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Private Lives, sharp and sexy
The new Canadian Stage Company (Toronto)
/ The Grand Theatre (London) co-production of Noël Coward's
witty and urbane Private Lives has arrived at The
Grand Theatre in London. Unsettling, sharp and sexy, this story
of passionate love contains some of Coward's most entertaining
lines and forms an enduring love story.
-----The sparkling script concerns
a divorced couple with a love-hate relationship who accidentally
meet at a hotel in the south of France, albeit honeymooning with
new spouses. The play begins in adjoining hotel suites, the newly
married Elyot and Sibyl arriving first. She is obsessed about
her new husband's first wife, Amanda. From the second suite, Amanda
and her new husband, Victor, enter. He too is fascinated to hear
about Amanda's first husband, Elyot. Soon, Elyot and Amanda find
themselves on the terrace and begin to reminisce. They are quick
to discover that while their marriage was both heaven and hell,
they long to be together again. They recklessly plan their escape
to Amanda's apartment in Paris. Act Two takes place several days
later and finds the happy couple enjoying a blissful time together
with little regret and even less worry for Victor and Sibyl. However,
their reminiscences about past affairs becomes more and more angry
until they are fighting with renewed passion. Victor and Sibyl
enter just as the fight reaches its climax in a spectacular display
of verbal fireworks!
-----Director Glynis Leyshon
has assembled a top flight cast and created a wonderful production
full of life and effervescence. Leyshon has said "Coward
fails when played coolly. What's needed to lift the words off
the page is acting that reveals the magnetic passion between the
pair." She has succeeded in this by casting Albert Schultz
as a wonderfully debonair Elyot Chase, and Brenda Robins
as tart, passionate and erudite Amanda Prynne. These two actors
create one of the theatre's most engaging couples. Patrick
Galligan plays Amanda's new husband, while Lindsay Leese
is Elyot's delightfully outrageous new young wife.
-----Set and costume design is by
Pam Johnson, with lighting by Luc Prairie. The Toronto
appearance runs until October 26 and comes highly recommended
for an evening of high-spirited wit and crackling repartee. Tickets
(from ($23 to $40) may be obtained by calling the box office at
1-800-265-1593.
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With a timeless
story, proven cast, great set designer, and a perfectionist artistic
director doing the adaptation and direction, we expected great
things from Charles Dickens' Great Expectations,
now playing at The Grand in London. However, as Mrs Joe accuses
young Pip-"Questions, so many questions!"-we have many.
----- Is Dickens' tome simply too
large to compress to a stage? Was David Lean's magisterial movie
adaptation such a benchmark that nothing else can compare? Were
our expectations dashed by the pre-season brochure promising the
luminescent Patricia Collins as the cantankerous Miss Havisham,
only to find too-young Kate Trotter sleepwalking through the role?
----- Michael Shamata's adaptation,
though extremely well intentioned, misses the mark. Despite seamless
set changes, accomplished by using a minimalist set where for
example a blacksmith's bench doubles as an accountant's desk,
the result, rather than making the play easy to follow, confused
the story. Important foreshadowing is often lost on an audience
that might be unfamiliar with the classic tale. Be very familiar
with Dickens' plot before you venture into Shamata's interpretation.
----- The story concerns orphaned
Pip, who from the age of seven has been cared for by his sister
and her husband, smithy Joe Gargery. From two events, reclusive
Miss Havisham's desertion by her fiancé on her wedding
day and the young Pip's aid to an escaped prisoner, Dickens weaves
a story of vindictiveness and gratitude. The motives combine to
affect the life of young Pip for Miss Havisham has marked him
as an object of her vindictiveness, while a prisoner has sworn
to reward the boy.
----- Pip is played by John Ullyatt
(Stage Door Award-nominee for his
role as Henrik in Shamata's A Little Night Music). Ullyatt, too
old for the role even at the very end of the play, when Pip is
just twenty, is positively unbelievable as an orphaned seven year
old. He allows the script to convey his age and aging process,
rather than his otherwise recognized talents. Pip's guardians
are played by Stratford Festival veterans Deborah Drakeford
and Oliver Dennis. Drakeford screeches through the role
of Mrs Joe with a Cockney accent, not only irritating but totally
inappropriate to their marsh country locale. Dennis is one of
the few bright lights in this mis-cast cast, both in his portrayal
of brow-beaten Joe Gargery and as the lawyer's lackey, Mr Wemmick,
who later befriends Pip in London.
----- The one true star in the production
is the renowned Douglas Campbell, who, as dying prisoner
Magwitch, provides the only moment of sincere emotion in the play.
Yet alas, Campbell is trapped in a second role, as Wemmick's simpering
Aged Parent whose quirky nature brings quick laughter but soon
grates.
----- Playing the part of Dickens'
Miss Havisham, a "lonely, embittered old spinster who has
devoted her life to vengeance," is the young and sweet-faced
Kate Trotter, whose considerable talents are simply insufficient
to portray a woman in her seventies, especially when dressed in
a silky, sexy negligée.
----- The part of Havisham's ward,
Estella, so memorably played in the movie by Jean Simmons, is
destroyed here by Kristen Thomson. Thomson somnambulates
though the role of the acid-tongued heart-stealer, and, not content
to butcher just that role, continues to eviscerate the role of
Pip's sweet friend Biddy, Dickens' two vastly different characters
becoming indistinguishable in Shamata's production.
----- Filling out the cast are Michael
Hanrahan and Jonathan Higgins. Hanrahan plays Mr Jaggers,
the London lawyer representing both Miss Havisham and Abel Magwitch,
with the essence of legal efficiency in a 19th century barrister.
Higgins masters four roles, as Orlick (Gargery's journeyman),
a soldier, Camilla Pocket, and most enjoyably as Pip's debonair
roommate, Herbert Pocket.
----- The award-winning John Ferguson's
set is a cross between an anemic Sunset Blvd and a budget
Phantom. The main level is cluttered with the trappings
of smithy cum kitchen cum lawyer's office cum London flat, and
tangled with lines and pulleys that were both distracting and
hazardous (Ullyatt actually tripped once). Descending from the
fly is Havisham's cobweb-festooned, candelabra-fitted parlour
and, separately descendent, dining room with wedding breakfast
still on the table. More hazards: the slightest movement of the
actors perched in these wobbly catwalks sends candles (luckily
electric) flying. A design highlight, and candidate for the year's
best special effect, is Kevin Fraser's lighting of Miss
Havisham's fiery death.
----- Great Expectations is
playing at The Grand in London until December 28. For tickets
($23 to $40) phone the box office at 1-800-265-1593.
----- Our recommendation? Read the
book. Rent the movie.
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Less than a year after
Michael ("The Waltons") Learned brought her touring
version of Edward Albee's Three Tall Women to Toronto's
Royal Alexandra, Michael Shamata is staging this 1994 Pulitzer
Prize-winning drama on his London stage, featuring Patricia
Hamilton, in a production well worth the wait for local audiences.
----- Acknowledged by the author
as autobiographical without being "a revenge piece,"
Three Tall Women uses as its centrepiece Albee's adoptive
mother, who, like the demanding woman in the play, was a former
fashion mannequin. She married an heir to a chain of successful
vaudeville houses. Although it is often printed that she drove
Edward out of the house because of his homosexuality, Albee has
said that he left home at 18 to avoid the "suffocation."
Albee went 25 years without speaking to his parents, and mother
and son never reconciled. The media have speculated that Three
Tall Women is, in a sense, that reconciliation. Although Albee
has said that he is no more fond of his mother now than when he
started writing the play, he was able to come to terms with her
life and understand her, much as the three tall women gradually
come to terms with their past, present and future. Albee has said
"I didn't want to write her as a bitch. I wanted to end up
with an accurate portrait. It was a kind of exorcism.... She was
destructive, but she had lots of reasons to be. It's there on
stage, all the good stuff and the bad stuff. I just tried to examine
it, sort it out, be objective about it."
----- The central character ("A"),
based unflinchingly on his adoptive mother, is autocratic, bigoted
and self-centred, but ultimately the audience comes to respect
and admire her. As the play opens, A, now 91 (or is it 92?) years
old, is attended by her 52-year-old hired companion "B"
as they are visited by 26-year-old legal assistant, "C."
Albee weaves an emotional web of inter-related dreams and disappointments
among the three women who share more than just being tall. Each
looks at life from her unique perspective, forward to the unknown,
backward in a nostalgic haze, or from the middle, in the enviable
position B describes as "old enough to recognize all the
shit around you but too old to want to play in it."
----- Director Joseph Ziegler
is back at The Grand (If We Are Women), and is currently
starring in CBC-TV's Black Harbour. Ziegler has done an
outstanding job of building a cohesive spirit among the three
principals.
----- Patricia Hamilton completely
steals the show as A, a cantankerous old widow who has lost control
of her life and bodily functions. In a characterization that swiftly
kicks us from despair to hilarity, Hamilton sets the role afire.
Hamilton comes to Tall Women from her towering performances
in several gender-switching roles in Canadian Stage Company's
productions of Angels in America.
----- Playing "B" is Maggie
Hucalak, in her Grand debut. In a difficult role (this was
Michael Learned's position in the touring production), Hucalak
tries, but is not quite able to convince us she is 52 years old.
We found her termagant character cold and unyielding, and ultimately
failing to elicit some of the sympathy that Albee surely must
have intended.
----- Torri Higginson, also
in her Grand debut, plays C. (Did anyone catch her in The English
Patient?) A wonderful talent, she presents the wide-eyed wonderment
of youth, determined to avoid the (inevitable) pitfalls and soul-destroying
events in store for her.
----- Completing the cast is the
wordless role of The Boy, played by Jason Charters.
----- John Ferguson's single-room
set design emphasized the "tall" theme, with towering
mirrors, bedposts, all black and gilt, creating a dramatic and
symbolic effect. Ferguson, whose other works for The Grand include
Great Expectations, has won two Dora Mavor Moore
awards for outstanding design. Sholem Dolgoy designed the
lighting.
----- Three Tall Women plays
at The Grand Theatre at 471 Richmond Street in London until March
1. Call the Box Office at 1-800-265-1593 for tickets.
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