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Reviews
By John Steinbeck Directed by Charlie Sexton Reviewed by Keith Waits Entire contents are copyright © 2009, Keith Waits. All rights reserved. Walden Theatre opens its thirty-fourth season with a solid production of an American classic, John Steinbeck's Of Mice and Men. It is this company's second meeting with Steinbeck, having several seasons ago managed the more complex and, for the stage, more unwieldy, The Grapes of Wrath. But this story is simpler and more economical in theme and structure, and the open, in-the-round staging it is given here helps the audience connect with the powerful emotions portrayed in the script. The familiar tale of George and Lennie, two migrant farm workers beginning a job on a new farm in southern California, and how tragedy enfold their experiences there may seem rooted to a specific time and place, but the themes of loneliness and alienation are profound and universal. Although the intelligent and worldly George is bitter and cynical about being tied to the simple-minded but physically strong Lennie, their relationship serves them both equally well; and when events take a dark turn in the second act, it is the result of actions motivated by a need for more meaningful human connection. Jacob Lyle was authoritative as George, although he pitched the emotional peak of the first scene a little too high, and John Tamplin did nice work as Lennie, even though he lacks the presence of physical threat that seems vital to the character. Still, he avoids the pitfalls abundant in this role, child-lie but never childish. The two young actors played off each other nicely. The rest of the cast were sometimes only serviceable, but Jake Nichols was on target as Curly, while Chris Lockhart and Dion Kohler, Jr. made worthwhile use of the scenes in which they had the focus of attention. Audrey Shircliff gave a nice turn as Curly's wife, which, let's face it, is not the most rewarding role in American theatre, but she delivered the required goods and looked evocative of the period. For such a lean script, I wish that the dialogue had not been so hurried at key moments. In the scene in which the prospect of killing one farm hand's aging dog was being discussed, the too-rapid exchange missed the gravitas appropriate to the moment. It felt like the actors needed to allow a beat or two in which to find the pathos of an old man about to lose the only thing that matters to him. Similarly, when the ranch owner's angry son attempts to pick a fight with Lennie, the scene lacked the tension and buildup that would allow his violent reaction to have its full impact. The action was well-choreographed but the pace rode roughshod over the powerful confrontation. Despite these missteps, the material was otherwise well-handled by director Charlie Sexton, and the play came together perfectly in the final scenes, as the timing found its proper rhythm and, in the last, devastating action, the essence of the tragedy was fully realized. The uncompromising and shattering climax was certainly memorable theatre. The well-judged tone of the production was aided by appropriate songs by Woody Guthrie, effective lighting design by Lily Bartenstein and earthy and detailed costumes by Laura Patterson.
Of Mice and Men September 24 - October 3, 2009
Posted September 25, 2009
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