As the Victorian era comes to an end, developments are underway in the global sphere and also the domestic sphere. In the Boer Wars and the Irish War of Independence, people were battling against British Colonialism. Hot on the heels of this, driven in part by the First World War, the early 20th Century saw the working classes and women in particular, fighting for more power and greater self-determination.

These changing times form the backdrop of The Forsyte Saga. But, whilst we see the impact of historical events playing out, it is the characters who have centre stage. It is their emotional responses to change, and the choices they make that put fire into this production.

Shaun McKenna and Lin Coghlan’s adaptation of John Galsworthy’s novel places women at the forefront. Both Irene, the focus of Part One, and Fleur, the focus of Part Two, struggle for autonomy, particularly in terms of claiming the right to choose who to love. Fleur, next generation down from Irene, is also given the role of narrator in both parts, helping to streamline the story and enabling us to see the family’s history from her perspective.

In Part One, which takes place between 1886 and 1919, Irene has married the wealthy Soames Forsyte out of financial necessity. Renowned for her beauty, she becomes an essential item in Soames’ portfolio, alongside his money and his property. When she falls in love with architect Philip Bosinney, Soames asserts his rights to her as his possession. It is his actions which lead to the rift between family members, the need to avoid scandal being paramount for many of them.

In Part Two, spanning 1920 to 1927, Fleur, daughter of Soames and his second wife Annette, is, to all intents and purposes, a modern young woman. Rejecting the values and conventions of her father, she feels she has the freedom to follow her instincts. Ultimately, however, family history, catches up with her, and she becomes the victim of its legacy.

As the themes of Part One are brilliantly echoed in Part Two, so the apparent shift in social norms comes under the spotlight. There are the secrets and lies which run through families. There is the pressure to choose a marriage partner based on pragmatism rather than love. There is the way in which power asserts itself to prevent self-determination, and the refusal of the wealthy to part with their assets. Perhaps above all, there is the power of beauty to draw the gaze, like a moth to a flame.

The atmosphere of the production is charged by the interplay of these themes and the subtlety of the characters. Soames, especially, played exquisitely by Joseph Millson, encapsulates the complexity. He can abuse Irene appallingly, demanding that she give him a son, and yet love his only daughter intensely. He can fixate on money and status, yet have a keen eye for the aesthetic.

The sense of tension takes a little longer to build in Part Two (there is a lot of story to get through as it builds), but when it does, the emotional charge between Fleur, played with a lightness of spirit by Flora Spencer-Longhurst, and those within her orbit is simply electric.

The setting of the late Victorian era provides a clarity of structure to Part One and scenes flow smoothly. Part Two is more amorphous, and the flow a little less clear. But this is a small point in terms of the overall. The story drives on, taking us with it.

Lighting and sound effects convey changing locations. Costumes move from the rich and formal, Irene’s bustle dress reinforcing her role as a collector’s item, to the more modern and assertive look of Fleur, her practical trousers still stylishly expensive. The pared-back set allows for a focus on interaction between characters, although it also provides for a nice moment of humour when chairs turn into a river punt.

The doubling of actors across the parts adds a further touch of humour. Andy Rush plays Philip Bosinney, the focus of Irene’s love, and also plays Jon Forsyte, the focus of Fleur’s love. Similarly, Jamie Wilkes plays Jo Forsyte, Irene’s pragmatic marriage choice and also Michael Mont, Fleur’s pragmatic marriage choice.

The two parts are stand-alone pieces. But together they are powerful, immersive and full of contemporary relevance. If you can, see them both.

The Forsyte Saga was written by John Galsworthy and adapted by Shaun McKenna and Lin Coghlan. It was directed by Josh Roche and presented in association with Ashley Cook for Troup. Set and costumes were designed by Anna Yates, lighting was designed by Alex Musgrave. The composer and sound designer was Max Pappenheim.

It is on at the RSC’s Swan Theatre until 10th January. For further information visit rsc.org.uk