But the only translation known is the translation from the literary form to the dramatic. Drama is the development of character under the pressure of action. When I changed Eliot Adam Bede many years ago, it was a clear “drama” story – seduction, child murder and a court case. But I’m always interested in the complexity of change Middlemarch, a very clever drama of developing human life, let’s see if it can be done on stage. The wealth of things and their problems are closely related to our own with the difference of time – mistaken relationships and financial worries, raised expectations of the future, etc. It seems to me that it brings a point of view that is not often shown in the theater.
When the book was written, it was a time of good writing and bad drama.
I was also inspired by the idea of bringing his message alive for a live audience. On the page, a person’s eye can fly over the words, and sometimes forget about his cunning and over his smile. People have told of giving up reading George Eliot because they found it “boring”. But, like Shakespeare, his dialogue is revealed when it is spoken and shared, his language firm, but able to speak. And I want to put his unique voice, expressed by the actor, and his jokes in the performance when it opens. I tried to just use his words around.
I’ve always liked the complexity of big themes in small spaces, where it doesn’t have to be a “what are we going to do with this?” but “what would we do without?” How can we tell this story, as possible, so that the story shines? I like to just use his words, actors and minimal setting and leave it up to the audience. I believe people will enjoy the versatility of the actors. I enjoy pairing characters that have similar but very different meanings – the gentle Vincy parents paired with the serious Garths, Mr Casaubon paired with the extroverted Featherstone, Brooke not with the Bulstrode i supposedly, Will is the proudest of Fred. the little one. (Pictured below, Geoffrey Beevers in training)
The nature of the trilogy emerged as I wrote it. I took three main threads from the book: The Story of Dorothea, The Doctor’s Story and history of Fred and Mary create three separate games, each in its own unique way, with different modes in terms of status and money. I found that I had to repeat some scenes from one game to another, since the stories were twisted, but I was happy that these scenes could be turned to meet a different character. I also became interested in the similarity of character between the stories. It seems that each one is based on marriage, or marriage, and at least the symbol of “thirty forever”, but each game has, at its center, a death in top of the field that has unexpected consequences for everyone involved. It is clear that the third game (a thread that is supposed to be a light version of the novel) responds to the first two games, and provides solutions to the problem of the protagonists. Dorothea jumps into her first marriage, Lydgate jumps into his, with disastrous results. Everyone expects from their partners what they can’t give, because they have a different opinion. But Mary waits for Fred to find his feet, and the two of them get to know each other better so they can share the same values.
It is a very complicated story and I cannot hope to cover it in all the details. But every look at something ordinary throws up something interesting, if tried honestly. My goal is to reach, in a simple and direct way, the essential heart of the book where the characters are tested by their work.
When the book was written, it was a time of good writing and bad drama. However, many great writers were interested in the theater, and many encouraged the adaptation of their works. Then why do we look down? Of course, it is not a substitute for reading the book. But I believe it doesn’t spoil that fun. And I hope to encourage more people to love George Eliot’s unwavering imagination.