From the director
The Great Expectations team have been tasked with performing a classic and sprawling tale that many will vividly remember in their own particular and likely monochromatic way. I would apprise you, however, that here the Dickensian gothic has been reimagined, and we have injected fun and colour wherever possible! Although the themes of the show are weighty - identity, “becoming”, and the pitfalls of Victorian society - Neil Bartlett’s adaptation has proved delightfully flexible, and has stood up to our manoeuvring and lightening quite nicely.
You may be surprised to see iconic scenes recreated using vast swathes of fabric, or paddle steamers that are really tables, or elderly, jilted brides who are really thirteen-year-olds. You may be wary of the inclusion of newly commissioned music and songs within a Victorian masterpiece, and it is to be expected that some of you may miss the odd character from Dickens’s enormous original, given that several creations have hit the edit room floor. Yet it is undeniable that, with this young, playful, and dynamic cast, you are in for a treat.
We have five Pips, three Estellas, and a bounteous company of enthusiastic actors, singers, and set-wranglers who provide everything else: from the imagined wraiths of the Kent marshes to the all-singing, all-dancing bustle of a London street. I hope you have a wonderful time with them all, as they play for you today.
Emma Denly
From the composer
The music for Great Expectations was born out of close collaboration between myself and the director. Together, we sifted through the script, selecting fragments of text that not only carried narrative weight but also sparked musical imagery. From those moments emerged marshes, rivers, and paddle steamers: landscapes that guided the sound world of the piece. Central to this world is the dulcimer, chosen not only for its historical connection to the period but also for its unique tonal quality. It felt like the perfect lead instrument: anchoring the music in the past while leaving room for reinterpretation. To balance this, I introduced elements like electronic drums and synth bass, which add a modern edge. Acoustic guitar, my natural writing instrument, also weaves through the score, grounding it in something familiar and intimate.
Rhythm plays a vital role in the composition. I wanted the music to feel urgent, propulsive - every moment pushing the story forward. Rhythmic vocal delivery allows us to move through time swiftly and effectively, while also creating space for large ensemble work. There’s something powerful about a group of voices singing tightly, rhythmically, and in harmony. It’s a sound I love - and one that feels perfectly at home in this adaptation.
Luke Potter
Team 1
Beatrice Olayinka
Elliot Man
Ronnie Bullen
Teddy Garton
Elsie Winwick
Elise Stern
Scarlett James
Creatives Backstage Teams
Team 2
Noah Strong
Ben Watson
Sophia Fusco
Luke Bamber
Sofia Christofis
Luna Bostock
Team 3
Noah Mille
Xavier Martinez Lewis
Brian Ho
Jess Williams
Grace Williams
Theatre Technical Unit
Jemima Costin
Bella Fletcher
Amy Keane
Emma Lewis
Joshua Cox
Technical Operator
Neil Bartlett
Adaptation
Emma Denly
Director; dramaturg; set design
Luke Potter
Composer; musical director
Sophie Cliff
Additional musical direction
Toby Everett with Archie Paddick
Lighting design; sound design; set construction
Toby Everett
Technical manager; props
Jonny Royall
Sound design
Thespis
Costume
Paul McKenna and Simon Davies
Rehearsal photography
Jacob Thomas Director of Drama
