Content warning: mentions of sexual assault

When adapting a novelised story that has already produced many beloved television series, one might doubt the medium of theatre for its ability to create a world as immersive as that which can be seen on television, but Shawn McKenna and Lin Coughlan’s adaption of John Galsworthy’s decade-spanning Forsyte Saga is nothing short of captivating.

Hampton’s portrayal of Irene is what brings this show together

Fleur Forsyte (Flora Spencer-Longhurst), our young and inquisitive narrator, delves into her family’s history in this two-part drama: Part One explores the life of her father’s (Joseph Millson) first wife, the beautiful Irene (Fiona Hampton), while Part Two focuses on Fleur’s own life in the aftermath of Irene’s departure from her marriage. Undeniably, Hampton’s portrayal of Irene is what brings this show together – her presence as both the catalyst of events in Part One and as a figure haunting Soames and Fleur in Part Two is mesmerising, and oftentimes if she was on stage, it was difficult to focus on anyone else, at no loss of credit to the other actors.

Set in 1886 […] reflected by gorgeous gowns and intricate hairstyles

But Hampton’s acting was not the only factor in Irene’s magnetism, as much credit must be given to the costume designer, Anna Yates. Part One is set in 1886, the height of Victorian England, which is reflected by gorgeous gowns and intricate hairstyles. Irene is most notably dressed in a striking teal dress, setting her apart from the other characters dressed in more drab colours, while Fleur clearly stands out as narrator in a more modern but 1920s-accurate fit of a blouse and trousers – her clothes allow her to blend into the scenes as she engrosses herself in her family’s history and yet maintain her position as someone that does not belong.

McKenna and Coughlan took a brave approach when designing the set, in that, save for a single curtain, the set stays the same throughout the production, and it is accompanied by very few props. However, this set design appears to have paid off, as the location of the characters is always clear, achieved by a mix of simple exposition, convincing acting, creative lighting, and pure audience imagination.

The jokes […] fell a bit flat for those of a younger generation

Despite the successes of this production, one particular area felt lacking: the humour. This was uncomfortably evident in the scene immediately after one character is sexually assaulted; while the jokes here specifically were incorporated to demonstrate the patriarchal attitudes of the Victorian era, this attempt at a few laughs felt very out of place after such an intense and disturbing scene. Also note, many of the jokes were intended for an older audience, and fell a bit flat for those of a younger generation. However, the actors did succeed at physical comedy, especially in a scene in Part Two, in which two characters try and navigate a very small rowboat (constructed of just two chairs) without toppling into the water.

If given the chance, both Part One and Two should be watched together, but if you are only available for one half, I would recommend Part One, for this is the half that excels in costume, storytelling, and atmosphere, as well as providing much of the context for Part Two. As a whole, the Forsyte Saga is a fierce and tragic story of love and family, portrayed by a host of fantastic actors, laid on a set that is simple but just as immersive as the television screens that have hosted this family for decades.

Rating: 4/5

The Forsyte Saga Parts 1 & 2 play at the RSC in Stratford-upon-Avon till 10th January 2026. Tickets can be bought here.

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