TH EATER
BY ANNA G RACE
A FINELY WOVEN TALE
Lane Community College presents Charlotte’s Web
“ T
errific!” “Radiant!” “Humble!” Any of
these web-woven words can be used to
describe E.B. White’s timeless story of a
spider who saves her friend Wilbur with a
few, well-chosen adjectives. For decades
readers have fallen in love with the
thoughtful little pig as he negotiates a barnyard full of
opinionated critters and kind-hearted humans who have
every intention of eating him.
Director Sparky J. Roberts crafts a high-energy play
full of humor and action. She sets the scene with slide
projections and short video clips, then the scrim rises to
reveal a massive barn interior with ladders, hale bales and
plenty of nooks and crannies for the characters to play
through. Joseph Robinette’s script neatly transfers the
story to stage and has the honor of being approved by
White himself.
The animals clearly steal the show. From shuddering
sheep to strutting geese, a lot of work obviously went into
the physical performance. Nick Caisse’s Templeton is half
break dancer, half con artist and all rat. Talia Barnes is an
elegant Charlotte the spider. Ben Buchanan genuinely
expresses Wilbur’s youthful curiosity and open-hearted
adoration of his friends. He really is “some pig!”
Those cast as humans have tougher jobs, as they serve
more as a chorus than characters. John Arredondo receives
laughs as Lurvy the farmhand.
Roberts directs this play with an eye to her adult
audience as well. She cast several U.S. military veterans and
subtly highlights their contributions to society throughout
the production. While Charlotte’s Web is by no means an
allegory for war, a connection
on can be made in
Charlotte’s sacrifice for her dear friend Wilbur.
The production is set in the 1950s, with music
and costuming. The nostalgia is a touch heavy, as
the ’50s were a time of innocence
ocence and idealism
for only a select few, and putting
ting a timeless story
in an overly stylized period is s jarring.
This play should be packed
ed with children. My
9-year-old co-reviewer Owen
n was enthralled. But
press materials say, “Because e of the show’s length
(90 minutes with an intermission)
ission) and emotional
content, children must be at least eight years old
to attend the performances, no exceptions.”
Staging a great adaptation
beloved
on of f a be
belo
love
ved
d
children’s book and not allowing
children?
wing ... child
ldre
ren?
n?
Wrong. Younger children, like
ke all of u us,
s,, can
an
see that there is suffering in the world. Since
S nc
Si
nce e
it is impossible keep our children
ch
hildr
d en
dr
e n from
f ro
r m
feeling pain, it is downright unet
unethical
e hical to
o deny
them access to arts that help p all of us humans
make sense of the world. Charlotte’s Web is
beautiful precisely because it t deals with the cycle
of life and death. While the show is not for
toddlers, any thoughtful school-aged
ool-aged child will be
entertained and moved by this
his play. I would havee
snuck my own 7-year-old in n had she not opted to
stay home and watch football
ll with her grandma.
Ultimately, E.B. White’s s message of love and
perseverance is one we all could
uld stand reviewing, and
LCC presents a colorful, engaging
gaging adaptation. ■
FERN ɑCRISTINA
HERNANDEZɒ
AND WILBUR
THE RUNT
Charlotte’s Web runs Oct. 4-20 at LCC; $10, $5 for children 12 and under.
flig
hts
Get Your Tickets Now!!
of
im
ag
in
ati
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on
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SEVEN SHOWS ONLY
October 26-November 10, 2012
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Music by Dan Studney
Lyrics by Kevin Murphy
Directed by Joe Zingo
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Juilliard String Quartet
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2
★ 201
IRON
E E F R
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N
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EUGENE
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★
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