[NEohioPAL]Berko review: OUR TOWN (Cleveland Public Theatre)

[Roy Berko]

‘OUR TOWN’ gets a stylized rendition at CPT

Roy Berko

(Member, American Theatre Critics Association)

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I consider ‘OUR TOWN,’ which is now being produced at
Cleveland Public Theatre, to be one of the three
greatest symbolic American plays.  It, along with
‘DEATH OF A SALESMAN’ and ‘LONG DAY’S JOURNEY INTO
NIGHT,’ forces the viewer to think of his or her
relationship with community and family while asking
the question, “What is the best way to live?”

Thornton Wilder, the author of ‘OUR TOWN’ is the
product of being raised much of his life in Asia by
his missionary parents and his classical training,
which includes a period of time at Oberlin College. 
His writing reflects the finite details of the Asian
striving for order and balance.  His use of the Greek
chorus, often personified in one person, is a
reflection of his classical understandings.  He
strongly illustrates a “powerful belief in the human
spirit.”

Wilder has a very clear vision in ‘OUR TOWN.’  He
wants to create a universal quality that transcends
far beyond the New England setting of the play in the
early 1900s.    He is very specific in his
descriptions.  He tells the longitude and the latitude
of Grovers Corners, the supposed setting of the story.
 He describes specifically where the drug store and
the churches and Main Street are.  Yet, probing an
atlas indicates that his geographic markings are off. 
The designates are not in New Hampshire.  And the drug
store, churches and Main Street aren’t there...they
are figments of our imagination.

‘OUR TOWN’ broke from the traditions of realism when
it opened in 1938.  Wilder said that he took the
approach because of dissatisfaction with the theatre
of his time:  “I began to feel that the theatre was
not only inadequate, it was evasive."  He did away
with real objects, specifically stating in the stage
directions that pantomime, ladders, chairs and tables
be used, with no scenery, per se.  He did this
because, "Our claim, our hope, our despair are in the
mind—not in things, not in 'scenery.”

As for the story, ‘OUR TOWN’ centers on character
development that details the interactions between
citizens of an everyday town from 1901 through 1913. 
Though the play mainly centers on the lives of George
Gibbs, a doctor's son, and Emily Webb, the daughter of
a newspaper editor, it really is about the lives all
of the folks of any place.

CPT has heralded Artistic Director Raymond Bobgan’s
concept of ‘OUR TOWN’ to be kitschy, a new
interpretation.  And, in many ways it is.  The stage
manager, who is a one-man chorus, is replaced by the
entire cast being the chorus.  George, instead of
being the traditional teenager, is portrayed by a
grizzled senior citizen.  Rebecca, his sister is also
played by a mature adult.  Much of the movement is
choreographed, including the tossing of chairs and
repositioning of ladders that draw attention to their
presence.  

The major question that must be asked in Bobgan’s
interpretation is whether it aids in developing the
meaning of the playwright or is just affect for
affect’s sake.   As much as I enjoy, even encourage
creativity on the stage and breaking out of the
traditional box, I didn’t find Bobgan’s innovations
making much of a difference.  In fact, I found some of
the developmental and casting techniques distracting,
taking me off message.

I cannot perceive why George was portrayed by such an
old man.  In the emotionally charged drug store scene,
which I consider to be one of the most beautiful and
touching in modern theatre, I found the age
differences between the characters made much of
George’s awkwardness and youthful realizations unreal.
 Several other things were distracting.   In that same
drug store scene, the characters moved from being
seated across from each other in the drug store to
sitting away from each other and then with their backs
to each other.  It broke the intimacy of the moment. 
Why was this done?  And, near the end of the play,
after a day of rain, a mention is made that, “it is
clearing up.”  At this moment one of the characters,
pokes a long rod against ribbons of material hung from
the ceiling and snow begins to fall.  The meaning is
unclear.   Often characters’ physical movements looked
like kabuki movements, contrasting with the lines they
were thinking.   Again, I must ask, for what purpose? 
At times the actors moved as if they were robots. Why?

Many parts of the production were excellent.  Allison
Garrigan’s traditional white and mauve costumes worked
beautifully.  Chris Seibert was effervescent as Emily.
 Her “Oh earth, you’re too wonderful” speech was
compelling.  Sheffia Randall Dooley (Mrs. Webb),
Steven Hoffman (Dr. Gibbs), Brian McNally (Wally),
Elizabeth R. Wood (Mrs. Gibbs), Dennis Sullivan (Mr.
Webb) and Rhoda Rosen (Rebecca) were all excellent.

The addition of underscoring music added nicely to
setting the right tone for various scenes.

Capsule judgment: Raymond Bobgan’s stylization of ‘OUR
TOWN’ did little to enhance a beautifully written
script and, at times, distracted from the over-all
effect.  Creativity has its place in the theatre, but,
when used it must enhance, not distract.    I still
love ‘OUR TOWN.’  Anyone who has not seen a production
of the play, should.  If you’ve seen the play before,
Bobgan’s concept should encourage much discussion.

‘OUR TOWN’ runs through May 12 at Cleveland Public
Theatre.  For tickets call 216 631-2727.


Roy Berko's blog, which contains theatre and dance reviews from 2002 through 2007, as well as his consulting and publications information, can be found at http://royberko.info
      
Roy's theatre and dance reviews appear regularly 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.  His reviews also appear on www.coolcleveland.com

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