Hermia Rhodes reviews Grapes of Wrath

If I had to describe the National Theatre’s production of Grapes of Wrath in a few words, it would be depressing, but remarkably well done.

The play, directed by Carrie Cracknell and adapted by Frank Galati from John Steinbeck’s novel, contains a sweeping cast of characters, played by both Tony award-winners and upcoming actors. 

The story focuses on the ginormous Joad family as they attempt to traverse across America so that they might find a better life. As the play goes on, they are caught up in worse and worse situations, in a narrative that could be said to parallel the struggles faced by refugees today.

From the very first moment, the audience is captured with a series of freeze-frames depicting a harsh storm. The dark, dusty opening image sets a perfect precedent for the dark, dusty tone of the play, and the director and actors did a remarkable job at communicating a striking realism throughout.

One such actor is that of Natey Jones, who gave a stellar performance as the former preacher, Jim Casey. As preachers do, Casey has a tendency to monologue, something which Jones excels at throughout.

He draws the audience into the speech just as the characters on stage were, and at one point I had to restrain myself from applauding. The rest of the cast did just as well: it is difficult not to be blown away by the sheer amount of talent packed onto the stage.

Indeed, it is initially surprising to see just how many actors managed to fit in the theatre, but each played an important role. There were several scenes in which the Joad family would scatter, and it was easy to miss the smallest details.

One such example is when the family arrives at a watering hole: whilst the audience’s attention is on the middle of the stage, Ma is off to the side, tending to a sick Granma. An impressive use of subtle foreshadowing, this created deep concern for the character.

Another instant of great talent is that of the music. This is integrated into the play itself via an on-stage band of musicians.

The skill of the musicians combined with the American country-style music made for an impressive and relevant performance. This is particularly true of the hoedown scene, where the music and dancing create an electric atmosphere, and Rose of Sharon’s, played by Mirren Mack, discomfort is given a haunting contrast.

However, the song choices struck me as repetitive, and there were moments when it may have been better to leave out the band.

Of course, it is difficult to talk about the Grapes of Wrath without mentioning the ending.

The slow-motion used in the riot scenes did a fabulous job at ramping up the tension, whilst the flashing lights and rain effects used in the striking birth scene held me prisoner with dread. In contrast, the very last scene is silent. Not even a breath could be heard as Rose of Sharon crawled through the barn. I was almost relieved when she finally uttered, “There, There”. 

Pictured top: Natey Jones and Harry Treadaway in The Grapes of Wrath at the National Theatre (Picture: Richard Hubert Smith)