[NEohioPAL] Berko reviews: STRATFORD FESTIVAL THEATRE, CANADA

[Roy Berko]

The Stratford Shakespeare Festival of Canada is in full production
 
Roy Berko
 
(Member, American Theatre Critics Association)
 
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The Stratford Festival of Canada, located in Stratford, Ontario, is waiting for 
you!  Great theatre, good food, and nice scenery. 

 
My reactions to the plays I saw were:
 
Superb, totally involving THE LITTLE YEARS
 
            Every once in a while a play and production so captures the 
imagination, and is so emotionally moving, that it deserves the designation of 
“superb,” in a class of its own.  Stratford’s THE LITTLE YEARS is such a play 
and production.
In his masterfully written script, John Mighton examines how life’s 
circumstances, societal attitudes, and our significant others affect our 
psyche.  The author rightly describes his creation as being, “about lost 
opportunities and lost potential.”
            Kate, a math and science prodigy, is persuaded by her mother and 
teachers that her ambitions and perspectives are unrealistic for a young woman 
in 1950.  Her brother William, however, is celebrated and nurtured for his 
genius.
            As we watch, a transition of twenty years takes place and we 
experience the horrific effects of the decisions made.  Kate is a self and other 
outcast, William’s star has burst.  She puts her thoughts and feelings into a 
set of diaries, which when later found and read, brings about dramatic changes 
in the lives of both Kate and William’s daughter.
            This is a poignant chronicle of a meaningful life unlived, but 
allows for a potential bright future for another person because the life was 
lived in the way that it was.
            The festival’s production, under the laser focused direction of 
Chris Abraham, is compelling.  Abraham has taken Mighton’s words and created one 
of the finest pieces of theatre I’ve ever seen.  Irene Poole is mesmerizing as 
Kate.  This is an award winning performance.  The rest of the cast works as a 
focused unit to bring about an ending that brought tears and cheers from the 
audience.
 
Capsule judgement:  The Festival’s THE LITTLE YEARS is an amazing 
accomplishment.  It is an absolute must see.  I seldom give a play a standing 
ovation. At the conclusion of the production I was on my feet screaming as soon 
as I was able to get my emotions under control.
 
TWELFTH NIGHT delights 
 
            Twelfth Night is a romantic comedy. Despite the fact that the play 
offers a happy ending, in which the various lovers find one another and achieve 
bliss, Shakespeare shows that love can cause pain.
            The play, which has been called, “one of Shakespeare’s transvestite 
comedies,” contains plot ideas which include that the clear lines of gender are 
uncertain and ambition is folly.
            Like many of Shakespeare's comedies, this one centers on mistaken 
identity. The leading character, Viola, is shipwrecked on the shores of Illyria 
during the opening scene. She loses contact with her twin brother, Sebastian, 
whom she believes to be dead. And thus the elements are set for love, comedy and 
fun.
            Des McAnuff’s directing is focused.  The cast is outstanding, the 
timing wonderful, the visual and special effects attractive, the sets add to the 
production, and Michael Roth and Des McAnuff’s musical interludes are 
wonderful.  Tom Rooney shines as Malvolio, Cara Ricketts is wonderful as Maria, 
and Stephen Ouimette steals the show as Sir Andrew Aguecheek. 

            
Capsule judgement:  TWELFTH NIGHT is a delightful production which nicely holds 
the audience’s attention.
 
The un-MERRY WIVES OF WINDSOR
 
            It’s pretty bad when the best part of a theatrical production is the 
intermission. 

            This is the sixth time that the Festival has produced THE MERRY 
WIVES OF WINDSOR.  In the past lives, the productions have been called fun, even 
giddy.   Unfortunately, that’s not the case with the present poorly directed, 
poorly paced, mainly humorless production.  

            Merry Wiveslooks at life in sixteenth century Italy. Sir John 
Falstaff arrives in Windsor very short on money. He decides to court two wealthy 
married women, Mistress Ford and Mistress Page. Through a series of fanciful 
incidents, Falstaff finds himself in a clothing hamper, thrown into the Thames, 
and generally disgraced.  Duels, threats, sexual innuendoes, sarcasm, and 
rejection open the door for potential delight.
            Unfortunately, in the misguided hands of director Frank Galati, the 
script falls flat.  Geraint Wyn Davies is not funny as Falstaff.  Nigel Bennett 
can’t be understood as Doctor Calius.  Janet Wright develops no characterization 
as Mistress Quickly.  And, that’s only the tip of the complaints.
            As someone in the audience said at intermission, “This is the 
unfunniest funny play I’ve ever seen.” His companion said, “Let’s get some wine, 
maybe that will make the second act better.”
 
Capsule judgement:  THE MERRY WIVES OF WINDSOR is a poorly conceived production 
that is not only boring, but close to embarassing!
 
 
TITUS ANDRONICUS…a compelling horror of revenge
 
            In this age of racial, cultural and religious conflicts, civil 
incivility, and political intractability, it seems only proper that the Festival 
showcases a horror play about the folly of revenge.  

            TITUS ANDRONICUS is one of Shakespeare’s least produced shows.  It 
is no wonder.  Featuring rape, severing of hands and a tongue, torture, 
beheadings, rape, vile verbal outbursts, a live burial, cannibalism, and mass 
murders, this is not a play for the weak  of stomach.  It is a nonstop tale of 
abominations.
            The play is set during the latter days of the Roman Empire, and 
tells the fictional story of Titus Andronicus, a generalwho returns from years 
of war as a conquering hero, but with only four out of twenty-five sons still 
alive. He has captured Tamora, Queen of the Goths, her three sons, and Aaron the 
Moor. In compliance with Roman rituals, Andronicus kills Tomora’s eldest son to 
avenge the death his own fallen children.  This act earns him Tamora's promise 
of revenge.  Thus the path is etched for the ensuing blood bath.
            The production, under the focused directing of Darko Tresnjak holds 
back nothing. Performed in a thrust stage with the audience close to the action, 
almost too close as every vivid detail jumps out, the action is visually and 
emotionally startling.
            The cast is universally strong, with John Vickery totally believable 
as Titus, the beautiful Amanda Lisman heartbreaking as his raped and disfigured 
daughter Lavinia, Claire Lautler, properly hellish as Tomara and Dion Johnstone 
evil incarnate as Aaron.  

 
Capsule judgement:  Filled with visually repulsive action TITUS ANDRONICUS is a 
repugnant lesson about revenge that is not an easy sit in spite of getting a 
transfixing production.
 
CAMELOT, a perfect place, a perfect time, a perfect love story!
 
            Allan Jay Lerner and Frederick Loewe often center their musical 
plays on finding the perfect place, time and love story.  What could be a better 
place than Camelot, (“in short, there’s simply not a more congenial spot for 
happ’ly ever-aftering”); the era of King Arthur and his “might for right” round 
table of knights; and the love of Arthur and Guenevere (or is it Guenevere and 
Lancelot?)?
            The fantasy has wonderful music:  I Wonder What the King is Doing 
Tonight?, The Simple Joys of Maidenhood, How to Handle a Woman, What Do The 
Simple Folks Do?, I Love You in Silence, and the theme song.
            The sets, costumes, lighting, music, and performances are all top 
notch.  Director Gary Griffin’s directing is traditional, but effective, and the 
choreography is in keeping with the music and the time period.
            Geraint Wyn Davies makes for a picture perfect King Arthur.  Kaylee 
Harwood is radiant as Guenevere.  Her voice is lovely and she is totally 
believable in the role.  Jonathan Winsby is handsome and sings and acts the role 
of Lancelot well, but he just doesn’t have the physicality needed for the role.  

 
Capsule judgement:  “Don’t let it be forgot, that once there was a spot, for one 
brief shining moment, that was known as Camelot.” Right now that place is 
Stratford’s Shakespeare Festival where the show is getting a fine production.
            
            I did not get to see JESUS CHRIST SUPERSTAR.  Sources I trust raved 
about it.
             Hotels, motels and bed and breakfasts abound.  I like Avery House, 
330 Ontario Street (800-510-8813) where Sue makes wonderful breakfasts and Judy 
is Mrs. Clean!  Park your car and walk everywhere.
            Hungry?  For moderate cost and high quality, try The Annex Cafe (38 
Albert Street) and Simply Fish and Chips With a Twist (118 Downie Street), which 
subscribes to the Ocean Wise program for fish stability.  

            My wife can’t get out of the Touchmark Shop (137 Ontario Street), 
which was awarded the Chamber of Commerce 2010 Excellence Award, without bags 
full of original Canadian clothes and jewelry.          

            Packages can be arranged by Stratford Escapes 
(theatrevacations.com),is an efficient way to make reservations.  For individual 
tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.
 
Go to Stratford, Canada!  Find out what lovely hosts Canadians are, and see some 
great theatre!