A Theatre Buff Reviews The Madness of George III

The Madness of George III is a masterpiece of storytelling. It covers a short period—the summer of 1788 to the winter of 1789. As George III developed a host of agonizing bodily ailments and took leave of his senses, the Prince of Wales, courtiers and parliamentarians all tried to take advantage of the unstable political situation.

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Chick Reid and Tom McCamus with Cameron Grant, Patrick McCamus, and Ryan Cunningham. Photo by David Cooper

Tom McCamus as George III captures the physical torment, the mania, and the horror of being treated by physicians whose methods were primitive at best and brutal at worst. Machiavelli could have written the script for the conduct of the entourage that sought to benefit at the King’s expense.

It’s an intense play, with moments of humour and endearment. The humour stems from the ministrations,  musings, and examinations by the physicians.  The endearment is present between “Mr. and Mrs. King”, Queen Charlotte and King George III, who first met on their wedding day. They developed an enduring love that produced fifteen children. Unlike the regents before him, George III was known to be a faithful husband.

The Madness of George III is one of four Shaw plays that will linger in my memory. The other three are: Saint Joan, Middletown, and 1837: The Farmers’ Revolt. With only one more play to see, I can declare it’s been a fine season. Thank you Shaw Festival.

The Madness of George III is playing at the Shaw Festival in Niagara-On-The-Lake until October 15, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to friends and family who want to prepare themselves to help fulfill the final wishes of someone they love. 

A Theatre Buff Reviews Three Plays

This summer feels like the season of too many plays and too few minutes at the keyboard. This is not a complaint, except for the bit about time because there are theatrical productions I have not commented on in a timely manner.

When I established this blog my commitment was to comment only on the plays that I enjoyed and to remain silent on the ones that did not move my needle toward “Enthusiastic.” Unfortunately, I’ve been silent on far too many productions for the only reason that distractions and obligations have abounded. I will attempt to make amends by first noting observations that I suspect are the result of seeing over thirty plays per year. Then I will provide impressions of three plays seen over the past month: 1837: The Farmers’ Revolt; Middletown; The Madwoman of Chaillot.

I’ve been struck this year by the power of theatrical ensembles. Perhaps it’s because I’m in my third year of having season’s tickets to The Shaw Festival that I am observing the ensemble performing a full range…from musicals-to dramas-to comedies. I’ve heard actors changing accents as easily as they switch costumes, and I’ve watched them easily inhabit a role playing a different gender.  As my basketball playing husband would put it, “The ensemble is an incredibly gifted team. Each player can move easily and skilfully between offence and defense, and any one of them is capable of being a star player. Shaw has a strong bench this year.” Point taken!

The other feature that has struck me is the power of a small stage embraced by the audience on three to four sides (At the Shaw: 1837: The Farmers’ Revolt, Middletown, Androcles and the Lion. At Stratford: The Madwoman of Chaillot, The Virgin Trial [see A Theatre Buff Reviews The Virgin Trial]). For my husband and me it’s a riveting experience. The staging connects us to the storytelling and the performance in a way that is quite different from observing a play on a proscenium stage.

With these observations out of the way I can move on to impressions of three plays. If you can catch only one play at Shaw this year, and you are a Canadian,  then make it 1837: The Farmers’ Revolt.  

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Travis Seetoo, Ric Reid and Donna Belleville. Photo by David Cooper.

(The Americans who make up a large part of the Shaw audience, are staying away in droves I understand…their loss.) Rick Salutin is the playwright; the story addresses the Upper Canada Rebellion. It’s history that I certainly did not learn in elementary school probably because that history was written by the victors, the ‘ruling class’ who in this portrayal are “thieves, rogues and villains”. The staging is superb. There’s a rhythmicity to the performance that is like a heartbeat throughout the production. The strength of the ensemble is extraordinary.

Middletown at The Shaw is a play that asks if anyone can really know what goes on in the heart and mind of another. Middletown profiles life in a small town where inhabitants have histories that others will not let them forget or they’re newcomers seeking to develop friendships and roots in a place where others have lived for generations. The staging is intimate. That quiet space makes it possible for one character to observe that he “wants to calmly know love on earth and to feel beautiful” and for another to note that we’re “born with questions and the world is the answer”. Unlike 1837: The Farmers’ Revolt there are leading actors, Moya O’Connell and Gray Powell. Their performances are outstanding and they are superbly supported by their peers. It’s been some weeks since I saw this performance and I can still return to the last few scenes in my mind’s eye. Middletown raises questions that that are part of living an examined life.

The last play to comment on is The Madwoman of Chaillot.

The Madwoman of Chaillot, Stratford Festival 2017

Seana McKenna as Aurélie, The Madwoman of Chaillot. Photography by Cylla von Tiedemann.

I saw this production over a month ago and sadly, did  not keep my notes. It’s a well crafted play, creatively staged, that explores the literal and figurative  underground of  Vichy France. There’s an element of fantasy that would have been a welcome solution had the Resistance had access to it, but that was not the case. In a curious instance of synchronicity about the time I saw this play I was reading a novel about the period, and also came across the obituary of Simone Veil .Vichy France was a grim period of what is still recent history. Thank goodness for people who inspired the development of characters like the Madwoman of Chaillot and her friends, and for real life survivors like Mme Veil.

With all the theatre I see, there is more than my happy quotient of musicals. In a fit of pique last season, I actually cancelled our Mirvish subscription and thereby missed out on Come From Away! (We have renewed for this year and have been granted a second chance to see this award winning production). Given my contention that not every story lends itself well to a musical I did see two superb productions this season: Guys and Dolls at Stratford and Me And My Girl at Shaw.  Go see them for the sheer joy of watching the dancers perform.

1837: The Farmers’ Revolt  is playing at the Shaw Festival until October 8, 2017.

Middletown was playing at the Shaw Festival this summer. The last production was September 10, 2017.

The Madwoman of Chaillot is playing at the Stratford Festival until October 3, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to people who would like to be prepared as they help fulfill the final wishes of a family member or friend. 

A Theatre Buff Reviews An Octoroon

If you can get past two men in jockey shorts, revealing more buttocks then you might care to see, then you will likely enjoy, and appreciate, An Octoroon. It’s a nineteenth century melodrama (The Octoroon) embedded in a twenty-first century play (An Octoroon). Had I read my program notes before the play began, I might have understood this fact and been more relaxed about the actors revealing their glutei maximi on stage, and then applying white face and red face make-up as they prepared for the melodrama.

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Ryan Cunningham Starr Domingue, and André Sills. Photo by David Cooper.

An Octoroon explores racism from the perspective of both centuries. As we watch the performances of a black actor in white face and white actors in black face and red face, “We cannot not see race while watching this play. We cannot declare ourselves colour blind and get away with it.”1. It’s a disruptive theatrical technique that is profoundly effective.

At its simplest, An Octoroon is the entwined story of the sudden foreclosure of a southern plantation and the consequences for a  young woman, Zoe (Vanessa Sears), of mixed race who thought she had been assured her freedom by the legal papers her recently deceased father (the plantation owner) had signed some years before. But where there are issues of rights, freedom, property, and love, nothing is simple.

The performances by the ‘slaves’ (Lisa Berry, Kiera Sangster, Starr Domingue, and Ryan Cunningham) are compelling in part because the playwright Branden Jacobs-Jenkins has liberated the actors’ voices by his stage directions: “I don’t know what a slave sounded like. And neither do you.” He might have also added, and I don’t know how they acted either. The result is an effective mash-up of language and conduct with the language moving between southern cadences/pronunciations and modern street-talk, and the conduct ranging from obsequious to cheeky. André Sills who plays three roles portrays the playwright, BJJ, with anger and resignation, and draws clean distinctions between the kind but ineffective heir, George, and the scheming plantation owner, M’Closky.  Patrick McManus is in character at the outset as the verbose and drunken Irish playwright of The Octoroon and then for the remainder in red face as he plays a reserved and faithful Indian. Diana Donnelly (Dora) plays the white heiress who, if only George would marry her, could join two plantations together. We’re left with the distinct impression that were that to happen she would not be bothered with the details of day to day operations.

There are two scenes in this play within a play—the slave auction and the knife fight—that for different reasons are seared in my mind. The auction is foreshadowed by a bill of sale that is handed out with each program. I thought that reading The Book of Negroes might prepare me for that experience. It did not. The knife fight is extraordinary acting. It’s performed by André Sills who plays George/M’Closky, and is literally the struggle between good and evil.

If you plan to attend be sure to look up Br’er Rabbit (Samantha Walkes) on Wikipedia. Understanding the folk lore will help you to understand the timing of the appearances of this character who has Nanabush qualities.

An Octoroon makes for superb, if somewhat discomfiting theatre. It’s well worth your time. Catch it before it leaves the Shaw Festival (Niagara-On-The-Lake) after the October 13th performance.

  1. Program notes by Jennifer Buckley

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to people who would like to be prepared as they help fulfill the final wishes of a family member or friend. 

A Theatre Buff Reviews Dancing At Lughnasa

 

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Diana Donnelly, Fiona Byrne, Tara Rosling, Claire Jullien, and Serena Parmar. Photo by David Cooper

Dancing At Lughnasa is a poignant story skillfully told. It’s narrated by Michael (Patrick Galligan), the love child of the youngest of the five Mundy sisters (Fiona Byrne, Diana Donnelly, Claire Jullien, Serena Parma, and Tara Rosling), as he remembers the month of August in 1936. Michael was seven years old at the time. We get a sense of an intelligent lad who is a keen onlooker and eavesdropper as he plays just outside the kitchen window, hides behind bushes, and, I suspect, listens in from the upstairs landing at bedtime.

Watching Dancing At Lughnasa is as close to déjà-vu as many of us will ever encounter. The farm-house kitchen, the household work, the women’s attire and the right of place for the Marconi were all familiar to me from my mother’s family photo album. Even the conversations between and amongst the sisters felt familiar: the propriety of five middle-aged women attending the harvest festival; the longing for new shoes, or a pretty dress; the worry about how to stretch a sparse meal to include Michael’s father (Kristopher Bowman) at the table; the health of an elderly uncle and rogue priest (Peter Millard). These women were leading a life at the margins alleviated by interactions with Michael and by programs from their beloved Marconi. And when that programming included music they would joyfully and enthusiastically abandon their worries to the pleasures of Irish dance.

Dancing At Lughnasa works on many levels: memory, family, community and religion. It’s a story of time and place that can, as it did with our group of four, engage the audience’s imagination. The performances are superb. Dancing At Lughnasa is playing at The Shaw Festival in Niagara-On-The-Lake until October 13, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. Bonnie Lendrum has just completed her second manuscript. It’s currently out for review to readers selected for their abilities to be critical, blunt, and polite. Stay tuned!

 

A Theatre Buff Reviews Saint Joan

Sara Topham-photo by Travis Magee

Sara Topham – Photo by Travis Magee

Four hundred and eighty-eight years after she was burned at the stake in Rouen, Joan of Arc was canonized by the Catholic Church. It’s a remarkable distance of time for healing of wounds and righting of wrongs. Equally remarkable to me as a writer, is that in 1923, or three years after her canonization, Bernard Shaw had successfully mounted his play, Saint Joan, in New York. It’s Shaw’s keen observation of political and social tempests, along with his formidable productivity that have made me an admirer. Imagine what his output might have been had he had a word processor and Google!

Tim Carroll’s production of Saint Joan at The Shaw Festival is accomplished. The action takes place on a raked pentagonal stage. It’s a stark set augmented by the introduction of translucent and illuminated cubes and rectangular columns which hide/reveal actors. The performers, with the exception of the clergy are in modern dress. I state these features at the outset because the effect of the staging, lighting, and costumes is critical. It focuses the audience on the dialogue, the subtleties of gestures, and the meaning of words. The performances are compelling. There’s Joan’s (Sara Topham) radiant hope, the Dauphin’s (Wade Bogert-O’Brien) ineptitude and self-absorption, the Earl of Warwick’s (Tom McCamus) pragmatism, and The Inquisitor’s (Jim Mezon) conflict. These actors are supported by a fine cast.

Saint Joan is not an easy play. The dialogue is complex; the political and theological arguments twist and turn. Historians and theatre aficionados will value it and perhaps love it. (I’m in the latter category.) First time theatre goers, however, might want to begin with a more light-hearted play—perhaps a musical. My husband, an engineer, appreciated this production of Saint Joan, although he commented that he would not have enjoyed it forty years ago. (Thirty plays a year for the past several years has made him an astute observer.)

This production has me anticipating Tim Carroll’s work during his tenure as Artistic Director at the Shaw Festival.

Saint Joan is at The Shaw’s Festival Theatre until October 15, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to people who would like to be prepared as they help fulfill the final wishes of a family member or friend. 

A Theatre Buff Reviews Androcles And The Lion

Cast of Androcles and The Lion - Photo by David Cooper

Cast of Androcles And The Lion – Photo by David Cooper

The Shaw Festival’s  Androcles And The Lion is a delightful production. It’s fun, interactive, and can leave one with the impression that it’s improvisational at points. However, the impression of improv theatre is just that; these actors know their material to its core.

The premise of the play is taken from a classical folktale whereby a runaway Roman slave, Androcles, relieves a wounded lion of the thorn in his paw and then benefits from the lion’s hunting prowess. Throw in George Bernard Shaw’s variations to the story to advance his views on religion, politics and vivisection, and the play becomes a comedy.  Androcles (Patrick Galligan) is a Christian and a vegetarian; the Christians being rounded up for death in the Colosseum are happy people who routinely break into song; the Roman centurion (Shawn Wright) is a buffoon; the Captain of the Roman Guard (Kyle Blair) has fallen in love with Lavinia (Julia Course), a beautiful and devout Christian; and Ferrovius (Jeff Irving) a muscled young Christian fighter struggles to reconcile his violent tendencies with his  faith.

The play becomes interactive when members of the audience change the momentum of the story by tossing coloured balls onto the set, and change the direction of the action by re-designing the set. I saw a preview; it was superb. It’s one more example of the energy at Shaw this year under the directorship of Tim Carroll.

Androcles And The Lion is playing at the Court House Theatre until October 7, 2017.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices. It’s a gift to people who would like to be prepared as they help fulfill the final wishes of a family member or friend. 

A Theatre Buff Reviews: Adventures Of The Black Girl In Her Search For God

Brilliant! That’s my conclusion about Lisa Codrington’s one act-one hour play, Adventures of The Black Girl In Her Search For God. Codrington pulls no punches yet leaves the audience in stitches, unless the theatergoer happens to be an older white male. At least four such men exited within the first twenty minutes of the production I saw yesterday. It was their loss.

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Adventures Of The Black Girl In Her Search For God is an adaptation of a novella written by George Bernard Shaw in 1932. At the time, it was a radical piece for an old white guy to publish. The play is an exploration by a inquisitive, orphaned black girl of theism, colonialism, slavery, racism, atheism, evolution, scientism and feminism. The script is tight; the set is small, yet astonishing; and the acting* is superb.

I’ll not say more. As the calendar has rolled into September I am limiting observations for a Theatre Buff Reviews. Writing time for my current manuscript is taking precedence over promoting plays I have enjoyed.  I would refer you instead to some excellent reviews on Adventures Of The Black Girl In Her Search For Godhttp://www.theglobeandmail.com/arts/theatre-and-performance/theatre-reviews/bernard-shaw-short-story-adaptation-is-the-highlight-of-the-shaw-festival/article30673122/     and https://nowtoronto.com/stage/theatre/the-adventures-of-black-girl-search-for-god-review/        

With eight plays ticked off and two more to go, Adventures Of The Black Girl In Her Search For God  and Master Harold and The Boys have been my highlights of the Shaw Festival’s 2016 season.

Adventures Of The Black Girl In Her Search For God has been playing in the lunch-time slot at the Shaw Festival’s Court House Theatre, Niagara-On-The-Lake. It has one more show date and that is  September 11th. If you cannot catch it then, watch for it over the next few years. It’s bound to reappear.

*Actors: Natasha Mumba, Guy Bannerman, Tara Rosling, Ben Sanders,Kiera Sangster, André Sills, Graeme Somerville and Jonathan Tan.

Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humor despite sibling conflicts, generational pulls and career demands.