Thérèse Raquin - A bold new adaptation of Zola's timeless original

By Amy Stow.

Thérèse Raquin at the Finborough Theatre sees Zola’s original tale of lust and heartache brought to life in a new adaptation by Nona Sheppard and a 12-strong cast of talented actor-singers.

Set in 19th century Paris, the story sees young Thérèse subdued and ‘quieted’ by a life that she did not want, and cannot escape. Camille, her husband (and cousin) and his mother Madame, stifle Thérèse with their kindness and expectations. It is only with the arrival of a stranger - the hunky, masterly Laurent - that her passions are truly sparked for the first time. Of course, typical of Zola, their love affair leads to disastrous consequences, providing a moral fable for wandering wives and lusty young men.

The musical arrangement of this production is both exciting and beautiful, with lively, intricate harmonies forming a backdrop to some powerful ballads. The actors each have unique and strong voices, which can occasionally jar when mixed together – sometimes it feels as though actors are battling to be heard over one another, creating a sound which is rather too loud for the small 60-seater space – but this cacophony accurately conveys the agony of our protagonist Thérèse.

Well-accomplished in musical theatre, Julie Atherton shines as Thérèse, giving a detailed performance and accurately conveying the smorgasbord of complex inner battles she experiences on encountering Laurent. Laurent himself is given a hulking, brooding demeanour by Ben Lewis, and Jeremy Legat’s Camille is chipper, funny, and spoilt. The difference between Lewis and Legat is apt – in fact, the entire casting is spot on.

Lighting is used to great effect by Neil Fraser to delineate sharp changes in energy, and aptly conveys Thérèse and Laurent’s sordid passion and the dark thoughts and feelings that ensue. Moreover, the woodenset as designed by Laura Cordery allows moving bodies to rove behind its walls, peeping out from nooks and crannies to watch the action, and gives an eerie feeling ofbeing watched, easily conveying the paranoia of Thérèse herself.

The story in itself does not shock or confuse; in fact, the outcome is all too predictable. Yet, with a polished piano accompaniment by Musical Director James Simpson, the music (composed by Craig Adams) and the heartache conveyed by all cast members are reason enough to go and see Sheppard’s bold new adaptation of Zola’s timeless original work.

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