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THE CITIZEN, WEDNESDAY, JULY 21, 1999. PAGE 27.
‘Due South’ star to play
Hamlet at Stratford
Theatre review
‘School’, thought-provoking fun
Tales of Nip
Ted Johns, right, portrays Nip, just one of his cast of char
acters in the one-man show, The Great School Crisis of ’99
at the Blyth Festival Theatre.
By Janice Becker
Citizen staff
From hilarious to quiet and
thought-provoking, Ted Johns’
depiction of eight characters in his
one-man play, The Great School
Crisis of '99 at Blyth Festival
Theatre, is wonderful entertainment.
It is particularly enlightening for
those who just don’t understand
where the current government is
going with several policies and for
others, an opportunity to laugh at
the nonsensical rationale used to
explain them.
School Crisis is far less a story
and much more a series of vignettes,
each giving a different character a
chance to espouse, rant or shrug
their shoulders, and the political cli
mate and its effect on the education
system.
The tale begins darkly as the stem
figure of Rev. Robert Murray, one of
the first school superintendents in
this province, emerges from the
shadows, announcing his resigna
tion and mocking those who will
follow him.
Reminiscent of a fire and brim
stone preacher of the past with a hint
of Scottish brogue, Murray chides
Bishop John Strachan and his suc
cessor, Egerton Ryerson.
Admitting to having accom
plished absolutely nothing in his
two-year-tenure from 1841-1843,
Murray says he thanks the
Education Act for his “accomplish
ments”.
He predicts that one day there will
be equal education for all, funded by
the province, where the rich and the
poor have access to the same educa
tion.
In a quick off-stage change, Johns
emerges as Dr. Elizabeth Kelly, a
practitioner in Huron County, who
worries that her daughter may not
have the educational opportunities
of those in Toronto.
As she chats with her patient
(unseen), a principal from the local
school, she takes shots at the pre
mier, judges the depiction of
women, the gender question, doc
tors, schools and welfare.
This trait of pointing out the
ridiculous, criticizing what seems so
obviously wrong and not sparing
any group is carried by each of
Johns’ characters throughout the
production.
The criticism is easy to laugh at
when in agreement with one’s own
beliefs, however, many comments
may strike a nerve in those of differ
ent political persuasions.
From the serious concerns of the
doctor to the light-hearted meander
through life with Nip, a welfare
recipient, the play jumps to life.
It is during the two appearances
by Nip that the audience seems to
have the most fun.
Nip is a guy who just never
seemed to quite make it in life and
seems contented to stay that way, in
spite of prodding by Wilma at
social services.
Though hilarious, Nip’s connec
tion to the education crisis is some
what unclear. His concern lies more
with the suggestion he become
involved in the workfare program.
When Helen Edgar, chair of the
parent council gathers with her
group, her fast-talking, enthusiastic,
yet completely frustrated thoughts,
are ones which could easily be
attributed to anyone who was
involved in last year’s campaign to
stop school closures.
Her rambling and complete
exhaustion at the end of her speech
is surely a feeling many have expe
rienced.
Brian Clark, the math teacher, is
one that every parent hopes their
child doesn’t get. He just doesn’t
care. Though he makes fun of the
teacher who volunteers, his ode to
Don, I’m sure sounded familiar for
many.
One of the driest portions comes
with the opening of the second act
as a Toronto trustee, Gerry Lastmen,
tells her woes to Dr. Kelly.
Though each statement is proba
bly true when she tells of the 20,000
children and dozens of schools
which are now her responsibility,
rural folks may find it hard to sym
pathize with the Toronto perspec
tive.
Familiar with the trials of the
Avon Maitland board, they won’t
feel sorry for Toronto despairing
about not being allowed to have an
orchestra or other extras just
because all other areas in the
province can't afford them.
They believe they pay the bill so
they should be able to have those
extras.
Fortunately, Johns quickly fol
lows the heavy tales of Lastman
with another visit from Nip.
One of the most poignant
moments comes when the elderly
Miss Heartwright recalls her days in
the one-room schoolhouse and her
final goodbye. It is sure to touch the
heartstrings, of many.
Throughout School Crisis, several
of Johns persona wax eloquently,
though at length, about the very
detailed, sometimes confusing,
finances and polices with which all
school boards deal. Though filled
with extremely valuable informa
tion of which everyone should be
aware, some of these heavy
moments tend to drag. The mind can
shut off when bombarded with too
much statistical information.
A delightful aspect of the produc
tion was Johns’ ability to portray
each character as an individual, only
with a costume change, a different
inflection in the voice and wonder
ful gestures which set them apart.
To my thinking, his portrayal of
Miss Heartwright was one of the
best.
An added touch was youthful
assistance from Kendra Fry, the
assistant stage manager. Instead of
hiding Johns’ character and costume
changes and set adjustments, they
were skillfully included in the fun.
Fry, in schoolgirl attire, proudly
pranced on stage to shift the desk
and help Johns fix his dress. When
waiting for him, her tap dancing
drew giggles.
Though’ School Crisis may not
suit all political colours, for most, it
should be a time to laugh at ail gov
ernment policies while still evoking
serious thought on just where our
once, highly-touted system is going.
Tell them
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Paul Gross
Stratford Festival Artistic
Director Richard Monette officially
announced July 3 that Paul Gross,
recognized internationally for his
role as Royal Canadian Mounted
Police Const. Benton
Fraser on the popular
television series Due
South, will make his
Stratford debut per
forming the title role
in the Festival’s 2000
production of Hamlet.
Gross will also play the role of
Jack, 14th Earl of Gurney, in Peter
Barnes’s The Ruling Class.
“I saw Paul play Romeo nearly
15 years ago, and was impressed by
his comfort with and handling of
Shakespeare’s text as well as his
magnificent charisma,” said
Monette. “I have offered Paul
several roles at Stratford in recent
years, but his schedule would not
permit a nine-month commitment
to the Festival. I am delighted that
Paul is finally coming to Stratford
to perform the role of Hamlet. He is
a major Canadian talent, whose
work on stage, television and film
has been much admired and
celebrated. I’m very much looking
forward to working with Paul next
year.”
Regarding this announcement
Gross said, “HamleflYl I thought
Richard said ‘omelette’ and I was
really hungry, so I nodded. Since I
discovered my error, I've been
reading volumes and at this point I
can confidently say I have no idea
what this bottomless play is about
(although I think it’s appalling the
way he treats his three daughters).
I’m avidly looking forward to both
the challenge and to joining the
venerable Festival company.”
Last produced at the Festival in
1994, Hamlet remains one of
Shakespeare’s most popular and
thought-provoking plays. The
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forthcoming production of Hamlet
marks the seventh time that the
Festival has presented this play
over its 48-year history. Paul Gross
joins an illustrious list of leading
men who have played the role of
the Danish Prince at Stratford:
Christopher Plummer, Kenneth
Welsh, Richard Monette, Nicholas
Pennell, Brent Carver, Colm Feore
and Stephen Ouimette.
Gross, best known for his
continuing lead role in Alliance
Entertainment’s Due South, is
currently in Toronto filming The
Judas Kiss, ay Alliance
Atlantis/CTV production for which
he is also executive producer. His
stage credits include Cat on a Hot
Tin Roof (Manitoba Theatre
Centre), Observe The Sons of
Ulster Marching Toward the
Somme (CentreStage), for which he
received a Dora Award for Best
Performance, and the title role in
Romeo and Juliet (Toronto Free
Theatre), for which he received a
Dora Award nomination for Best
Performance.
Hamlet will begin preview
performances Wednesday, May 3,
2000, and play in repertory through
Sunday, Nov. 5, 2000, at the
Festival Theatre. The Ruling Class
will begin preview performances at
the Avon Theatre Sunday, June 11,
2000, and play in repertory until
Saturday, Nov. 4, 2000. The rest of
the 2000 season playbill will be
announced in August.
Tickets will go on sale in January
to the general public, and in
November of 1999 to Members of
the Stratford Festival. Since tickets
are not yet on sale, a waiting list for
tickets for next year’s production
of Hamlet has been formed.
Anyone wanting to put their
name on the waiting list should
visit the Festival’s website at
www.stratford-festival.on.ca
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