The following are brief reviews of some of the comedies showing at the Stratford Festival in Ontario.
The majority of the problem with this production comes from the two leads, Dirk Lumbard as traveling con artist Harold Hill, and June Crowley as the always-proper librarian, Marion Paroo. Neither of these actors do a bad job, and at times, they were actually quite good. However, for this production to truly click, it would have required two outstanding actors that produce two immovable fronts. The fun then comes from watching which one of these powerhouses caves in first.
Unfortunately, that kind of stage presence is rare, and generally found only in seasoned stage actors. The ease that comes from that kind of confidence wasn't there, and that made a great deal of the confrontation appear forced and uncomfortable. Lumbard seemed to have trouble keeping up with "Ya Got Trouble," so from the very start there was disappointment. Crowley has a lovely singing voice, but her prudish morality ap-peared forced.
What saves this production is a terrific ensemble, led by the comic gem Karen K. Edissi as Mrs. Shinn, wife of the mayor and self-appointed cultural leader of the town of River City, Iowa. Edissi's timing is marvelous, and she truly embodies the absurdity of this woman. She was a joy. Also notable is Jaqueline Blais as Mrs. Paroo, the fiery Irish mother of Marion. Blais played the martyred mother beautifully, aptly manipulating the relationship between her "old maid" daughter and the charming Harold Hill.
Director Macdonald punched up the big numbers with clever choreography, and the ensemble, as citizens of River City, kicked up their heels and sang their lungs out.
In the end, Wilson's story tugs the heartstrings in just the right direction, and once Hill and Marion fall in love, Lumbard and Crowley play love interests better than adversaries. The second half moves along and before you know it, you're clapping along with the finale. So, despite a disappointing first half, the entire cast, under the able direction of Macdonald, takes the wings of Meredith Wilson's classic and makes it fly.
Fortunately Stratford has Marti Maraden, whose answer is to go against the writing and create a darker feel that, though still a comedy, causes a deeper reaction in the audience than the typical happy ending. Creating a feel for the times, Maraden sets the story in the Venice of the 1930's, a time period that evokes memories of Hitler and Mussolini. Large, imposing sets by Phillip Silver, a dark score by Louis Applebaum, and murky lighting by Louis Guinand creates an oppressive environment that immediately sets the tone for the performance.
There is an uneasiness about it, with young lovers running through the city, seemingly unaware of the dark environment they've been set in. Hints of what is to come, however, continue to creep out. A Jewish man not being allowed in to a cafe, the young men laughing a little too loud at a joke that is at the expense of Shylock (Douglas Rain), the Jew in the story.
Only Portia (Susan Coyne) and her lady in waiting Nerissa (Michelle Fisk), seem to be aware that something is rotten in Venice. Maraden has given them a conscience when it comes to Anti-semitism, so when Portia must defeat Shylock in a court battle in order to save her love's best friend, she does so with agonizing grief, and is then put into the position to enlighten the blatantly prejudiced Bassanio (Paul Haddad).
Susan Coyne, as Portia, does a remarkable job balancing the weight of love interest and conscience of the play. She does so with dignity and grace, and her pain is palpable. Michelle Fisk's Nerissa is high spirited and blessed with a tremendous feel for balancing out the comedic end.
As Shylock, Douglas Rain is stunning. He must be the villain of the piece as written, but we must know the unwritten reasons for why he does what he does. Once beaten in court, he is a heart-wrenchingly broken man, and it would be hard to believe that the "Hast not a Jew" speech has ever been delivered with more fervor and despair. He has been mistreated by the world and is finally demanding answers for those crimes against him, allowed only because of his religion. It is stunning.
There are some uneven performances, but they are kept to a minimum. The brilliance of the rest of the cast, and the clarity of the director's vision will far out shine any qualms you may have with anyone else. Merchant of Venice remains a comedy, but one that will not let you off the hook quite so easily.
The Stratford production of "Waiting for Godot," is, in a word, brilliant. The two actors playing Vladimir and Estragon (Tom McCamus and Stephen Ouimette respectively) have such precise timing and delivery that the time flies by. It clips along at a blinding pace, jumping from one routine to the next. In their effort to kill time "waiting," the two actors, sing, dance, juggle, and banter away until the abrupt fall of night silences them until day break.
Director Brian Bedford (best known for his acting at Stratford) has pointed up the idea that these companions may have, at some point earlier that has drifted out of their memory, been a vaudeville pair. They address the audience directly, and the banter has a feel of half-forgotten song and dance routines, still in the muscle memory, but the majority of the act long since faded away. It is lonely and forlorn, and deals with the monotony of growing older and forgetting even what you were living for in the first place. Waiting. Trying to grasp hold of any shred of memory that might give your life and existence meaning again. It is a desperate situation, but even that fact is forgotten occasionally, until it comes creeping back with even more terror than before.
Ouimette's Estragon is frightened and growing desperate. He knows he must wait, but forgets why. With no meaning he is like a caged man, yearning to be freed, but not knowing what freedom will bring. He is trapped here, and Ouimette is outstanding.
As his more optimistic cohort, Tom McCamus' Vladimir tries as hard as humanly possible to belie his friends fears, but any answers he may have, at one time, provided have long since drifted just out of reach of his memory. He knows he should know, but the attempt at remembering proves futile. Still he holds on with both hands to the idea that if they remain in this spot, Godot will come and return meaning to their lonely existence.
The one visitor they do come across is James Blendick's Pozzo and his servant Lucky (Tim MacDonald.) Appearing first to have more drive than the other two, Pozzo is quickly sucked into the void as well. He however, is in denial about his position, and grasps firmly the belief that he is on precisely the right road. Blendick offers some great comedic moments as the over confidant Pozzo, and his return in act II, after having been unexplainable blinded, contrasts beautifully.
Filled with rim shots and musical accompaniment, Bedford's direction is flowing and high paced, switching quickly from one mood to the next. The line "Habit is a great deadener," is spoken in the play, and Bedford realizes this and leads us through new moments deftly. With fine acting, a brilliant script, and inventive direction, this Waiting for Godot surpasses all expectations. Vladimir and Estrogon are searching merely for existence. With any luck, in this production they have found immortality. They will not soon be forgotten by anyone fortunate enough to witness this stunning production.