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“A miraculous revival”

One can only speculate the pressure attached to surgically re-arranging such a literary staple as Steinbeck’s “Of Mice and Men” – yet, this once deemed terminal patient springs to life on stage in a miraculous revival co-produced by Derby Theatre, whose empathic nurture heals the wounds of bygone idle ignorance. Following its hometown debut, this adaptation spans the spring season in several other national theatres: Hull Truck, The Octagon (Bolton) and Theatre by the Lake (Keswick).

The great depression shaped so much of what we still perceive today as the ‘Great American Dream’ – that able-bodied men can work a fair day for fair pay and make their fortune in a free world. When George (Liam King) and Lennie (Wiliam Young/Luke Richards) skip town seeking work as field hands, that’s exactly what they dream up together in cahoots with Candy (Benjamin Wilson) and Crooks (Jeff Alexander). In this desperate bid for emancipation, the unlikely pair’s companionship is tested at all turns by the looming threat of incarceration, or worse, lynching. Lennie’s desire to touch soft pretty things, combined with his heavy handed approach to petting small animals, inevitably leads to the timely death of Curley’s Wife (Emma Charlton). The reversed take on anthropomorphism and purposeful use of slurs are some of the shows finest examples of foreshadowing.

“a statement piece fit for the modern age”

Casting by Liv Barr is exemplary – including so many actors whose physical lived experiences reflect those of the characters as they are written, adding perfect nuance to this entire production. Though its choice language and motifs may be considered outdated or oppressive, the authentic casting strategy readies a new road for the stories sense of self-awareness, amplifying the original themes and boasting a deepened moral consciousness. Combined with a cutting-edge approach to facilitating accessibility (Creative Audio Description designed by ‘Hear the Picture’ and Jo Mousley), this timeless classic has evolved into a statement piece fit for the modern age.

Sarah Brigham’s powerful use of pause is nothing short of macabre; her palpable tension is mirrored in Ivan Scott’s expertly crafted soundtrack which seemingly seeps from the woodwork. The intensity of the soundscape as Curley’s (Stefan Race) hand is crushed into humility under the weight of a monstrous evil (his own pride and ego) – such over-dressing may have been more impactful in the penultimate death scene, which didn’t achieve the same level of intensity. Set on an un-varnished wooden backdrop, the vastness of the staging embodies the dry heat of the Californian landscape – minimal but so effective, every transition felt fluid and coherent.

4 out of 5 Stars