[NEohioPAL]Berko review: THE TRIP TO BOUNTIFUL (Ensemble)

[Roy Berko]

‘THE TRIP TO BOUNTIFUL’ GETS AN ACCEPTABLE VOYAGE AT
ENSEMBLE

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


It is fitting that at this time of year Ensemble
Theatre chose to reprise one of its most memorable
shows, ‘THE TRIP TO BOUNTIFUL.’  The play contains a
wish for peace, in this case inner peace, and a desire
to travel to where the happy memories of life took
place.  

The play by Horton Foote originally was an hour-long
TV drama with Lillian Gish in 1953.  Foote expanded it
for Gish and it had a Broadway opening that same year.
  It was transformed into a film in 1985.  Foote is
also the author of the scripts for ‘TO KILL A
MOCKINGBIRD,’ ‘TENDER MERCIES.’  

The story concerns Carrie Watts who, in the 1940’s is
living in the twilight of her life, trapped in a 
small Houston, Texas apartment with a controlling,
self centered daughter-in-law and a hen-pecked son.
Her fondest wish is to revisit Bountiful, the small
Texas town of her youth which she still refers to as
"home."  Mrs. Watts imagines that if she can get away
and return to her old home in the town of Bountiful,
she is sure to regain her strength, dignity and peace
of mind.

After numerous attempts she finally gets on a bus for
“home.” With the help of the local sheriff, she
eventually fulfills her dream, but learns that the
friends of her youth have all died or scattered, and
her home is no longer the spacious mansion of her
memories, but a crumbling wreck. But she has the
supreme satisfaction of plunging her hands into the
earth, which leaves her with a sense of that strength
and dignity which will give her the courage to
survive. When her son and daughter-in-law appear on
the scene to take her back to Houston, she consents to
return quietly, secure in the knowledge that the
remainder of her existence will be enriched as a
result of her last contact with Bountiful.

Sound a little too hokey and contrived, too pat to
believe?  It is, but that’s part of what this time of
year is all about.  Visions of sugar plums dancing,
reindeer flying, a small vial of oil burning brightly
for eight days instead of the prescribed single day
are what make for “good will for all.”

The role of Carrie Watts is a dream role.  Besides
Lillian Gish, it has been played by the likes of
Geraldine Paige.  On the local scene, Dorothy Silver,
the crowned Queen of Cleveland drama, was compelling
in the Ensemble Theatre’s previous production of the
show.  Their present production also features a strong
performance by Bernice Bolek, a Scene Magazine winner
of  “Best Actress of the Year” for her performance in
Ensemble’s ‘THREE TALL WOMEN.’  Bolek consistently has
control over the role.  She is properly tender and
headstrong, humorous and dramatic.  

Mark Cipra is totally engaging as the controlled and
conflicted Ludie.  As one audience member mumbled,
“I’d like to knock Ludie on the head and knock some
sense into him.”  No finer compliment could be given
an actor.  

Meg Kelly Schroeder is inconsistent as Jessie Mae.  We
need to really detest this self-centered woman from
the first word out of her mouth.    Unfortunately, at
times she sparkles, at other times she is emotionally
dead.   Celeste Costentino is fine as Thelma, a woman
who helps Mrs. Watts during her travels.  The rest of
the cast stays on the surface.

Stephen Vasse-Hansell’s fragmentary set designs would
not have been a problem if they were well executed,
but they are not.  The sets were poorly built,
unbelievable, and caused awkward pauses as the sets
are changed. On the other hand, Corby Grubb’s sound
design was excellent.  Also on the positive side, the
Texas drawls were consistent throughout the
production.  

Director Lucia Columbi has paced the show much too
slowly, extending the playing time at least fifteen
minutes longer than it should be.  Also, there were
some strange technical decisions.  Why were obviously
fake cigarettes used?  If the actors wouldn’t smoke,
why fake it?   There would have been nothing lost as
smoking was not an integral part of any character’s
role.  And why was no liquid poured in the drinking
glasses or coffee cups?

CAPSULE JUDGEMENT: ‘THE TRIP TO BOUNTIFUL’ is a
soap-opera script which, when well done, can evoke an
emotional tug and some thought provoking reactions. 
In spite of fine performances by Bernice Bolek and
Mark Cipra, the Ensemble production is acceptable, not
as compelling as it could have been.

‘THE TRIP TO BOUNTIFUL’ continues at Ensemble Theatre,
located in the Drury Theatre in the Cleveland Play
House complex, through December 12.  For ticket
information call 216-321-2930.


=====
Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source, which can be subscribed to at no charge by contacting neohiopal at lists.fredsternfeld.com.


		
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