Alexi Kaye Campbell’s new play, about the life of Mary Ann Evans before she ‘became’ George Eliot, is admirable in many ways. Focusing on a father and daughter relationship, neatly balancing humour and emotion, it’s a biography that makes a case for its subject’s relevance without straining too hard.
There’s an interesting decision not to give the audience any background, to assume we all know a lot about Eliot. Lazy, maybe? But it frees the script of clunky exposition. And you could easily enjoy Bird Grove without the history. Some might have a bigger problem with how static it all is, although director Anna Ledwich makes an effort to inject energy and the production looks great. Might it be useful to provide more context as to how rebellious Eliot was? How conservative her milieu? A few cheap gags about Coventry seems unfair. But the piece does well to give an impression of the period, avoiding parody despite the verbosity of the characters.
Because what is said is interesting. The arguments between father and daughter are intelligent and Eliot’s views on life and religion investigated. It’s neat to give the best line to her friend: “Love is not a feeling but an intelligence”. I could have done with the interval at that stage to have a good think.
While Eliot’s frequent anger is justified, and always smart, there is a danger we see all debate from her perspective. Yes, it’s hard not to – but the result is that other characters feel flat. It works for the comic relief of Evans’ suitor, a nice role for Jonnie Broadbent. But her brother (Jolyon Coy) and her “purposeful” friends, played by Tom Espiner and Rebecca Scroggs, fail to convince. The always excellent Sarah Woodward is criminally underused as Evans’ former tutor.
Thankfully, there are great parts for the leads. The focus on Eliot’s father is almost strong enough to make him work as a stand-alone figure, and the character’s success is secured by the performance of Owen Teale. But, of course, the show belongs to Eliot, and Elizabeth Dulau is terrific in the role. Making some of these lines sound like natural conversation is an achievement itself. That the ideas are conveyed so clearly and with emotion is even better.
Kaye Campbell’s affection for his subject shines through and is contagious. Like Eliot, he gets a lot of ideas into his fiction, and that is exciting. That the ideas aren’t any kind of revelation might seem a churlish complaint. And pointing out that, for all the writing’s sophistication, it is strong performances that secure the piece’s success, may appear meanspirited. But Bird Grove is smart enough to give us a hero without hagiography – a tricky task accomplished stylishly.
Until 21 March 2026
www.hampsteadtheatre.com
Photo by Johan Persson
