Stratford Festival mounts a powerfully intensive exploration of Bakkhai

Lucy Peacock (centre) as Agave with members of the company in Bakkhai. (Cylla von Tiedemann/Stratford Festival)

To read my review of Bakkhai in the Stratford Beacon Herald click here

All My Sons a riveting thoughtful production

Joseph Ziegler as Joe Keller in All My Sons. Photography by David Hou.

All My Sons

Stratford Festival 2016

Tom Patterson Theatre

Written by Arthur Miller

Directed by Martha Henry

Approximate running time: 2 hours and 45 minutes (with intervals of 10 and 15 minutes)

May 30-September 25

Toll-free: 1.800.567.1600
519.273.1600
orders@stratfordfestival.ca 
groups@stratfordfestival.ca
specialorders@stratfordfestival.ca

 It may take much of the play before the real meaning of All My Sons is finally revealed but director Martha Henry ensures us her thought-provoking, nicely paced adaptation of the Arthur Miller classic is time very well spent.

With a stellar cast headed by Lucy Peacock and Joseph Ziegler in the lead roles and the theatre’s wonderfully restructured in-the-round arrangement, the production is both a visual and conceptual treat. In the case of the latter, the audience gains a completely new vantage point of the family’s back door/patio area.

Essentially the space becomes literally and figuratively a bridge to the garden where personal evaluations, life-changing revelations and ultimate truths are trotted out into the open air. On the surface it may represent a quaint family comfort – particularly in the past – but the moment lighting strikes the tree planted as a memorial to a son lost in the war, it becomes the place where lives fall apart.

It should be noted the soundscape design was the work of respected sound designer Todd Charlton who died early in the year, shortly after completing the project, and to whom the production is dedicated. With the majority of the action taking place in the past, it is ironically the only spot where any events – specifically the destruction of the tree – occur.

Superficially the play – based on a true story – appears relatively straightforward, based on the failings of a flawed individual. Miller was also influenced by Henrik Ibsen’s The Wild Duck, from which he took the idea of two business partners – one forced to take moral and legal responsibility for the other.

In All My Sons, plain-talking sixty-year-old Joe Keller, an under-educated but successful businessman, has been living a lie for more than three years. Exonerated after charges were levied against him for knowingly shipping damaged aircraft engine cylinder heads that resulted in the death of 21 young pilots, he avoided jail time by blaming partner and former neighbour Steve Deever, who is still imprisoned.

His wife Kate, while never openly admitting it, knows Joe is guilty but lives in denial while futilely mourning their older son Larry, who has been missing-in-action for three years and presumed dead. She refuses to accept reality.

While a thoughtful examination of dysfunctional characters on a personal level, on a broader scale playwright Arthur Miller painstakingly dissects the woes of a war-weary society, one that appears to equate success with unapologetic fiscal greed, monetary-driven expediency and a crass disregard for human life. Joe is the poster child of the American Dream gone tragically wrong.

The latter critique resulted in the left-leaning Miller being called to appear before Joe McCarthy’s House Un-American Activities Committee during the Red Scare 1950s when hysterical U.S. government officials were conveniently discovering Communists – real or imagined – behind every cupboard door.

A slow-simmering tale, the introductory first act offers more background information and cursory glances of the characters’ more public personas before giving way to the more volatile second and third chapters. Henry expertly guides her actors through their paces, coaxing well-crafted performances from all.

Ziegler, engaging his son Chris in exchanges of fake jabs, hooks and crosses in playful outdoor boxing matchups before succumbing to the ugly reality of his life, is brilliant. A supposedly well-liked man, whose secret appears nonetheless well-known by so-called neighbourhood friends, he is the convoluted symbol of Miller’s failed American Dream.

Lucy Peacock as Kate Keller in All My Sons. Photography by David Hou.

A portrait of self-perpetuated pretense, Peacock’s Kate is a sight-to-behold – a masterful display of a soul being torn apart from within. One moment the epitome of suburban charm, grace and outward happiness, the troubled wife dissolves into gut-wrenching shrieks of despair and then, within the blink of an eye, back again to the more acceptable but unreal sense of domesticity.

Chris Keller, the 32-year-old son who has survived the war, is the moral compass of the play. Tim Campbell has a field day as an intensely philosophical man, always eager to please but deeply troubled by the fact that life goes on as normal, as if World War 11 had never happened. Part one of his character’s troubles occurs when he invites his brother’s fiancé Ann Deever to the Keller house to propose to her.

His plan stumbles because of his mother’s assertion that Larry will someday return. The second part is when he learns the devastating truth of his father’s heartless actions, those from the man he once idolized.

The solid company also features Sarah Afful’s intriguing, clear thinking Ann Deever; Michael Blake as her older brother George, a New York lawyer returning to stop her marriage to Chris, thus becoming a catalyst that helps destroys the Keller family; E.B. Smith as the successful but frustrated doctor Jim Bayliss; Lanise Antoine Shelley’s delightfully volatile but often secretive Sue, wife of the doctor with Rodrigo Belifuss and Jessica B. Hill rounding out the cast as the Lubeys, the whimsical horoscope drawing Frank and George’s one-time love interest but now thoroughly domesticated Lydia.

A tip of the hat to Maxwell Croft-Fraser and Brandon Scheidler as alternate Berts and Tommys.

Credit Henry for boldly introducing both the Deevers and Bayliss family as black members of what might have been considered in those days to be a purely white middle class American community. The end result is affording great actors like Afful and Blake (both standouts as the Macduff family in Macbeth), Smith and Shelley the opportunity to showcase their considerable skills as versatile actors – regardless of colour.

Wonderful package of entertainment - ««««1/2 out of five stars.

Geoff Dale is a Woodstock-based freelance writer.

This review originally appeared online here at The Beat Magazine

Hay Fever: Revels in artistic pretensions

Hay Fever
Written by Noel Coward
Directed by Alisa Palmer
June 19-October 11
Avon Theatre
Approximate running time: 2 hours and five minutes (with one 15-minute interval)
Contact: Toll-free: 1.800.567.1600
Local: 519.273.1600

Review by Geoff Dale

STRATFORD – When the curtain rose for the opening act of Noel Coward’s Hay Fever, it was obvious from the thunderous audience applause that Lucy Peacock might be sharing the spotlight for the remainder of the production.

Not necessarily with an actor, though the company was certainly up to the task, but rather to Douglas Paraschuk and his wonderfully cluttered set, with numerous art works strewn about the walls, knick-knacks littering the living space and all those carefully studied but untidy symbols of a well-to-do family steeped in their ridiculous bohemian artistic pretensions.

What a shambles but what a glorious way in which to introduce the truly eccentric Bliss family, their disorderly and high inappropriate of treating – or more to the point – mistreating their guests, their utter disdain for normalcy and convention and their complete lack of understanding of other seemingly normal folks that have the misfortune to spend time with this bizarre clan.

More of a cross between farce and a standard comedy of manners with a touch of theatre of the absurd, the three-act production takes place in the cavernous hall of the Bliss family home. Judith (Lucy Peacock), an on-again, off-action stage actress considering a theatrical return is all wild gesticulations, grandiose theatric statements and an equally odd desire to tirelessly flirt with young men.

Husband David (Kevin Bundy), a rather self-absorbed novelist and the creator of literary works not worth the paper on which his empty flowery phrases appear, like his wife simply doesn’t understand the norms of society – polite or otherwise.

Their culture-vulture son Simon’s (Tyrone Savage) greatest achievement appears to be sketching dreadful looking nudes, whilst lying about on the floor. Daughter Sorel (Ruby Joy) may be the most sensible one of the lot but judging by the standards set by the rest of the family, this is not saying much in her favour.

Entering into the foray are four guests – actually victims – invited individually by different family members for what appears to be an elaborate parlour game at their expense for the amusement of the hosts.

Sandy Tyrell (Gareth Potter), a young boxer and the attention of Judith’s theatric flirtations, is joined by Cynthia Dale’s wonderfully played socialite Myra Arundel; an innocent and confused flapper Jackie Coryton (Ijeoma Emesowum) and a stiffer-than-stiff diplomatist Richard Greatham (Sanjay Talwar).

Overseeing this motley crew is the ever-smoking, wisecracking working-class maid Clara (Sarah Orenstein) who, apparently because of class distinction, doesn’t deserve a last name. Without question, she symbolizes what sanity and common sense there is to find in this other-worldly household.

All cast members, particularly Peacock, Talwar and Potter, simply eat up their roles and, while it is in most cases a criticism, over-act to the max, gobbling up their juicy bits of Coward dialogue, spitting them out with relish at rather ear-piercing levels at times. Chaos in this particular world equals unabated laughter.

Dale does wonders with her meaty role, cast in a part that does not simply require glamour and a lot of posturing. No longer the play’s naïve flirty ingénue, she sinks her teeth into the character, shooting out witticisms and wise cracks at a rapid-fire place.

Peacock, once a well-respected operatic singer gets the chance once again to momentarily show off her still considerably impressive vocal prowess with her rendering of Oscar Straus’ Tout Paris m’a fait, ce soir, un accueil plein de gentillesse, sung with a strange mix of levity and authority.

While the play is still considered to be quintessentially English, many observers including the great Simon Fallow, say the inspiration actually came to Coward while visiting and staying with the actress Laurette Taylor, her husband Hartley Manners and their children in America.

Callow, writing for The Guardian in 2006, points out that their house parties were “notorious for the family’s eccentric behaviour, for the obscure and outlandish games to which the guests were subjected, and for the heady atmosphere of flirtation – much of which was imported wholesale into Hay Fever.”

Whatever the origins, the play is still loud, outrageous and, because pretentious behaviour never ceases to be a great subject to ridicule and laugh about, not the least bit dated.

Thanks to Douglas Paraschuk’s creative set design, it helps validate Coward’s belief that journeys can be taken by characters without having to frantically change scenes. The key here is one standout set and the work of a highly skilled cast, enabled by the sure hand of director Alisa Palmer.

The greatest pleasure audience members may derive from such a frenetically funny outing is that they, unlike the Bliss house guests, are not captive prisoners left to their own devices on how to escape. Laughter reigns supreme here, nabbing a solid four and half out of ***** stars.

This review also appeared online at Donald's Dish.

The Thrill: Peacock at the top of her game

To read my review of The Thrill starring Lucy Peacock at the Stratford Festival, click here .

Sights and Sounds of Stratford Festival 2013

Sights and sounds of Stratford Festival 2013
Article and photos by Geoff Dale
The Beat theatre critic Geoff Dale was on hand with his camera to catch some of the Monday evening highlights. More productions will open in late June, July and August. Keep reading The Beat for reviews and commentary. - Editor

It was a glorious opening to the Stratford Festival 2013 with a wide array of local, national and international stars from stage and screen milling about, a wide array of beautiful flowers in bloom on display and music of every kind.
Under seasonably mild and sunny conditions, the event drew a good crowd of spectators, Festival insiders and participants, along with those curious folks simply interested in getting a bird’s eye view of the annual opening ceremonies.
The festivities began around 6 p.m. Monday, May 27 with the pipe and band corps signaling the start to this year festivities, followed by the arrival of special red carpet guests and the 7:30 p.m. opening night presentation of Romeo and Juliet.
Actors, musicians, directors and Festival dignitaries were seen chatting with members of the general public, being interviewed by various media outlet representatives and generally enjoying and participating in the moment.
Colm Feore, recently seen on TV’s The Borgias was on hand with his wife Donna, director and choreographer of Fiddler on the Roof.
With several works about to hit the screen, one of the busier actors around Graham Greene was there, as were stars from various productions including Romeo and Juliet and Fiddler on the Roof. 
The prolific American actor of the big screen, television and stage, Brian Dennehy, was also seen in various spots inside and outside of the Festival Theatre.
The two gifted stars of the dynamic production of Mary Stuart (http://www.thebeatmagazine.ca/index.php/theatre-reviews/1662-peacock-and-mckenna-shine-in-mary-stuart), Lucy Peacock and Seana McKenna were also making the rounds.

In addition to the traditional sounds of a pipes and drums band getting the proceedings underway, an intriguing duet from Kitchener, The Vaudevillian, kept things lively, playing a number of eclectic songs on the lower sidewalk below the Festival Theatre.

Ontario Premier Kathleen Wynne was also in attendance for the official ceremony.
The ceremony kicked off the 2013 season which was highlighted by the first week of seven debuts of: Romeo and Juliet, Fiddler on the Roof, Measure for Measure  , Mary Stuart, Tommy (which featured an appearance on opening night by Pete Townshend of The Who);  and the Saturday double feature of The Three Musketeers and Blithe Spirit .  This feature also appeared online at The Beat Magazine.

Photos: 1. Donna and Colm Feore were on hand for the event; The musical opening of the Stratford Festival 2013; Flowers were in bloom everywhere;The pipes and drums corps was led by a proud drum major; One of the stars of this year’s Festival is Matthew G Brown; Geraint Wyn Davies is pictured with Donna Feore; The two stars of Mary Stuart, from left Sean McKenna and Lucy Peacock; One of the highlights of opening night was the lively music of the Kitchener based duo – the Vaudevillian; Minstrels from Romeo and Juliet took in the sights and sounds.

Peacock and McKenna shine in Mary Stuart

Mary Stuart

Stratford Festival
Written by Friedrich Schiller
In a new version by Peter Oswald
Directed by Antoni Cimolino
Tom Patterson Theatre
Playing to September 21
Running time: two hours, 47 minutes (with one interval)
Tickets: 1-800-567-1600 or online www.stratfordfestival.ca 

Review by Geoff Dale

One key element in Friedrich Schiller’s play, skillfully updated by Peter Oswald, is that the storyline is historically correct in many details, except for one intriguing “what if” scene – the meeting of Queen Elizabeth 1 and her imprisoned cousin Mary Stuart, Queen of Scotland.

While this work is clearly not the alternative history associated with present-day author Harry Turtledove (Hitler’s War) in which largely fictitious means dictate a complete reversal of the real ending, it is still the powerful and totally imagined scene between the two regal rivals that drives this play along emotional and intellectual journeys.

Equally important is that casting for Mary Stuart be without question or second thoughts. It requires top-flight performers known for flexibility of presentation, able to convey sincerity and compassion at all times through the nearly three-hour play.

Fortunately Lucy Peacock (Mary Stuart) and Seana McKenna (Elizabeth), two of the finest stage actors to be found anywhere in the theatrical world, landed the lead roles. Both exceed reasonable expectations, delivering spell-binding performances that reveal the complexities, power and even frailties of the regal cousins.

The imagined meeting of the two is simply chilling.

Peacock’s Mary Stuart is mesmerizing. As her cousin’s prisoner, she is deprived of her physical freedom but also tormented by her guilty conscience arising from her supposed role in the death of her husband Henry Stuart, Lord Darnley.

She is also at the mercy of several plots, engineered by the free-spirited Mortimer (played with delightful rage by Ian Lake) and the two-faced Earl of Leicester (portrayed with uncomfortable nastiness by Geraint Wyn Davies). Peacock is at the top of her game, delivering to the audience a conflicted soul, a misunderstood figure and clearly seen by the author as the personification of tragedy.

Yet McKenna is equally successful capturing Elizabeth’s different sides, as a strong-minded woman who is nonetheless trapped in her own metaphysical dilemma. Surrounded, seemingly on all sides, by a host of benign court sycophants and self-serving deviants, she is strangely isolated as a leader wielding ultimate power, yet still victimized by her own inner turmoil. The queen, while in control, is nevertheless a symbol of despair and at times out-of-control.

Each actress is afforded ample opportunities to demonstrate the contradictory nature of their characters and both, with the steady and masterful guidance from director Antoni Cimolino, succeed admirably.

Mary’s scenes with her handmaiden Hannah Kennedy (a gentle, touching portrait from Patricia Collins), her jailer Sir Amias Paulet (nicely underplayed with sense of honour by the always reliable James Blendick) and her confessor Melvil (Brian Tree making the necessary shift here from his usual comic persona  to drama)  are simply riveting.

Meanwhile, as she ponders her cousin’s ultimate fate in front of her royal advisors, McKenna’s stone-faced Elizabeth is electrifying. One just has to sit back and marvel as she contends with the potential consequences of executing another monarch, an unthinkable act for the times.

When she and Mary finally meet, their fictional confrontation becomes a multi-layered and glorious tour-de-force of fury-infused acting by the two leads.

Meanwhile, Brian Dennehy is a gracious, dignified and thoughtful Earl of Shrewsbury, begging his queen to act with humanity, not simply respond impulsively to the deafening screams of the crowds milling about, just outside her royal doors. He pleads with her to deal with her dilemma with caution rather than a knee-jerk reaction to unreasoned mob rage.

Blendick’s Paulet, caught perilously between two worlds, remains respectful to both queens but is nonetheless determined to honour his role as Mary’s protector as long as she lives.

Ben Carlson is an unyielding, bloodthirsty Lord Burleigh with no apparent signs of real passion or humanity– a beautifully crafted villain of the highest order. The audience is never left in doubt as to where his motivations lie, contrary to Wyn Davies’s sly vision of the slithering, ever-changing charmer Leicester.

Hats off to Peacock, McKenna, Cimolino and the full company for a ****out of 4 stars night at the theatre.

Geoff Dale is an Oxford County theatre reviewer and freelance writer/photographer. This review is also posted  in the Theatre Review section of The Beat Magazine 

Photo by: Don Dixon.  Pictured from left, Seana McKenna and Lucy Peacock.