Two more winners at the Stratford Shakespeare Festival

We're getting down to the wire with the theatre seasons at both Shaw and Stratford, with my final reviews for both coming next week.  But this weekend, before we get to that point I have two of the more interesting shows at the Tom Patterson Theatre this season, both of which close towards the end of this month.

I heard good reviews from locals about the musical Wanderlust, based on the poems of Robert Service. This work, both commissioned and premiered by the Stratford Shakespeare Festival, is directed by Morris Panych, with Panych providing the book and additional lyrics as well.  The music and orchestration is by Marek Norman and the dance choreography is by Diana Coatsworth, who also appears as one of the bank tellers in the production.

For me, I always enjoy seeing a Canadian commission at the Stratford Shakespeare Festival, but you have to ask yourself, will Wanderlust have a life after this Stratford run ends September 28th?  I certainly hope so, as this show deserves a life on several stages beyond Stratford and indeed, beyond Canada's borders.

Now, don't get me wrong.  This is not the Great Canadian Musical; it isn't particularly deep, either; but it does possess that unique feel-good feeling that makes you want to smile and just enjoy the show for what it is.  This isn't a pretentious show, and providing you know that going in, you'll be just fine.  Bob White, in his programme notes for Wanderlust, notes correctly Service was well aware his work was never going to be taken seriously.  But he seems to have been more than content to have the approval of his audience in lieu of that of critics, notes White, and I think most people seeing the show will be accepting of it on that level.

Wanderlust is a light and airy work, full of fun and telling a delightful tale of Service and his devotion to the written word.  Like the poems themselves, the musical moves at an easy pace, smiling all the way.  And who cannot smile while reminiscing with some of Service's more memorable works, including, of course, "The Shooting of Dan McGrew"!  I grew up with an old, kitschy painting recounting the tale visually, and I have never been able to get rid of that painting.  It lurks in my closet somewhere, waiting to make me smile once again.  That is the power of Robert Service's writings:  they make you feel good no matter how long it has been since you last heard or read them.

The cast for Wanderlust is very strong, with Tom Rooney quite engaging as Robert Service himself, still toiling at The Canadian Bank of Commerce by day and staying behind overnight to write his poetry.  Randy Hughson is his boss, Mr. McGee; and Robin Hutton is Robert's love interest, sort of, Louise Montgomery, playing the role with more than a little sex appeal.  The supporting cast is equally as strong, including Xuan Fraser as Blount and Dan Chameroy as Dan McGrew.

It was interesting to see Lucy Peacock continue to evolve as a fine character actor following many years of leading roles.  My, how the winsome young Lucy Peacock we were introduced to at a press conference in downtown Toronto in 1983, I think it was, as a member of that season's Young Company has grown into one of the finest female character actors on the Stratford stage.

Wanderlust may not be deep, but it is worth exploring all the same.  Even if you have never heard the poems of Robert Service, which I would find hard to believe, you will discover a new world waiting to be discovered here.  Wanderlust continues at the Tom Patterson Theatre until September 28th and rates a strong three out of four stars.

Also at the Patterson Theatre, but clearly on another plane entirely, is Sophokles' Elektra, translated by Anne Carson.  Greek tragedy is, well, tragic, and this production is no exception.  That being said, director Thomas Moschopoulos keeps things moving with a production featuring a very clean, spare design by Ellie Papageorgakopoulou and exceptional lighting by Itai Erdal.

This is a very contemporary take on Elektra and it works very well, making it much more relatable to modern audiences.  However, some of the speeches, delivered in an almost rap-like monotony, can become a little tedious at times.  Credit Peter Hutt, though, as the Old Man, to make them more interesting than some.

The rest of the cast is very strong as well, including Ian Lake as Orestes, son of Clytemestra, and E.B. Smith as Pylades, Orestes' companion.  Yanna McIntosh as Elektra and Laura Condlin as her daughter Chysothemis are equally strong; but the real kudos go to Seana McKenna as Clytemestra, Queen of Argos.  Her command of the stage is never an insignificant factor in any production she appears in, and Elektra is no exception.

Elektra herself is a lone wolf, deceived to the point of near hysteria, which carries through to the climax of the play; the final scenes are gripping and well worth the journey.  This is a production clearly not for everyone, but from every angle it is a spellbinding performance and certainly deserving of your attention should you decide to take up the challenge.

Elektra continues at the Tom Patterson Theatre until September 29th and rates a strong three out of four stars.

Enjoy the theatre!