A re-invention of George Eliot's classic story of loss, tragedy and the relentless nature of fate.
Outgrowing - but still hopelessly devoted to - her family, Maggie befriends the disfigured Phillip Wakem, son of a local lawyer. But their fathers become embroiled in a bitter legal dispute that only the prosperous Wakem can win, and the Tullivers find fate dealing them the first harsh hand of many. With their father dead, the family must face up to their cold future together.
Helen Edmundson's stage adaptation of George Eliot's novel The Mill on the Floss was first performed by Shared Experience Theatre Company in 1994.
'Not only reinvents the book, but pushes the boat of theatricality way beyond its usual moorings... The central concept is having three Maggies - a conceit that is thrillingly effective in performance'
— Guardian
'More compelling and fully human than the original'
— The Times
'With rare theatrical vibrancy, Helen Edmundson's free adaptation distils the essence of George Eliot's feminist novel'
— Evening Standard
Author Biography:
George Eliot was born Mary Anne (known as Marian) Evans in 1819, near Nuneaton, Warwickshire. She was brought up as an Evangelist, and received a classical education at local boarding schools. After the death of her mother in 1836, she moved to Coventry with her father and became acquainted with free-thinkers Charles and Cara Bray, which led to her translating Strauss’s Life of Jesus (1846). After her father’s death in 1849, she moved to London, where she met George Henry Lewes, who was separated from, but crucially unable to divorce, his wife. Moving to Germany with him in 1854, she lived as his common-law wife for twenty-four years. Under his encouragement she began writing fiction under her nom de plume: the successful serial Scenes of Clerical Life (1858); the best-selling Adam Bede (1859); followed by a number of poems and further highly praised works such as The Mill on the Floss (1860), Silas Marner (1861), Middlemarch (1871–2) and Daniel Deronda (1876). Lewes’s death in 1878 saw the effective end of her writing career. A few short months into her marriage to a man twenty years her junior, she died in December 1880.
Helen Edmundson's first play, Flying, was presented at the National Theatre Studio in 1990. In 1992, she adapted Tolstoy's Anna Karenina for Shared Experience, for whom she also adapted The Mill on the Floss in 1994. Both won awards – the TMA and the Time Out Awards respectively – and both productions were twice revived and extensively toured.
Shared Experience also staged her original adaptation of War and Peace at the National Theatre in 1996, and toured her adaptations of Mary Webb's Gone to Earth in 2004, Euripides' Orestes in 2006, the new two-part version of War and Peace in 2008, and the original play Mary Shelley in 2012.
Her original play The Clearing was first staged at the Bush Theatre in 1993, winning the John Whiting and Time Out Awards, Mother Teresa is Dead was premiered at the Royal Court Theatre in 2002 and The Heresy of Love was premiered by the Royal Shakespeare Company in the Swan Theatre in 2012.
Her adaptation of Jamila Gavin's Coram Boy premiered at the National Theatre to critical acclaim in 2005, receiving a Time Out Award. It was subsequently revived in 2006, and produced on Broadway in 2007. She adapted Calderón's Life is a Dream for the Donmar Warehouse in 2009, and Arthur Ransome's Swallows and Amazons for the Bristol Old Vic in 2010, which subsequently transferred to the West End before embarking on a national tour in 2012.
Her adaptation of Émile Zola's Thérèse Raquin was premiered by the Theatre Royal, Bath, in 2014, and was subsequently produced on Broadway by Roundabout Theatre Company in 2015.
Her original play, Queen Anne, was commissioned and premiered by the Royal Shakespeare Company in 2015, and her adaptation of Andrea Levy's Small Island was staged by the National Theatre in 2019, revived in 2022.
She was awarded the 2015 Windham Campbell Prize for Drama.
