Saturday, June 15, 2013

First visit to Stratford Festival this season last weekend

Last weekend we made our first trek to Stratford to see what the Festival has in store this season, and two of the more notable offerings this season provided a weekend full of entertainment.  So, as we kick off another season of writing about the shows at both Shaw and Stratford, let's get going!

I was very much looking forward to Noel Coward's Blithe Spirit at the Avon Theatre, directed by Brian Bedford, who knew Coward personally.  The play, subtitled by Coward "An Improbable Farce in Three Acts" dates from 1941, when the world was at war and very much in need of a bit of comedic diversion.  While it is a farce of sorts, as Bedford notes in his Director's Notes, it isn't the kind of farce that depends on dashing in and out of bedrooms and slamming of doors.  Rather, it is what the characters say - and how they say it - that makes it funny.

All in all, Blithe Spirit is a fun romp through the upper-class Condomine household, but three acts ultimately proves to be one too many.  Maybe it is the shorter attention spans people possess now, but three acts and two intermissions seems so out of step with the times nowadays.  The story could probably have been condensed into two acts with little lost as a result.

That being said, what is there is typical Coward:  witty, clever, and in the proper hands great fun.  Bedford knows his way around this type of play and directs here with a sure hand.  He has assembled a talented cast of Stratford regulars to bring the farce to life, beginning with Ben Carlson as Charles and Sara Topham as his wife, Ruth, living the good life in the English country home they reluctantly share with Charles' first love, Elvira, played by Michelle Giroux.  Now, she doesn't actually live there in body, but in spirit; Charles is the only one who can see her, of course, which presents no end of problems for both Charles and Ruth as the play wears on.

Add to the mix Wendy Thatcher and James Blendick as Dr. and Mrs. Bradman and Seana McKenna as the bicycle-riding medium Madame Arcati and you have the makings of a fun evening's entertainment.  But at the end of it all I was still left wanting; there seemed to be something missing.  I can't quite put my finger on it, but for a farce, even by Coward, this one presented more chuckles than outright guffaws.

Blendick is used sparingly in his role as the Doctor, unfortunately.  His rolling voice is always welcome on the Stratford stage.  Incidentally, I can't quite figure out why, when he returns to examine Charles about his condition following unscheduled visits from the ghost of Elvira, he is the only one still in evening attire.  Thatcher is always steady and reliable in any role I've seen her in and this one is no different.  McKenna is always a treat to watch, and very nearly steals the show here.

Sets and costumes by Simon Higlett and Katherine Lubienski respectively are suited to the times and very elegant, with the set design particularly elegant.  The stage effects to conjure up not one but ultimately two ghosts are very well done (no, I won't explain how we end up with two ghosts by the end of the play; you'll have to see it for yourself) with the ending of the final act being particularly entertaining.

Blithe Spirit might seem a little dated now, which might explain the rather smallish crowd at the June performance I attended, but those who do go will be treated to a solid, well-acted ensemble piece that rates a genuine three out of four stars.  Just don't expect special effects to be anything more than just quaint by today's standards.  I for one find that aspect of the play rather refreshing.

Now, for special effects, you go to see the musical Tommy, which was the second half of our Stratford weekend last week.  The problem here is the special effects are so spectacular, so over-the-top in some respects, they tend to overshadow everything else about Tommy.  Credit director Des McAnuff for pulling out all the stops with this production, but it all appears to these eyes and ears to be just too much.

This is, after all, a rock opera, not unlike Jesus Christ Superstar, which McAnuff also directed at Stratford in past seasons and other late 60s/early 70s groundbreakers such as Hair and Godspell.  Here, the music and lyrics are by Pete Townshend, who shared book credits with Des on this as well as the original production.  McAnuff knows how to present a spectacle and make no mistake, this is every inch a spectacle.  But is it a great musical production?

For my part, I am not a big fan of The Who; they were just not a part of my growing up.  But I can see the quality in the music and the fact audience members all around me were reacting to the music like they were old friends.  But am I sounding too much an old fogey when I say why does it have to be so loud?  Right from the opening notes which start with a bang, startling everyone in the capacity crowd at the performance I attended, it is one loud piece of theatre.  The second act perhaps a little less so, but overall you might want to consider sitting a little further back in the theatre for this one.

The cast here, as was the case in the earlier Jesus Christ Superstar, is exceptional.  They have strong voices and stage presence, with Robert Markus as Tommy being particularly good.  The rest of the cast is made up largely of lesser-known names to those who frequent the more serious Stratford offerings, but many of them double up for roles in Tommy as well as the other musical this year, Fiddler on the Roof, so they are all exceptionally talented performers.

A lot of work went into the design and execution of the several pinball machines used in the production; all of them had to be built from scratch to withstand performers standing and even dancing on them at times, and in order to work exactly the way they need to when they are needed.  Computer technology is very much on display here, and I won't give away some of the more spectacular effects used in the show other than to say watch out for the flaming pinball machine.

So, is Tommy worth the trip?  If you love special effects you will simply love this show.  If you love Stratford shows generally you probably will, too.  But I found the musical aspect of it to be rather soul-less, as the computer technology overtakes just about everything else about it.  I know I will be in the minority on this; the show will pack them in for the entire season, guaranteed.  The money-maker is here for Stratford this season, so "Who" am I to complain about that?  It rates a respectable three out of four stars.

Blithe Spirit runs at the Avon Theatre until October 20th; Tommy until October 19th.

June 15th, 2013.

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