Written by John Galsworthy, adapted by Shaun McKenna and Lin Coghlan, directed by Josh Roche, The Forsyte Saga runs from 11 October to Sat 7 December at Park Theatre in London.
London, 1886. Wealthy solicitor Soames Forsyte is a man of property, and his beautiful wife Irene is his most prized possession. When he commissions an architect to build him a house in which to keep her, the cracks in their marriage finally begin to show, until something happens so shocking that it tears the Forsyte family apart. Years later, Soames’ daughter Fleur is haunted by the family secret when history begins to repeat itself…
The Artiscape spoke to Florence Roberts about her role in the play. Florence Roberts plays June Forsyte, Annette Forsyte and Anne Forsyte.
Her theatre credits include The Duration (Omnibus Theatre), Losing Venice (Orange Tree Theatre), Booby’s Bay (Finborough Theatre), BU21 (Trafalgar Studios), French Without Tears, The Night Watch (UK tours), Shakespeare in Love (Noël Coward Theatre), and Arcadia (Nottingham Playhouse). Her television credits include Miss Scarlet and the Duke, This is a Relationship and Life in Black; and for film, Silent Night.
What attracted you to The Forsyte Saga script?
Roberts: I was so taken by the multiplicity of characters, and the way the writers have managed to condense such a vast, sweeping story – spanning a century – into a concise, exciting two-part drama that zips by. It covers so much ground, explores so many deep psychological issues that are startlingly relatable despite being set so long ago.
It is pure human drama with flawed characters, romance and comedy to boot. Another wonderful thing is how the script so honours Galsworthy’s writing from the book. He was brilliant with dialogue, and the script reflects that.
Can you tell us about the characters you play?
Roberts: I first play June Forsyte, the youngest member of the Forsyte family and engaged to a young architect the family are not too happy to be welcoming into the fold… She’s free-spirited, head-strong and deliciously spoilt. She’s the family wasp, and a lot of fun to play.
My second character is a French woman called Annette who marries into the family a little later on. She’s a badass… and in the second play you’ll see why. Finally, I play an American woman, Anne, who marries into the family in the 1920s. Her journey is a little heartbreaking.
All three women are very different and yet strangely similar in terms of their relationship to the world and society, one they are either straitjacketed by or simply cast out of…
What research have you done to prepare for this role?
Roberts: The original book has been an invaluable tool to dip into every now and then, particularly when it comes to understanding the characters motivations in certain situations. Our director Josh Roche also pointed me in the direction of some beautiful short stories written by Galsworthy.
After he’d finished all nine novels, he went back to do a bit of fan-fiction and published ‘On Forsyte Change’, a series of vignettes set beforethe events of the books (and our plays). The story about my character June turned out to be a gift. It opened a door I hadn’t discovered yet and informed a lot of June’s choices throughout the first play.
What are you most looking forward to in performing in this play?
Roberts: Having three very different women to play, spanning two vastly different eras, is truly exciting, and I can’t wait to keep digging and getting to know them all. If I had to choose, I think I’m most looking forward to Annette’s scenes.
For the most part, she appears to be a character who occupies spaces of her own, flitting in and out of corners and passing by in the background, often seen through the lens of the male gaze, or more specifically Soames Forsyte’s gaze. Then there’s a moment where she comes into her own; a power is unleashed one doesn’t expect. All three women, in fact, are changing the rules in their own individual way, and it’s a real joy to play.
What do you think an audience will enjoy about this play?
Roberts: Who doesn’t love an epic family drama? More specifically, a drama about a ridiculously wealthy family whose worst nightmare is drama. “Getting-on-with-things” and having control over every little thing is their raison d’être, but life has other plans for them.
There are so many things to love about this production, from the gorgeous costume and stage design by Anna Yates (the stark change in fashion from the corseted Victorian opulence of Part 1 to the looser, floatier liberation of the roaring 20s in Part 2 is reason enough to come), to the incredible lighting design by Alex Musgrave, and the always brilliant sound design by Max Pappenheim.
I think our director Josh has done such an epic job of bringing these two plays to life. Ultimately, they ask the question: what happens if life isn’t what you expected it to be? The cast are pretty great too.
To book tickets for this play visit the Park Theatre website.
