Alex Loveless and independent companies like Stepping Out Theatre Company (in association with Partisan and Fallen Angel Theatre) treating us to Tess of the D’Urbervilles.

Actually, the famous Thomas Hardy novel has already been adapted as a musical on a big scale back in late 1999 when a version by Stephen Edwards (music), Justin Fleming (lyrics) and Karen Louise Hebden (book) toured the UK before opening at London’s Savoy Theatre (where it closed after just 77 performances).

The story of the extrordinary and passionate Tess Durbeyfield centres around her defiant struggle against the forces of nature, society and fate, proving that true love, once found, cannot be lost. Evoking the physical passion and romantic landscape of the original novel, this new musical falls into the sub-genre I would call ‘period musical’ (to some extent belonging in the same group as Les Mis).

The stylised yet minimalistic designs are by David Shields, the handsome period costumes are by Penn O’Gara, while Chris Loveless – who has previously staged musicals by Alex Bel Ami at the Charing Cross Theatre and Remains of the Day at the Union – provides the clever direction (this is the fourth large scale musical that the brothers Loveless have worked on together). The cast here is no less than superb, especially the two leads.

Lovely Jessica Daley, fresh from her West End debut in Mamma Mia!, makes a strong impression as Tess, while Nick Hayes is a handsome leading man with a richly coloured voice and a commanding yet vulnerable stage presence.

Martin Neely makes a believable vilain as Alec D’Urberville, while the rest of the cast – sometimes playing several parts and doubling as musicians (a device which is at times over-used but which works wonder here) – stresses the intimacy and sense of community among the villagers.

Boasting a charming score, which certainly does not send you humming down the aisle but which serves the narrative and moves the plot forward, Tess of the D’Urbervilles is a welcome addition to the roster of new British book musicals.

Patrick Honoré