THE BASICS: OF MICE AND MEN, the drama by John Steinbeck, directed by Kelli Bocock-Natale, runs through April 16, Thursdays through Saturdays at 8 p.m. at The New Phoenix Theatre, 95 Johnson Park (716-853-1334) www.newphoenixtheatre.org. Over two hours with one intermission. Small bar with water, soda pop, beer, and wine. Limited parking on Johnson Park, but Elmwood Avenue is just steps away.
THUMBNAIL SKETCH: It’s the now classic story of two migrant workers during the Depression, George Milton and his physically strong but mentally challenged friend, Lennie Small, as they try to leave a past troubled by Lennie’s mis-behavior and find their own place in The Great American Dream. The final scene between Lennie and Curley’s Wife is one of the most dramatic moments you will ever witness.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: The direction is tight and well-choreographed. The acting is some of the best you’ll see. So good, in fact, that we’ll hold that for a moment, and right up front praise some of the often unsung production elements.
The set by Paul Bostaph is perfection and especially impressive given the small size of the venue and I’m assuming (in Buffalo) the small budget he probably had to work with. You’d never know that he didn’t have a Hollywood bankroll. The New Phoenix Theatre often adds a platform projecting into the audience and because of that you see the entire set as you enter, and it is stunning in its gritty realism. We loved Paul Bostaph’s whimsical set for A MIDSUMMER NIGHT’S DREAM, and this latest effort shows his wide ranging talent. Where to begin? At the back of the stage are the crude boards of what will be the ranch hands’ bunkhouse, Crooks’ cabin, and the fateful barn scene, all magically transformed by sliding bunks, beds, boxes, barrels, and bales as needed. Projecting into the audience is a dusty streambed where we first meet George and Lennie. You want a little theater magic? Real water as the two kneel down to drink and wash their faces in the stream.
I had been looking forward to this play more than any other in a long, long time. And why? The play, the director, the venue and, in all honesty, the publicity stills of the actors in their costumes. Those costumes (and make-up?) by Betsy Bittar are so organic, so convincing, so well-worn and well-balanced with the other costumes in the ensemble, that I just had to see them on stage. I wasn’t disappointed
I had been looking forward to this play more than any other in a long, long time.
The lighting by Chris Cavanaugh was believable, subtle, never “stage-y,” and very effective. I’ve had the privilege of sitting next to a lighting director during a couple of shows and it’s really an under-appreciated art, if you ask me. If you do your job to perfection, absolutely nobody notices. That’s the whole point of course, but it’s easily forgotten. As to the use of pre-recorded, off-stage, “crowd noises” (the overheard comments of a sort of “Greek chorus”) that came off as a little gimmicky, and would have been fine, except that it ran counter to the hyper realism of everything else,
Great incidental music upon entering the theater, though, is a New Phoenix trademark, and once again established the mood. This time it was blues, played and sung by Robert Johnson, as recorded in 1937, the year Steinbeck’s novella OF MICE AND MEN was published. Nice touch. At first I wondered why we were hearing blues sung by a black man to open a play about white field hands. Ah, wait for it. One of the many, many parallels in this play was the opening music with the scene in Crooks’ room in the back of the stable. Crooks, being black, was not welcome in the bunkhouse with the white workers, and his scene opens with actor Johnathan Foreman playing his harmonica to drive away his loneliness. And that loneliness is paralleled in every character.
And let’s give praise to Production Stage Manager Tara Rowe Foreman (great last name for a manager, no?). The set changes were crisp and there were no awkward moments. Again, as with lighting, if she does her job really well, absolutely nobody notices.
Now, on to direction! I’m a big Kelli Bocock-Natale fan and if you see her name connected with a play, you should go. I think one secret to her success is that she is collaborative. That’s a popular word these days, but are any of us really good at that? The best way I can approach this is to ask you about the last time you cooked breakfast for a large group. Did you become the Kitchen Kaiser? Or did you let others help? And if so, how that that go for you?
Now, when I say collaboration, I’m imagining that in one of the critical scenes of the play, Act II, Scene 2 where Lennie and Curley’s wife are alone in the barn, a scene of completely believable and really scary physical violence, and one that you will never, ever forget, that Kelly collaborated with Greg Natale (Lennie) and Candice Kogut (Curley’s wife) who are also directors in their other lives. Again, I’m just guessing, but the end results speak for themselves. This is one helluva well directed scene in one helluva well directed show. Don’t miss it.
Now, on to the actors. There is a lot of seasoned, veteran talent on that small stage so you can just relax and let the play unfold. John Fredo plays George and according to his bio has been in over 125 productions in WNY. His role is very nuanced. He has to be loyal to Lennie without pity, tough with others without being aggressive, and keenly observant without being a know-it-all. At one point in the play the character Candy is willing to give George his life savings and I would too! John Fredo just brings that sense of humanity, trustworthiness, and likeability to the role.
Greg Natale plays Lennie. And for a big guy, man can he move! He flops down, he cowers, he rushes at you, and even standing still he’s always 100% in character, with little hand motions, head motions, slightly stepping this way and that.
Candy replies that he’s worked a whole lot of weeks in his life and doesn’t remember one of them, but he’s never forgotten that one night. Amen.
And talk about believability! Jack Agugliara is Candy, the old worker missing one hand. That’s it. He IS Candy, not an actor on a stage. Hardly ever does an actor completely inhabit a role the way Agugliara does. And he delivers one of my favorite lines in any play, ever, when questioned about the wisdom of spending a whole week’s wages for one night of “entertainment.” Candy replies that he’s worked a whole lot of weeks in his life and doesn’t remember one of them, but he’s never forgotten that one night. Amen.
Right up there in completely inhabiting-the-role department is John E. Kennedy as Slim, the “mule skinner” (who drives a team of mules during the harvesting). The character, like George, is one of the only two on stage who can think clearly, and Kennedy delivers the right amount of gravitas.
And special kudos to veteran Candice Kogut as Curley’s Wife. She has no name in the play, Steinbeck wrote it simply as “Curley’s Wife” and it’s a critical role. The play itself is so well written that you could make a case for each character being the most important person on stage at any moment, and Candice delivers.
Jamie O’Neill as Curley, John Profeta as Carlson, Justin Fiordaliso as Whit, and Jonathan Foreman as Crooks round out the cast.
In sum, go. But when you go, try to get a seat facing the stage, not off to the side. Usually at the New Phoenix, side seats are fine, but not for this play.
Photos:
John Fredo (left) as George and Greg Natale as Lennie.
Greg Natale as Lennie in the barn scene with Candice Kogut as Curley’s Wife.
*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!