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 Period play stoops just the right amount, and conquers By Adrian Chamberlain
Director Paulette Hallich, who hit the right notes with last summer's A Midsummer Night's Dream in Victoria, has done it again. She Stoops to Conquer marks a return to form for Chemainus Theatre Festival... First performed in 1773, She Stoops to Conquer was a reaction to cloyingly sentimental comedies of the period, in which every character was a good person. Responding to this toothless world view, Goldsmith created a rollicking palate-cleanser populated by amiable louts, pompous twits, an ineffectual hero and scheming young people. In other words, a farcical world that's fun rather than soppy. Hallich understands what Goldsmith was after. Accordingly, her interpretation conquers by "stooping" to a bawdy broadness, bristling with energy and replete with audience-pleasing physicality. These qualities, which also made her Midsummer Night's Dream so delightful, work rather well here. Combined with a charming, clever set and sumptuous costumes, CTF has created something appeals to the modern theatregoer without pandering. The play pivots on a simple plot device. The handsome young hero, Charles Marlow, is a gentleman who gets lost. He is directed to what he believes is a rustic inn. In fact he's been tricked. The "inn" is, in fact, the home of his would-be in-laws, the Hardcastles. When Marlow and his pal start bossing his hosts around as though they own the place, the frolics begin. Goldsmith suggests that an imperfect world can be embraced just as happily as an idealized one. For instance, an ale-swigging slob, the appropriately named Tony Lumpkin, is allowed to return to his oafish lifestyle despite his mother's attempts to civilize him. And far from being a swashbuckler, Marlow is an anti-hero who becomes morbidly shy around women of his own class. This character flaw is rectified when he stoops to consort with a lower-class member of the opposite sex -- the only sort with whom Marlow feels comfortable. Of course, the barmaid turns out to none other than the squire's daughter. His therapeutic flirtations convince him his fears of upper-class females are groundless. In this smartly cast show, all performers articulate with commendable clarity -- an essential in 18th-century pieces with mannered dialogue. Notables on Friday night included William Groth as an amiable but flummoxed Mr. Hardcastle, and Pam Hyatt, who makes Mrs. Hardcastle snobbish, silly and somehow likable. Gordon Roberts, a John Goodman-type with an expressive face, is a natural clown, well suited to the role of Tony Lumpkin. The handsome Dirk van Stralen certainly looks the part, but his Marlow seems a bit of a cardboard cut-out at times. A little more panache and a smouldering sense of eroticism in appropriate scenes would go a long way here. Hallich has a knack for clever stage business, shown here to good effect. The performers are forever gesturing grandly or acting out funny little physical gags. Typically, when Lumpkin gives Marlow direction, he accompanies the mention of an "old mill" with an exaggerated impersonation of a water wheel. Some might find this approach a touch over the top but I believe it works quite well here. Sam Whittingham's set is a three-piece, semi-abstract affair, built to become an ale house, a country manor and more. Each rectangular segment is essentially a set of drawers and doors that surprise and delight as they undergo various circus-like transformations. Also top-notch are Maury Drummond's rich and imaginative costumes and wigs, which reference the period, yet possess a whimsy all their own.
Play Makes Light Work of Whimsical Story By Lexi Bainas
Theatregoers immediately will spot that She Stoops to Conquer takes place in the 18th century, but that is also the last time they will notice it. The Chemainus Theatre Festival's production of Goldsmith's famous play, running until May 20, is simply great entertainment. It's silly, its characters are off the wall and yet surprisingly modern and real, the timing is great, the presentation is tight and the whole experience is just a lot of fun for all ages. The story is light and comic: a man tells his daughter she is to marry a bashful fellow and she, liking the young man's looks, decides to find out if she can get him to abandon his shell. A subsidiary tale sees her best friend try to elope despite attempts to hook her up with a drunken fool. Sounds pretty thin, but clever writing and insightful acting combine here to breathe plenty of life into some lovable characters. Sarah Donald as the heroine, Kate Hardcastle, and particularly Sarah May Redmond as her friend, Constance Neville, manage to turn themselves into a couple of girlish conspirators. Donald is sprightly as she applies herself to the role of barmaid in which she tries to capture the eye of young Charles Marlow, known for favouring such gals in preference to more respectable females. Redmond takes Director Paulette Hallich's direction to 'let it rip' to heart and her slightly over-the-top rendition of Constance is a great foil to Donald's Kate. Eye-rolling, hip-switching and hand-waving are all in the part and Redmond takes full advantage of these old-fashioned tricks to more than hold up her side of the action. Their men- Dirk van Stralen as Marlow, and Mark DuMez as George Hastings- are equally up to the task. Goldsmith didn't give DuMez too much to work with but the actor manages to convey the idea that Hastings is lively and sophisticated enough for Constance while still willing to support his friend's endeavours to overcome his cursed shyness. In the original play, Van Stralen has plenty of scope to showcase both sides of young Marlow. In his extended chats with the 'barmaid' we get to learn that he's quite a rip with a certain brand of London ladies, but this production has been shortened slightly so some of that is missing. However, van Stralen uses his body to tell us he's pretty sure of himself while his first meeting with his intended bride also delivers. He spends so much time bowing, scraping and looking at the ceiling, that we believe her when she claims he never actually saw her face and can now deceive him into thinking she's a lady of 'another stamp.' Pam Hyatt's tour de force as Mrs. Hardcastle is worth the price of admission all by itself. This is a case where the word 'veteran' combined with 'actress' equals one heck of a compliment. From the top of her ridiculous wig to the tips of her toes, Hyatt is a disappointed woman who takes refuge in scheming to grasp a fortune for her sot of a son, Tony Lumpkin. Goldsmith looked at life with a tolerant eye and we see something of him in Mr. Hardcastle, played by William Groth. Plays written earlier have shown this country gentleman contemptuously but She Stoops to Conquer broke new ground and Groth gives him a gentle dignity and a lot of humanity. Some word has to be included about the scenery and the costumes. Sam Whittingham has designed a simple but multipurpose set that blends beautifully with costumes from the imaginative Maury Drummond. The entire look of the play somehow conveys the soft warmth of old parchment by firelight without seeming dry or dusty and clever lighting allows the single set successfully to serve as a reception room, a village inn and even a garden outdoors at night. She Stoops to Conquer runs at the Chemainus Theatre until May 20. Ticket prices range from $25-51. Showtimes are 8 p.m. for evening performances and 2 p.m. for matinees. Call 1.800.565.7738 or 246.9820 to reserve.
'She Stoops' Modern Fun By Sandra Steilo
Director Paulette Hallich says in her director's notes for She Stoops to Conquer, Chemainus Theatre Festival's latest, that 'deception abounds' in the play. That really is an understatement. Also when I spoke with her she said while the play is set in the 18th century, it seems it could be a modern sitcom. That is true too. With all the twists and turns and misunderstandings between all the characters, it kind of reminded me of an episode of Three's Company- with wigs, men wearing tights and a lot of cleavage of course. What remained the same was the quest for love, or companionship, money and having fun. The costumes, including the wigs, the gorgeous dresses and the men's outfits were well done and the dialogue for the most part was very well done by all the actors. The play is one of the more bawdy ones I've seen at Chemainus, but was by no means in poor taster. A couple of the jokes got a few gasps and giggles from the audience, but everyone seemed to enjoy the production. After a slower moving first half, in which all the deceptions and twists were created, the second half had more action and laughs as slowly the characters realized what was up, and then set up even more deceptions to get themselves what they wanted. It was funny to watch as the characters set themselves up for the inevitable failure in their capers- again much like an episode of a modern sitcom. This is the first play set in the 1700's Chemainus Theatre Festival has tackled and kudos must go to the cast. Some of the lines sounded difficult to get out and I must admit, a little hard for me to follow, although the play ran smoothly. I must be watching too many episodes of sitcom TV. She Stoops to Conquer is something different for the Chemainus Theatre festival and worth checking for a fun, silly night at the theatre.
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