Thomas Hardy and circus are perhaps not two terms you’d usually hear in close proximity, but Ockham’s Razor defy all expectation with their adaptation of Hardy’s 1891 novel, Tess of the D’Urbervilles. Atmospheric, evocative and visually stunning, the show charts its heroine’s journey – both physical and metaphorical – through a world in which, so often, “the woman pays”.

After her family’s horse is killed in an accident, Tess Durbeyfield (Macadie Amoroso and Lila Naruse) is forced to take employment at the home of the rich D’Urberville family, who she believes to be her distant relations. This throws her into the path of the charming but dangerous Alec D’Urberville (Joshua Frazer), who seduces and rapes her, leaving her pregnant with his child. Some time later, Tess meets and falls in love with Angel Clare (Nat Whittingham), the kind-hearted son of a pastor – but how will he react when he discovers her secret?

Alex Harvey and Charlotte Mooney’s script is deliberately sparing, allowing Tess’s story to be told not only through text, but more importantly through movement. In a beautiful evocation of Tess’s own words about the separation of soul and body, the character is played by two performers, actor Macadie Amoroso and dancer Lila Naruse, with the former narrating the story while the latter lives it. Where words are used, they’re carefully selected to highlight the continued injustice of Tess’s plight, and her mistreatment, not only at the hands of the obviously villainous Alec but also by those who claim to love and want the best for her. It’s particularly jarring to hear victim blaming attitudes that still resonate today, over a century later – have we really progressed so little?

While the spoken elements of the show offer social commentary, the emotional heart of the production lies in the physical aspect. Performed by a talented group of dancers and acrobats, it’s a testament to how much we can say without ever opening our mouths – through our movement, body language and physical interactions. Set to Holly Khan’s soundtrack and atmospherically lit by Aideen Malone, the performers use a combination of acrobatics, aerial work and dance to create a world that doesn’t need words. From the innocence of children tumbling together as they play, to the image of a young woman being ensnared within a Cyr wheel, to the pained contortions of a man who’s just learnt a devastating secret, we feel it all.

Perhaps most memorable are the scenes that portray the characters crossing a wild Wessex landscape consisting of wooden planks, which the performers balance on, scramble up and slide down. This rustic aesthetic continues across Tina Bicât’s set, which with incredible accuracy, and the occasional touch of humour, paints a vivid picture of Tess’s rural surroundings.

Nor is this the only light-hearted touch. Perhaps surprisingly, given the relentless misery of Hardy’s story, the production gives us several moments of comedy and even joy – a reminder, perhaps, that as the story begins Tess is only sixteen years old, with the innocence and simple pleasures of a child.

In Tess, Ockham’s Razor have pulled off an impressive feat – producing an adaptation that’s completely faithful to Hardy’s original text and at the same time, something entirely different. The show’s final image leaves you feeling haunted and infuriated and really sad, but also awestruck by the talent and teamwork of an amazing cast.

Tess is at the Peacock Theatre until 3rd February, then continues on tour – visit https://ockhamsrazor.co.uk/tess for venue details.