John Steinbeck’s sweeping slice of America comes to Leeds where LEO OWEN caught the show

A LIVE band performing on stage accompanied by a narrator conjures depression era American in Frank Galati’s ambitious adaptation. Remaining true to source material with a running time to match the novel’s pages, Grapes of Wrath utilises different characters to narrate parts of the 2,000-mile journey across America Tommy Joad’s (Andre Squire) family embark upon, desperate to find peach, grape and orange picking work after being evicted from their Oklahoma farm.

Grandad (Heronimo Sehmi) is a comical character while family friend Jim Casy, a (Brendan Charleson) preacher who has lost his faith, is arguably the most well-rounded and likeable among the show’s strong cast. Meanwhile the pregnant Rose of Sharon (Monolly Logan) gradually balloons on stage, symbolic of the futility of hope in Steinbeck’s exceedingly bleak documentary-style epic.

Matt Regan’s soundtrack is the show’s strength while Laura Hopkins simplistic design is fitting for the barren dust bowl landscape. Costumes, however, are less successful: drab period dress are injected with some misjudged oddities, including a few 80s’ shell suits; a child’s Superman costume and star and stripe jeggings.

Regan’s “used car” song is a jaunty number with bow tie wearing men on stilts showing the beginnings of the kitsch commercialisation of America. Route 66 is reprised throughout the play instigating and symbolising travel. Stormy instrumentals and ranting vocals, alongside multiple echoic narrators, give the characters a sense of detachment. The large locally recruited community choir work better together when harmonising to emulate the desperate migrant community spirit. Some of the singing is intentionally tuneless, creating a rawness reminiscent of 90s’ post-rock band Slint.

Hopkins’ wheeling house shells become giant wagons, turning for set interiors and the bleak conditions faced are heightened through David Gregory’s sound design, such as heavy rain. There’s bold on stage nudity and whole scenes where Director, Abbey Wright bravely uses silhouettes as a focal point for accompanying dialogue.

By the play’s conclusion, the Joad family are diminished, leaving for a seriously grim picture, further depressed by Steinbeck’s final haunting words. Unquestionably paying homage to the award-winning novel and of considerable contemporary relevance, as a play Grapes of Wrath is less successful. Unlike a book, it is impossible to step away from this predictably harrowing production and as a result, time unfortunately seems to slow.

The Grapes of Wrath shows in The Quarry Theatre May 24-June 10: http://www.allornothingthemusical.com/tickets