THE BASICS: Thornton Wilder’s classic play, directed by Paul Mullins, at the Bratton Theater on the grounds of the Chautauqua Institution (your ticket is your gate pass) through July 12. Show times vary from 2:15 to 4:00 to 8:00pm. Runtime 2-1/2 hours with two 10-minute intermissions. This is the first of three plays presented by the Chautauqua Theater Company (CTC) this summer along with two plays in workshop.
THUMBNAIL SKETCH: With the traditional elements (bare wooden stage, very few props, authentic pre-WW I costumes, continuity provided by the “Stage Manager”) we are introduced to the people of Grover’s Corners, New Hampshire, including school-age sweethearts, Emily Webb and George Gibbs. The Bratton Theater has been (for this play) brilliantly reconfigured into “stadium seating” making for a more intimate setting. SPOILER ALERT: Bring some tissues or a hankie.
THE PLAYERS, THE PLAY, AND THE PRODUCTION:
If you’ve only seen your high school production or have only seen the movie (albeit with a brilliant score by Aaron Copland) you really haven’t experienced OUR TOWN. Director Paul Mullins and Scenic Designer Lee Savage have very cleverly arranged what I’ll call “stadium seating” by removing the first seven rows of seats, building a new stage, and creating the same number of rows on the opposite side. If you’ve ever been to a small town football game, you will immediately feel that you are there, looking across at your friends and neighbors, all experiencing an emotional moment together. My companion suggested that while we’ve all probably experienced the intimacy of theater in the round (with seating on three or four sides of the stage) for this play, this seating style offered the same intimacy, only more so . It’s a bit of theater magic, but not the only one.
One comment I received on a recent review was to not go overboard in praising (or panning) the actions of any particular actor since they are all being directed. So, before I comment on the excellent portrayals, let me give major praise to director Paul Mullins. There isn’t a thing that I would change with this production. So, with that in mind, I would like to single out some performances. What parts in those performances are the director and what part the actor I’ll leave to others.
Traditionally, the stage manager is played in an old, somewhat world-weary, “I’ve seen it all before” style, but this time that role is played by star of Broadway (most recently “Bombay Dreams”), film, and TV Manu Narayan who brings an energy and affection for the characters he introduces that was new to me. One nice director’s touch: usually the stage manager appears and sits on a step ladder and you know that the play has begun. In this production, Narayan comes out, makes a short fundraising speech, admonishes all to turn off their cell phones, and then seamlessly begins the play. Very clever. As with the reconstructed stage, it’s an effective way to break down the barriers between the play and the audience.
Michael Potts, also a star of Broadway, film and TV (“True Detective,” “The Wire,” “Gotham”) brings a believability to the role of Dr. Gibbs. It’s so nice to watch seasoned professionals. It really is.
And that goes for Andrew Borba (also the CTC’s Associate Artistic Director) as the slightly edgy editor of the local newspaper (and Emily’s father) Mr. Webb. These days, in popular media, husbands and fathers are either played as overly sensitive wimps or overly critical Neanderthals. Borba avoids these extremes and instead brings a humanity to the role that is compelling. The awkward speech with his future son-in-law the morning of the wedding is not to be missed.
In her eleventh season at CTC, Broadway actor Carol Halstead plays Mrs. Gibbs, dealing with a teenage son and a husband who is married to his job (he’s the town’s only physician) with grace and dignity. And equally seasoned professional, Sheila Tousey, plays Mrs. Webb.
The program gives no biographies for the actors portraying the two characters about whom we care the most – Emily and George, but they are excellent in their roles. And again, director or actor, I was hooked. SPOILER ALERT & FULL DISCLOSURE: I’m a sap who gets really choked up by TV commercials for Subaru cars, Folger’s coffee, and Traveler’s Insurance. I was reaching for the tissues about fifteen minutes into the Act I because I knew what was going to happen. Audrey Corsa as Emily and Myles Bullock as George totally had me at first appearance. Your mileage may vary, as they say.
Theater magic? There are little gems all over the place. Here are just a few: When the milkman comes on stage, other actors rattle real glass bottles (remember those?) for sound effects, and then later VO a hen house full of angry chickens. Delightful. Some actors take on extra roles seamlessly, which is a bit magical, at least to me. And the “freeze frames” were so professionally executed. We get two, and in a play that is essentially freezing a moment in America right after the turn of the 20th century, suddenly freezing the action onstage adds a dreamlike “looking down from heaven” effect that is very powerful.
My dad once advised me that, if I ever needed to go to a hospital, given a choice, to always go to a “teaching hospital” (one allied with a school of medicine) since they would not cut corners and would use the latest techniques. CTC is a “teaching theater” and they never cut corners either. Everything is first class, as it so often is at Chautauqua. And so, yes, it’s a bit of a drive (over 75 miles) from Buffalo, but most of the performances are matinees, so you can be back before dark. And if you get there early, you can stroll the grounds and visit the bookstore. Note: tickets at the main entrance are held until one hour before the show, at which time they are taken to the box office and so they will issue you a temporary gate pass. Did I mention the bookstore?
Don’t let any previous experience with OUR TOWN influence you. Make an effort to attend.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!