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HomeMy WebLinkAboutThe Wingham Advance-Times, 1984-08-15, Page 19Q 1 Serving over 24,000 homes in IJstowel, Winghe, Mount Forest, Milvertgn, Arise, Arthur, Drayton, yton, Harriston, Moorefield, Palmerston, Bloomingdale, 'Breslau, Conestogo, Elmira, Heidelberg, Linwood, Maryhill, St. Clements, St. Jacobs, Wallensteln, Wellesley and West Montrose. Wednesday, August 15, 1984 At the Stratf i0LANTHE-An up -dated version of Gilbert & Sullivan's "Iolanthe" at the Avon Theatre is proving to be the hit of this year's Stratford Festival season. Appearing in this scene are, from left: Karen Skidmore as Liela, Allison Grant as Celia, Karen Wood as Fleta, Maureen For- rester as Queen of the Fairies, and Avo Kittask as Private Willis. (Photo by David Cooper) Maltere's- play an absouteltriurnph `Tartuffe' is something special. by Ruth Tatham "Moliere" was the pen name of France'sgreatest comedian -play- wright; he, whose real name was Jean Baptiste PoqUelin, lived in the seven- teenth century. When he died at 51, he had--to—his credit some of the finest characterizations of frauds and phon- eys ever penned. He has been trans- lated into many languages, and his plays have been staged 'ever since he wrote them. The Stratford Festival has pjoduced several of 'them over past years. "Tartuffe", the Moliere play of this 1984 production season at Stratford, on the main Festival Theatre Stage, is an absolute triumph. It is beautiful to be- hold, which is not surprising., Tanya Moiseiwitsch is its designer, and she has been weaving her stage magic since that first great production of "Richard III" in the big circus tent 32. years ago . . the night, July 13, the , sante night as this opening of "Tar- tuffe". She was in the audience this opening night again. Three of the original actors of 32 years ago are featured in this produc- tion of "Tartuffe" - Douglas Campbell as Orgon, Amelia Hall as his mother, Madame Pernell, and William Needles as Monsieur Loyal, the bailiff. At the end of the opening night, to waves of applause, Douglas Campbell came front and centre, and as one of that or- iginal triumvirate, thanked the people of Stratford for their courage in at- tempting the venture and backing it through all its years of progress until today it is "recognized as one, of the world's foremost theatrical, events and sites." Mr. Campbell in a warm but brief speech, thanked as well all the countless actors and helpers of the dec- ades, • • and then introduced in person the two other "charter members". It was a touching end to a thoroughly enjoyable evening. Brian Bedford is at his best as Tartuffe, the arch -conniver, who arrives at Orgon's wealthy door- step, poor and pious ... along with a faithful servant who is also p. and p. Tartuffe assumes an air of such astounding virtue that Orgon, who is blind to scam, falls totally into Tar- tuffe's plan. He gives him a home `a liv- ing, ,and the place of honour. He listens to Tartuffe's advice. even when it de- fames or supplants his own family members. Without ever being asked, he makes Tartuffe, his heir, and then to make Tartuffe truly "family" decides to marry his own gentle daughter to the much -older -and more worldly Tartuffe. This means that the daughter's fiance, Vetere, a noble and handsome young chap who has been promised Mariane's hand in marriage by her father (Orgon),. is now out of luck, But worse, Mariane can't tolerate the idea of marrying Tartuffe whom she des- pises. However, she is too sweet and obedient to defy her father's wish. What will be done? Tartuffe, clad in pious black, adorned only by. a crucifix, appears to- rule the-- hous6hold, .and even his enemies seem powerless. Dorine, the very outspoken house -maid (she is SO outspoken to her master, Orgon, that one wonders what secret hold . she may have over him) , tries to foment resistance to the mar- riage of Mariane, her beloved protegee, to Tartuffe. She is threatened with ban- ishment from the household by Orgon. He simply will not hear a single breath of criticism of his noble and beloved Tartuffe. Indeed, as Dorine says, he is bewitched by Tartuffe, almost as if his brain had been taken over by Tartuffe. But Tartuffe has not quite everything he wants. One thing, or one person, re- mains beyond his greedy control — Elmire, the beautiful and clever wife of Orgon, and mother of his children, Mariane and Damis. Seemingly quiet and passive, Elmire is the stern stuff in this play. When Tartuffe, whom she dis- trusts thoroughly, makes amorous ad- vances toward her, she determines to upset his plan. Her husband will not be- lieve her or her son, Damis, when they say that Tartuffe is wooing her. Such lechery and treacherousness are not within the pure soul of his beloved friend. "Prove this to me," says Orgon. "Prove it to me and when I see it with my own eyes, I will believe it, and not before!" ....., To save her daughter, Elmire does just that and in a final scene, the gull- ible Orgon sees the true colours of Tartuffe's treachery, and tries to toss him out into the night. But, Tartuffe is too wily. He has been made Orgon's heir, and has the legal documents to prove it. And he has cust- ody of the strongbox holding some dam- aging political papers, papers which if known to the King of France, would be the ruin of Orgon and Elmire's son, Damis, a hotheaded radical youth Tartuffe attempts to take all and Or- gon and family are to be banished "forthwith" because of Damis' ap- parent treason. This must be turned around and turned around it is by Moliere, although the "happy ending" is too old-Holly- woodian for most 1984 people! The fiendish smirk of Brian Bedford as he leers his intent toward the audi- ence ends the first half of the play, and his fiendish leer ends the later part .. as estiva if to say, "Down but net out, folks!". Mr. Bedford is truly an actor's actor, an actor of the top handful who have come to Stratford, Ontario, over the years. Don't miss his "Tartuffe". He is ably supported by Domini Blythe as Elmire, and Nicholas Pennell as Elmire's brother. Not only is Mr. Pennell unfailingly flawless as an actor . an abiding joy to each audience .. . but his diction is so perfect that every syllable reaches every ear. That is the true meaning of stage speech .. to .im- part meaning ...so why is it so hard for some actors and actresses to produce audible speaking? For example, the veteran actress Pat Galloway has been acting on the Stratford stage for years and years; and is one of the "regulars", and yet, her well -acted Dorine, the cheeky housemaid, had to depend on physical or body language almost to- tally because with her speed of speech, and tendency to chew every word in ra- pid succession, she gave the audience half a treat instead of a whole treat. Itis a recurring worry to us, and that in- cludes me and every person who goes with me on the "other" of two tickets, that SOMEBODY in command has not refused to accept Miss Galloway's dic- tion. She dilutes many fine physical acting situations by her poorly -under- stood diction. Douglas Campbell returns to Strat- ford this year with the role of Orgon and is excellent, .absolutely believeable. No mean feat when playing the part of a totally -gullible but successful business- man. Amelia Hall adds one more of her stellar roles. Now an elderly lady, Miss Hall gives each portrayal her "all" and she is a "real pro" at acting. Here, she spits out whole pages of exaggerated praise of Tartuffe, setting the action up perfectly for Tartuffe's downfall. After all, NOBODY could be THAT perfect! Miss Hall, who is a very tiny woman, commands -any stage on which she acts — just as little Helen Hayes, the grande dame of the American theatre, has been able to convince audinces she was the 6 -foot -tall Mary, Queen of Scots. Being big is thinking big✓ And last of all, let us praise the beau- tiful Domini Blythe, who creates an Elmire of such grace and strength that we see this as true "Women's Lib" — the ability to dominate a situation in a totally traditionally feminine way, yet separate lies from truth, and by sheer goodness and steadfastness of charac- ter, to bring truth to its triumph. This "Tartuffe" is something special. Moliere set out to a paint a picture pf sham, and to give it its "come- uppance". He would be proud of this production of his classic. by Nancy Tatham `Iolanthe': The Stratford Festival continue to produce delightfully rejuvenated works of Gilbert and Sullivan with this sea- son's new offering, "Iolanthe". The operetta, subtitled "The Peer and the Peri", is all the more entertaining in this, an election , year, as it concerns mortal Members of Parliament who are both plagued and smitten with a band of immortal fairies. Iolanthe (Katharine Megli), once the darling of the fairy band, returns from a lengthy exile (imposed for her having Married a mortal MP) at the behest of her fairy friends. Her son, Strephon, is enamoured with Phyllis, a ward in chancery, but is thwarted in his at- tempts at marriage because he is a low- ly shepherd and Phyllis is admired by wrier ous.nternbers of the peerage .. . and so; the Fairy Queen and her troop make Strephon an MP whose bills are always passed! Havoc breaks loose and the fun is underway! As in former G&S productions at Stratford, Marie Baron (Phyllis) has the lead soprano role. -Sweet and true though her voice may be, for the third year in a row it is not strong enough; 'es=-~ pecially when paired with the lusty bariton of Paul Massel (Strephon — and one of last year's Gondoliers) . For many of the cast this is at least their second G&S at the Avon Theatre: Eric Donkin engagingly tongue -twists through the patter songs of the sus- ceptible Lord Chancellor, Douglas Chamberlain is a roly-poly, lovestruck Earl Tollolier, and the favorite for facial expressions is once again Karen Wood (Babs, a fairy) who can. quickly entertaining, topical draw a laugh with a simple roll of her saucerlike eyes. It is. Marueen Forrester as the Fairy Queen who is constantly rolling the audience in her palm and into the aisles. She deadpans, she bellows, she sweeps on and off stage in a swing, and rolls on and off (dresses as Brittania) in a chariot. Great humor results when Miss Forrester, a most solidly -built wo- man, joins in the kicks and skipping about of the lithe and light fairies — and the viewer's pleasure is heightened with the obvious enjoyrnent of Miss Forrester, herself. She is a charming ham, a consummate performer and a sometimes nasty Fairy Queen who promises the stubborn peers that they shall "learn to live in dread of the new Arts Council Itead"! Miss Forrester . became head of the Canada Arts Coun- cil earlier this year. This, an updated version (the original was written for a decidedly British audience and first produced in 1882) is splendidly topical for those even vaguely familiar with the parliamen- tary system — jabs are poked at all levels and parties of government. Both book and Lyrics have been Wel- comed to 1984 Canada; the Fairy Queen, when instructing her followers in ways to avoid involvement with mor- tals, no longer compares herself to an "Oh amorous dove" but instead allows that she cools her passion with "Oh CBC"! Diehard G&S fans will be pleased that the revamped version has retained Gilbert's ' irreverent wit and that Sullivan's music, often hauntingly beautiful, is wonderfully arranged and directed by Berthold Carriere. It . is again the direction and choreography of Brian Macdonald and the costume and set designs of Susan Benson which team perfectly for a splendid and splendiferous show. Fairies in magical purples and greens can -can and kick like saloon hall girls; peers gallop about in flowing robes of red velvet topped with ermine mantles, and Act I's finale is an hilariaus jazz - gospel -minstrel show. Magnificently, wooden crates unfold to become bridges surrounded by bul- rushes and, later to become Big Ben and the Houses of Parliament; pigeons ap, pear by sleight of hand and humans sprout wings on-stage; a sentry box ... well, "Iolanthe" plays for the next few months if anyxone is interested in what. happens' with iliisentry box. . The show is "introduced" by 19th century stagehands setting upthe pro- perties. Cleverly the audience is at once made aware that the operetta is fantasy because parts of the backstage can be seen and stagehands.reappear, but the audience is also tricked because the ``reality" of the backstage is in face a subtle part of the 'show! At the beginning the hands call for the diva — she struts on and it is, of course, Miss Forrester dressed as a snooty and self-important diva of the late 1800s. She asks which show it is that she is to appear in this evening and, when told "Iolanthe", turns and deadpans, "That it should come to this"! That it should and that it does is the fortune 'of those -able- to attend "Iolanthe:' at the Avon this summer. by Ruth Tatham Bedford's Bottom steals show All the "beautiful people" were there and it was a beautiful production. For the latest of many stagings at the Stratford Festival, "A Midsummer Night's Dream" is being staged on the main apron of the Festival Theatre. Opening night was indeed a "gala" as advertised. Many notables, theatrical, political, and under -employed wealthy were there. The trouble with "A Midsummer Night's Dream", as many of you have heard me say before, is that it is a fluff of a play. From one vantage point in 1984, you may well say, as do 1, that it is anachronistic to stage a play all about fantasies and fairies and a play-acting weaver who clumps around with a don- key's head over his own pate. We have more urgent things about which to think — things like nuclear disarmament, tall ships getting sucked to the ocean's bot- tom in the wink of an eye, and which favored middle-class politician will lead the major political parties to glory, or what passes for glory. On the other hand, when all these great worries swirl around us, perhaps the wisest thing we can do is to shelve them for a few hours, and settle back to watch some pure fluff, beautifully en- acted. And so, let's float along the greeny - buff paths of the forest, swathed in filmy circles of gauze and sparkles, with pointy little ears like miniature Spocks. (Don't worry, Star Wars, Star Treks and all other celestial trippers, we've found Dr. Spock, reincarnated in all these little hairy fairies at Stratford, with their little pointed ears Spocking cutely) . We'll become just a few more anony- mous actors in a dream drama, with no fixed identity . • . joining all these Strat- ford actors whe float around and mouth cute Shakespearean quotes, demon- strating that there are a lot of enjoyable things in this world which make no sense at all. The most famous quote of this play is probably, "What fools these mortals be ! " And in surveying our headlong run toward self-destruction by nuclear armament, the fairies and kings and queens of the forest prove that mortals who take themselves too seriously per- haps are fools. - Only one actor stands out of the whole play especially ... in a long line of act- ors who have offered the role of Bottom, the Weaver to us at Stratford, Brian Bedford in this version is surely the best. He wrings little turns of the tongue, he lifts an eyebrow and changes a speech's import, he is so dominant that he upstages everyone else when he is with us. He never laughs at the poor workman whose head becomes that of an ass. He loves him and makes us love him, and smile with him but never de- mean him. I wish I could pile up praises for Nicholas Fennel. He is a great actor, and apparently a great acting teacher. Maybe his heart was not in the roles of Theseus, the Duke of Athens and his dream counterpart, Oberon, King of the Fairies. We hesitate to' say he had "opening night nerves" because he has never before seemed to differentiate between opening night and later nights in terms of the broad, full performance he gives. Therefore, I say merely that I wonder if this dual -role really appeals to him. Certainly, not even the greatest of actors could feel and express the pin- nacle of emotion for each play. Some roles must stand out as "the best", and others fall short. This two -king role for Mr. Pennell was an "also ran" as far as we were concerned. Designer Desmond Heeley has given us a truly beautiful production, a feast for the eyes with some delightful stage properties . • and that sums up this whole production. Go on down to Stratford to see this "A Midsummer Night's Dream" if you are interested in a visual treat„ in a lot of to- tally ridiculous plots, some unbeliev- able characterizations of unbelievable characters, and some snatches of light background music. Go to Stratford if you want to•see the begonia beds and the clinging• geraniums at their best (never lovelier). Go to Stratford if you want to get an early view of the addi- tions being attached to the Festival Theatre. Go to Stratford if you want to rest and smile and soak up the atmo- • sphere ... and wonder what the world would be like if we could start all over with innocence in' a garden, when an apple and a man and a woman started the whole allegorical life of the human race. Ponder how the race might have turned out if it had not stooped to jea- lousy and deceit. Because even in this dream garden of Shakespeare, there is jealousy, there is deceit, there is greed. And when the dream ends, the more real world involves politics and ambi- tion and human beings trying to snatch a, few laughs from the harsh world of eking out an existence from weaving, or tailoring, or mending bellows. The most human people in the whole play are the illiterate folk who stage the little play within a play, pathetic in their ordinari- ness but touching in their sincerity. There it is. The beautiful people are not as real as the ordinary people. Beautiful inside — beautiful ordinary people. Remember that, Ronald Reagan and all you far-off Russian leaders. The little, ordinary people of the world just want to go on living their little, ordinary lives. Don't blow, thein off the face of the world with a nuclear missile.