Diarmuid Lawrence

In Little Dorrit (2008), Claire Foy, Matthew Macfadyen and a strong ensemble keep us interested as class, mystery and romance compete for attention. We were absorbed by the performances, which made the crowded story worth following even when its pace faltered. Lawrence’s work with actors is the strongest reason to seek out his television. It is a substantial virtue in an adaptation that has so many people and concerns to keep in view.

His path to literary adaptation ran through continuing drama, including Grange Hill, Emmerdale, Casualty and Brookside. Anglo Saxon Attitudes (1992) established his reputation for adapting books, and Emma (1996) followed, with Kate Beckinsale. Later came South Riding (2011), The Mystery of Edwin Drood (2012) and his final television film, Peter and Wendy (2015), a modern reworking of J.M. Barrie. That progression makes sense for a director whose attention to performers could serve stories of different periods and sizes.

Lawrence gave actors extensive rehearsal time, and we would give that some credit for the assurance of his ensembles. His decisions about shots and camera placement could be quick and instinctive, sometimes frustrating crew who had not been told what he intended. Producer Lisa Osborne worked with him on five productions, and writer Andrew Davies on two.

Davies’s adaptation of Dickens also sets the limit of our enthusiasm. Across fourteen episodes, Little Dorrit takes too long to get started and then hurries its ending, giving the series an awkward shape. Lawrence shares the directing with Dearbhla Walsh and Adam Smith, so praise and blame cannot sensibly be assigned to him alone. The actors sustain our interest, but we would have liked the storytelling to give them steadier support. Start here for the ensemble, provided a slow opening will not send you elsewhere.