Three and a half hours is a long time, depending on the
context. It’s longer than any of “The Lord of the Rings” films, a baseball
game, and most middle school relationships. It’s especially long for a play.
Screen
Plays, a local community theater group that produces “Hollywood’s Golden Age on
Stage,” is currently performing John Osborne’s 1957 play, “The Entertainer,” at Geva’s Fielding Stage. Clocking in with three acts and two intermissions,
it’s an ambitious undertaking for a non-professional organization.
“The
Entertainer” often falls into the category of “kitchen sink realism,” a British
art and cultural trend in the 1950’s and 60’s that featured “angry young men” —
usually working class — who were disillusioned with society. Think family drama
meets metaphorical activism. “The Entertainer” was written more so for an angry,
middle-aged man, and it featured a 50-something-year-old Laurence Olivier in
the leading role both onstage and in a 1960 film adaptation.
The story
follows Archie Rice (portrayed here by William F. Alden), a music hall
entertainer in the English countryside whose career is fading during the Suez Crisis.
(Both topics probably hold more meaning for a British crowd, but audience
members in this show will appreciate Director Jean Gordon Ryon’s thorough notes
in the program.)
Rice is a
womanizer in his second marriage, with three grown children and a retired
showman father who lives with him. The plot also focuses on Archie’s daughter
from a first marriage, Jean Rice (Marcy J. Savastano), who is visiting from
London after a disagreement with her fiancé.
The cast is
filled with familiar faces; Screen Plays tends to work with many of the same
actors over and over. On one hand, it’s a common theme in community
theater — but it does lend a danger of the same “characters” popping up
in every show.
“The
Entertainer” isn’t a musical, but there is a lot of music, and Musical Director
Andrew Links actually penned some of the songs himself. Alden does most of the
singing, with a few solos by Greg Ludek (who plays Billy Rice) and Daniel Soto
(who plays Archie’s son, Frankie). If the music had been written for true
musical performers, this may have worked. But as it stands, both the addition
of musical numbers and music hall performers and showgirls seemed unnecessary
and really did not complement the strengths of the cast. Accents, likewise,
were all over the place geographically and should have just been dropped.
Throughout
the show, there were two things on stage that elicited strong emotional
reactions: an audio speaker that made almost constant buzzing and beeping
sounds each time it was used (rage); and the ever-present glasses full of gin
(envy).
There were
some moments where the cast’s talents glimmered through; several scenes and
bits of dialogue felt authentic and engaging. (Savastano, especially, is
usually a pleasure to watch onstage.) But overall, the show was reminiscent of
a line delivered by Archie in reference to his own psyche: “…dead behind the
eyes.” In addition, the barrage of racist and sexist slurs and slang throughout
the script felt unintelligent and outdated, rather than contextual.
In regard to
costumes and set pieces, the time period was consistently hard to gauge. It
felt more like the early 20th century in both design and tone, rather than
mid-century. There were some odd choices as well, such as what appeared to be a
spattered paint drop cloth haphazardly hung as a backdrop. In many ways, the
aesthetic decisions felt underdeveloped.
Screen
Plays, which marks five years in 2017, is still a fairly young ensemble. As
with any community theater in the area, sometimes the group is limited to the
abilities of those who audition. In that case, though, it may be better to
choose a simpler show or a shorter run in a smaller house. Ryon, who is Geva’s
New Plays Coordinator by day, has directed for the group many times in the
past, but this show isn’t her strongest work.
On Geva’s
website, the play is listed at three hours, including two intermissions, it’s
really more like three and a half (not to mention Saturday’s performance didn’t
start until 7:10 p.m.). Unless you have a really spectacular cast, a stunning
script, or celebrity status, you don’t have a warrant to keep people inside the
theater for three and a half hours during Rochester’s brief summer. Not to
mention, the Xerox Rochester International Jazz Festival is happening
concurrent with the run of this show — which means there’s world-class
entertainment just down the street.
This article appears in Jun 28 – Jul 4, 2017.
First off, Screen Plays production of The Entertainer is not perfect. And the play is clunky in parts (most of Osbornes plays are). But there were many beautifully executed and acted scenes throughout the evening. I applaud the company for staging Osbornes rarely performed in this country — masterpiece. With that stated, what strikes me most about Leah Stacys review is all the missed opportunity. Does she analyze the plays interpretation? No. Does she consider why someone as savvy as Jean Gordon Ryon would mount a production of the play in America in 2017? No. Does Stacy applaud any aspect of the piece in clear, concise detail? No. Is she specific about the artistic choices that are not successful in the production? No.
I would like to know what Stacy thinks a theatre critics duty is to the public. She does not write reviews; she writes off topic summaries. Her lack of interest, or maybe insight, adds nothing to the public dialogue about theatre.
Stacys summary is littered with misinformed head scratchers. She argues that, the addition of musical numbersseemed unnecessary and did not compliment the strengths of the cast. Though Andrew Links composed new musical arrangements, John Osborne, the playwright, wrote the lyrics. The musical numbers are an intricate part of the narrative. They are not an addition. Does Stacy bother to read the program notes? No. The songs reflect the music hall turn as the play moves forward. They are sung a bit off key because they are being sung by broken-down music hall performers. Stacy later takes an empty, crowd-pleasing stand when she writes, the barrage of racist and sexist slurs and slang throughout the script felt unintelligent and outdated, rather than contextual. The use of that language is supposed to be unintelligent and outdated. It is being spoken by the unintelligent and the outdated. The only characters to use it are the older generations, not the young. The oldest member of the family, Billy, uses it the most. It is also contextual because this ugly language used by the old order is also present in Archies empty, unfunny music hall routines. The world is moving on. But does Stacy even ask herself why Osborne would use such language in context? No.
Stacys summary of The Entertainer is a pitch perfect example of all Osborne is criticizing about the death of culture and country. In the play Phoebe states, You like a nice play. But I cant sit for long; Id rather have a spot of pictures. Stacy begins her summary stating she cant sit for long if the plays context is off and then makes reference to a film. Archie Rice makes empty jokes to a clapped out crowd; Stacys review contains a joke about the length of a middle school relationship and the old chestnut about Rochesters brief summers. The play is riddled with empty political posturing directed at the ill-informed. Refer to the earlier example of Stacys take on foul language or how she states that the plays subject matter, probably hold[s] more meaning for a British crowd.
Dead behind the eyes indeed.