Hard Times Performance
By JUNE KOH, ADELLE PITTS, and GRACE YANG
On Friday, Jan. 31, the timeless words of Charles Dickens echoed through Rockefeller Hall as Rob Richards, Instructor in Theatre and Dance, presented “Hard Times,” a theatrical adaptation of the classic novel by Charles Dickens. Exeter’s community was drawn into the vivid portrayal of Victorian England, where themes of industrialization, class struggles, and human resilience came to life.
Richards shared several insights about his creative process and the inspirations behind adapting “Hard Times.” He spoke fondly of his long-standing appreciation for Dickens, a passion nurtured by his upbringing. As Richards explained, “My mom was English, so she grew up with Dickens. My dad was not English, but he grew up with Dickens, too. And both my grandparents were Dickens fans.” This familial connection formed the foundation of his interest in Dickens’ storytelling.
The show opened with a stirring performance by Instructor in Music Eric Sinclair, who captivated the audience with a rendition of Stephen Foster’s haunting ballad “Hard Times Come Again No More.” The melancholic melody sets a somber tone, immersing listeners in the harsh realities faced by Dickens’ characters. Sinclair’s soulful delivery transported the audience to the darkest corners of Victorian society, where hardship and hope coexist.
Lower Meghan Tate Zee described, “I really loved it. It was a great way to start the show, and it captured the audience and helped ease everybody into the play.”
Richards reflected on Dickens’ ability to create complex characters and explore social issues, noting, “His stories are powerful; they’re generally trying to stand up for folks who are struggling, like orphans in ‘Oliver Twist.’ He also wrote about the British class system and the inequities of that, which are themes that still resonate today.”
Following the poignant introduction, Richards expertly guided the audience through his adaptation of “Hard Times” by focusing on a specific character’s perspective. “At first, I thought to tell Louisa’s story as an adult or as an older woman,” Richards shared. “But in the end, I went with Tom. I wanted to see if his character could be redeemed because he’s not a very likable character.”
On his meticulous writing process, Richards revealed that transforming the lengthy novel into a cohesive play required significant editing. “I go through it with a highlighter, then another color, and maybe four or five different colors,” he explained. “My paperback copy of ‘Hard Times’ was falling apart, so I had to put thick packing tape on it to keep it together.” This methodical approach involved crafting multiple drafts and carefully determining the sequence of scenes.
Richards’s thoughts reflected the pace of the play, his consideration of the flow of the play, the narration, and the plot crafted his theatrical interpretation as well executed. “Certainly, having the sabbatical in the fall was a real gift; that’s when I really got to devote good, concentrated time to the play,” Richards concluded.
“Long before radio, before television, before our technology, there was storytelling, and we’re still telling stories, and it’s important to sustain this form of execution,” shared Richard, reflecting on the importance of adapting literature pieces into theatrical adaptation.
When asked about the relationship between literature and theater, Richards highlighted the distinct experiences they offer. “With literature, it’s a one-person event — you’re the reader, and the author takes you away, overall it’s a nice intimate experience,” he said. “Theater, though, is a collective event with an audience and live actors. If something happens, like an actor forgetting their lines, it’s right there for everyone to see.” He emphasized the transformative power of both mediums, stating, “Good stories can change your life.”
Lower Axel Pena reflected on the show in awe of Richard’s ability, saying, “It was just a one-man show, so I think Mr. Richards did a very good job showing [the story] as well as he could,” he noted, “But with it being only a one-man show, there wasn’t as much room to show diversity, but he executed by describing different people within the story by putting this varying degree of people’s experience on this timeline.”
Zee further enhanced this idea by acknowledging Richards’s acting skills: “It was a monologue, and he did really well with changing voices and tones to fit different characters and make them come to life. He was very animated, and the control of his facial expressions and volume articulated the speech well.”
Reflecting on storytelling as a timeless tradition, Richards concluded, “We’re still telling stories, and it’s so important.” His passion for Dickens and his commitment to the creative process remain evident as he continues to refine the play for future audiences.