[NEohioPAL]Berko review: A Further Look at Canadian Shakespeare Festival

[Roy Berko]

A FURTHER GLIMPSE AT THE STRATFORD FESTIVAL OF CANADA 

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

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


Several weeks ago I reviewed the Stratford Festival of
Canada’s  ‘AS YOU LIKE IT,’  ‘THE TEMPEST and ’HELLO
DOLLY.’  In addition I recommended places to stay, eat
and shop while enjoying the area.  If you missed these
and want a copy of the reviews contact me by clicking
on my website:  www.royberko.info.  

Now, let’s look at three other Stratford Festival of
Canada productions--‘THE BROTHERS KARAMAZOV,’ ‘INTO
THE WOODS’ and ‘WINGFIELD’S INFERNO.’

‘THE BROTHERS KARAMAZOV’

Adaptations of literature are a common basis for
theatrical scripts.   Some transposing is easy as the
length of the novel and the language development of
the original work lends itself to easy transition. 
However, the thought of making a one-thousand-plus
page book, and a Russian novel at that, into a
reasonable length stage play appears to be a task
beyond comprehension.   Russian writers are noted for
their extended story telling.  They state, restate, go
off on literary tangents, and use multi-names and
diminutives of names for their characters.  It doesn’t
make for an easy read.   Trying to convert a book such
as Dostoyevsky’s ‘THE BROTHERS KARAMAZOV’ is a
daunting task.

Jason Sherman is one of Canada’s leading playwrights. 
His adaptation of ‘THE BROTHERS KARAMAZOV’ was penned
specifically for the Stratford Festival and runs there
through September 24.  

Written in 1880, ‘THE BROTHERS KARAMAZOV’ is a novel
about murder, ethics and religion.   Some of
Dostoyevsky’s personal life is reflected in the play. 
His youngest son, Alyosha, died at the age of three,
of epilepsy, a disease inherited from him.  After the
boy's death, Dostoyevsky went to the Oiptina Monastery
to consult a famous spiritual director, Father
Ambrose.  Father Ambrose is the model for Father
Zossima in ‘THE BROTHERS KARAMAZOV.’

‘THE BROTHERS KARAMAZOV’ is the story of a parricide.
Dmitri, Ivan, Alyosha, and their half-brother, the
epileptic valet Smerdyakov, are the children of Fyodor
Pavlovich Karamazov who is fringing on senility, is
mean, and obsessed with sex.  All his children, except
Alyosha, hate Fyodor, but for different reasons.
Dmitri is in love with the same woman as his father;
Ivan hates his father because he so nearly resembles
him; Smerdyakov loathes him for corrupting his mother
and for keeping him a serf. All three want the old
man's money.  When he is mysteriously murdered, all
are filled with guilt, although it is Smerdyakov who
has actually committed the crime.

Much to my surprise, having struggled though the
complexity of many Russian novels, I found Sherman’s
script easy to follow and I was intrigued by the stage
goings-on.  This is a tribute to Sherman’s translation
and the brilliant directing of Richard Rose.  He has
the entire cast stay on or on the fringes of the stage
throughout the production.  This makes for smooth
transitions and forces the audience to become part of
the action as we find ourselves part of the action.

The entire cast is excellent.  Jonathan Goad is
mesmerizing as Dmitry, the “bad” son.  As Fyodor, the
oppressive father, Scott Wentworth was so effective
that audience members did much to control themselves
and not boo when he made his curtain call.  Ron
Kennell was excellent as Pavel, the bastard son.

Charlotte Dean’s drab costume designs heightened the
oppression of Fyodor.  

CAPSULE JUDGEMENT:  Though not a perfect play, I’d
strongly recommend seeing Stratford’s ‘THE BROTHERS
KARAMAZOV.’  It may be your only opportunity as the
complexity of the show will probably dissuade other
theatres from staging this literary epic.


‘INTO THE WOODS’

Stephen Sondheim is the reigning king of American
musical theatre writers.  Since he charged onto the
scene with ‘WEST SIDE STORY,’ he has written hit after
hit.  His ‘INTO THE WOODS,’ which opened on Broadway
in 1987 and ran 764 performances was recently reprised
on the Great White Way.  The winner of 3 Tony awards,
it  is a popular selection for community theatres. 

Inspired by Bruno Bettelheim's book, ‘THE USES OF
ENCHANTMENT,’ the musical intertwines a collection of
Grimm Fairy tales in an unusual format which uses a
Baker and his Wife's quest to begin a family together
with the stories of Little Red Ridinghood, Jack of
Jack and the Beanstalk, Rapunzel, and Cinderella. 
Also thrown in are a wolf, Jack’s mother, a giant and
his wife, and a couple of princes.

Act I opens with a wish, a witch, and a curse. Each
separate tale interacts with the others throughout. As
the first act proceeds we become aware that each of
the characters and their conflicts are motivated by
selfish wishes.

Act II explores what happens after "happily ever
after," when these wishes to have, to be and to get,
have come true.  

The script explores the consequences of the actions
taken in the quest for getting our wishes granted, and
the need for community in order to survive in "the
Woods"--our world.

Songs in the musical include "Into the Woods", "Hello,
Little Girl", "Giants in the Sky", "Agony", "Moments
in the Woods", "No More", "No One Is Alone", and the
haunting "Children Will Listen".

In an unusual method of writing language, Sondheim
makes heavy use of syncopated speech.  The characters'
lines are delivered with a fixed beat that follows
natural speech rhythms, but is also purposefully
composed in rhythms to create spoken songs.

The Stratford production is excellent.  The voices are
good, the show is nicely paced by director Peter
Hinton and, for the most part, the acting is on
target.

Kyle Blair (Jack) is superb.  Bruce Dow (the Baker),
Mary Ellen Mahoney (the Baker’s wife) and Jennifer
Waiser (Little Red Ridinghood) are wonderful.  On the
other hand, Susan Gilmour’s screeching as the Witch
becomes tiresome and ear shattering after a while and
Thom Allison as Cinderella’s Prince seems bored with
the role and is less than princely.  

CAPSULE JUDGEMENT:  ‘INTO THE WOODS’ is a pleasant
production of one of Stephen Sondheim’s lesser shows.


‘WINGFIELD’S INFERNO’

 The passing down of tales from generation to
generation are important for carrying on the values,
mores and morals of a culture.  Some people are master
storytellers.  Think Mark Twain, David Sedaris and
Bill Cosby.   Often, it is necessary to be a member of
a cultural group to totally appreciate the tales.

Walt Wingfield, the central character in a series of
Canadian-based stories, is the creation of playwright
Dan Needles.  Wingfield has been performed by actor
Rod Beattie for many years.  Their latest
collaboration, ‘WINGFIELD’S INFERNO’ centers on an
elaborate ruse to fulfill the requirements of a
restoration grant for a community hall that has been
destroyed by a fire by pretending that the fire never
took place.  

Beatty portrays an entire countryside of characters
with ease and clarity.  Using few props and many
voices and facial expressions, Beatty is excellent.

Unfortunately, for US Americans attending this
production, many of the jokes and innuendos are beyond
us.  Comments regarding insurance, fire departments,
horse plowing, wild turkeys, building committees,
unicorn hunts, perception versus reality, and weather
forecasting, which convulsed the Canadians in the
audience, zoomed in and out of my Yankee ears.  

CAPSULE JUDGEMENT: Yes, it does help to be Canadian to
truly appreciate the goings-on in  ‘WINGFIELD’S
INFERNO.’


INFORMATION ABOUT THE FESTIVAL

Founded in 1953 as the Stratford Shakespearean
Festival, the company is the largest classical
repertory theater in North America.  Until November 6,
it will stage 14 shows in a rotating repertory in its
four theaters.  The Festival takes place in Stratford,
Ontario, Canada. about six hours from Cleveland.

Hotels, motels and bed and breakfasts abound to fit
any wallet.   Stratford Escapes, a division of Niagara
Falls Tours, is an efficient way to make reservations.
 For information call 877-356-6385 or go on line to
www.niagarafallstours.com.  For individual tickets
call 800-567-1600 or go on-line to
www.stratfordfestival.ca.


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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