In fair Verona, Romeo and Juliet struggled against a multi-generational family feud, (stay with me) while in a small town outside Belfast, Cushla and Michael battle against the rigid restrictions and dangerous consequences of an inter-denomenational relationship during the Troubles. Although it seems cliche to compare a 20th century illicit affair to Shakespeare’s tragic “star-crossed lovers,” Tresspasses, at its core, is a classic tale of undeniable passion set against the backdrop of brutality. The two stories, centuries apart, share the central idea of a doomed couple fighting against something much bigger than themselves. It’s not an unfamiliar story but it certainly is a fresh take on the over-saturated genre of erotic drama, with the context of the Troubles establishing an appealing depth.
Tresspasses, which began broadcasting on Channel 4 in November, is a fairly faithful adaptation of Louise Kennedy’s bestselling debut novel of the same name. The four-episode series follows 24-year-old Catholic school teacher Cushla Lavery (Lola Petticrew) as she enters into a fiery entanglement with Michael Agnew (Tom Cullen), an older, not to mention married, Protestant barrister who has garnered a controversial reputation defending Catholic youths. Kennedy’s role as executive producer ensured the essence of her writing was not lost on screen, but credit must be given to BAFTA winning director Dawn Shadforth who created a concise yet truly engaging piece of television. Lola Petticrew shines as the lead, delivering a tender performance. Cushla is shy yet self-assured, witty yet sometimes lost for words, insistent she’s a “grown woman” yet loiters by the phone all day like an angsty teenager. Petticrew’s refreshingly relatable portrayal stands out against the overly sombre and one-dimensional portrayals that female drama leads are so often resigned to. Tom Cullen, well known as Lord Gillingham from Downton Abbey, proves himself to be a good fit for the role of Michael with the necessary charm that persuades the audience to root for a cheater. Like something out of an Austen novel, his tweed waist coats and tousled hair accompanied by his sentimental reflections on love and life make him too romantic for his own good. The production also gained some star power with the addition of Gillian Anderson who plays Gina Lavery, Cushla’s (barely) functioning alcoholic mother. This deeply broken woman is a far cry from Anderson’s previously glamorous and spirited roles of Princess Margaret in The Crown and Jean Milburn in Sex Education, but a welcome change nonetheless as we see a more vulnerable side to the actor. Also worth mentioning is Oisin Thompson who plays the secondary character of Gerry, Cushla’s colleague and confidant. He lights up the screen with his cheerful performance and provides the audience with some critical breathing time in between the intensity of the romance.
The blossoming chemistry between Cushla and Michael takes centre stage for most of the series, beginning with the classic “will they, won’t they,” longing stares, and lingering touches. This develops into secret meetings where Michael, perhaps naively, declares that “we must find the bravery to choose freedom over fear” and offers his much younger lover a Gorse flower as a symbol of their relationship. However, the entire tone of the series quickly shifts when the potential implications of their affair become apparent. A brutal attack on a local Protestant-Catholic family provides foreshadowing for the potentially violent end of our protagonists and plunges Cushla into deep uncertainty, questioning whether love is really worth it.
Trespasses brilliantly highlights the frequency of violence during the height of the Troubles despite not depicting a great deal of it. Instead, it is told to us, with the television and radio being the unrelenting announcer of devastating news. The potential for extreme violence is often showcased in smaller anti-social attacks such as children throwing rocks at Cushla’s car or soldiers making crude comments to her when she’s detained at a checkpoint. These micro-aggressions are effectively placed to inject fear into the bones of the series and we are left with the sense that violence is an omnipresent threat lurking around every corner. But it is this suffocating atmosphere of fear that makes for such an immersive watching experience, with the stakes heightening every episode and along with hopefulness that a happy ending is in sight. As mentioned, this story is by no means an untold one, but the often underutilised location of Belfast in the 1970s and context of the Troubles draws the classic forbidden love story closer to home and will ensure not a dry eye by its conclusion.
