More reviews from Ashland
‘Man and Superman’: perfect parlor comedy
“Man and Superman’’ is perhaps Shaw's
most ambitious work. It is very wordy—as most
of Shaw’s works are—and if done entirely it
would take over six hours to produce.
The play includes an entirely self
contained play within a play, “Don Juan in
Hell,” where characters from the surrounding
play meet in Hell to discuss Shaw’s
philosophies.
The Festival has chosen to stage
separately “Don Juan in Hell” and a truncated
version of “Man and Superman.” The editing
leaves the audience with a delightful, yet still
political, Edwardian drawing room comedy.
The strength of the production lies in Joe
Vincent’s portrayal of Jack Tanner, the free
thinking member of what he calls the Idle Rich
Class.
Vincent’s timing is impeccable, his
gestures correct, and his expressions faultless.
He manages almost single-handedly to carry
the entire show.
It’s needed. Director James Moll has not
been able to blend his characters sufficiently
well to make Shaw’s wonderful mix work.
Where Tanner is an independent man of
the world, his friend Octavius is supposed to be
a proper, but sensitive young man, aware of all
the correct conventions of the British upper
class.
But Allen Nause plays Octavius as a sorry
simp. He's too hand-wringing to be believed.
Childhood friend or not, the real Jack Tanner
would have long ago dumped this little twerp.
Joan Stuart-Morris, who plays the willful
Ann out to trap and marry Jack, is likewise out
of the control of director Moll.
She is supposed to be both manipulative
and enticing, but she's so full of herself that if
Jack weren't bound by the script to love her, he
should dump her too.
Michael Kevin does a creditable job as the
patriarchial Roebuck Ramsden, but he’s so
obviously too young for the part, he can’t carry
it off. The Oregon Shakespearean Festival
should not have to resort to such feeble
miscasting.
The remainder of the cast, however, is
excellent. Shirley Patton shows great restraint
and sensitivity as the typical empty-headed old
mother. And Gayle Bellows is tough and
businesslike as Octavius’ no-nonsense sister
Violet.
The production again demonstrates the
skill and professionalism of the Festival’s back
shop. The sets are exquisite and Jack Tanner’s
car, built from scratch across the street in the
scene shops, could very well be real.
Those among the audience expecting to
see the philosophical brigand Mendoza will be
disappointed—he’s been cut. But the script is
pure Shaw, and the production mostly lives up
to its source.
Ah, Wilderness!’ celebrates good ol’ days
It was fitting that “Ah, Wilderness!”
should play Sunday night. It’s a Sunday night
Kind of show.
“Ah, Wilderness!" is O’Neill’s only com
edy. It’s a gentle look at an understanding
American family watching its children grow up
and its adults grow old.
Jerry Turner, Festival artistic director, has
created an enjoyable, businesslike, creditable
production. Like the script, it’s not flashy, but it
glows.
The play takes us back to simpler times, to
small-town America early in this century.
Young Richard is reaching the age of consent.
He’s discovered poetry, and socialism, and
girls.
His father, Nat, the publisher of the local
paper, understands. There’s no screaming and
trauma. Nat knows his kids are good, and he
remembers himself what it’s like to grow up.
Phillip Davidson, as Nat, makes the show
work. His even-handedness, his calm, quiet
good humor set the tone for the play.
Craig Rovere, who plays Richard, is every
bit the post-pubescent teen-age boy. He’s
manic, he's emotional, he’s unreasonable, he’s
a charmer.
But no one really stands out in this cast.
They all shine, and that’s exactly what Turner
wanted.
It's the script that stands out, and it does
so very well.
Reviews by Jonathan Siegle
Staff
distractions Is a bi monthly arts and entertainment supplement of the
Oregon Daily Emerald.
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