The Admirable Crichton at the Shaw Festival

We found J. M. Barrie’s The Admirable Crichton, now playing at the Shaw Festival (Niagara-on-the-Lake, Ontario), so clever and delightful in every detail that we’ll see it again if we can. We haven’t enjoyed ourselves so much at the theater in a long time.

Nicole Underhay as Lady Mary Lasenby, David Schurmann as Lord Loam, and Steven Sutcliffe as Crichton

Crichton (pronounced “CRY-ton”) is a 30-year-old butler in the high-toned Mayfair household of the Earl of Loam (David Schurmann), described by the playwright in the printed version of the play as “a widower, a philanthropist, and a peer of advanced ideas.” One of Lord Loam’s ideas is that class differences are artificial, and he has decreed that, once a month, all the servants in his house must take tea in the drawing-room with him and his family as guests and equals. These social events are dreaded not only by Lord Loam’s three daughters, but also by the servants. Crichton, who as butler is head of the servants’ hall, finds them excruciating:

ERNEST: Do you know, Crichton, I think that with an effort you might look even happier. (Crichton smiles wanly.) You don’t approve of his lordship’s compelling his servants to be his equals — once a month?

CRICHTON: It is not for me, sir, to disapprove of his lordship’s Radical views.

ERNEST: Certainly not. And, after all, it is only once a month that he is affable to you.

CRICHTON: On all other days of the month, sir, his lordship’s treatment of us is everything that could be desired.

Lord Loam’s daughters know how profoundly uncomfortable Crichton is with this charade of equality:

LADY MARY (sarcastically): How Crichton enjoys it!

LORD LOAM (frowning): He is the only one who doesn’t; pitiful creature.

CRICHTON: I can’t help being a Conservative, my lord.

LORD LOAM: Be a man, Crichton. You are the same flesh and blood as myself.

CRICHTON (in pain): Oh, my lord!

Under pressure, Crichton reluctantly explains his distaste for “equality” to Lady Mary:

CRICHTON: My lady, I am the son of a butler and a lady’s-maid — perhaps the happiest of all combinations; and to me the most beautiful thing in the world is a haughty, aristocratic English house, with every one kept in his place. Though I were equal to your ladyship, where would be the pleasure to me? It would be counterbalanced by the pain of feeling that Thomas and John were equal to me.

Steven Sutcliffe as Crichton and Nicole Underhay as Lady Mary Lasenby

A few days after the “servants’ tea,” Lord Loam and his family leave on a private yacht for an extended voyage to the South Seas. Crichton suggests a kitchen maid, Tweeny, as ladies’ maid on the yacht for Lady Mary and her sisters, and Crichton himself is persuaded to go along as Lord Loam’s valet.

Two months later, the entire party is shipwrecked on a deserted island in the South Pacific, where it becomes immediately clear that Crichton is the only one of the Londoners with survival skills. Indeed, Crichton finds himself in his element, able, intelligent, and masterful. He disabuses his erstwhile superiors of the notion that they can continue to be idle on the island, and as “nature” takes its course, their roles are reversed: Crichton becomes a benevolent, respected master of a smoothly run island establishment, and the others, who call him “the Gov.” (which is how the servants back in London referred among themselves to Lord Loam), become his servants.

Ready to fend off a wild beast on the island

Nature also takes course in the form of a blossoming romance between Crichton and Lord Loam’s eldest daughter, Lady Mary (who in the new “natural” order of things has been rechristened “Polly”, just as household servants in London households were given arbitrary new names by their superiors). After two years on the island, none of the party expects to be see London again. The sight of a ship forces the issue of what must happen to their relationships if they were to be rescued and restored to Mayfair.

In this show, every touch from director Morris Panych is golden; every minute a dozen small things tickle your fancy. It all works: the narration, the costuming, the songs, the singing animals (Panych’s idea, not Barrie’s), the little bits of pantomime business, the vanity of Ernest, who annoys everyone with his epigrams. The narration is taken directly from J. M. Barrie’s stage directions (reading his plays in print is a treat). The animals sing clever arrangements of swing tunes from the 1920s in close harmony. The “servants’ tea” scene in the opening act is comic genius. Panych’s material is superb, as Barrie’s characters are fully drawn and brilliantly colored, and Panych has given this show all the sauciness and scope of a well-directed musical.

David Schurmann as The Earl of Loam and Marla McLean as Tweeny

What’s priceless, though, is the way this superb cast delivers Barrie’s lines. No better Crichton could have been found anywhere than Steven Sutcliffe. He is as commanding on the stage as a Mayfair butler as he is as the buff, masterful “Gov.” on the island. The diminutive Marla McLean is an arresting and remarkably convincing Tweeny. David Schurmann, a world-class Shavian actor, plays the naïve and ineffectual Lord Loam. We were especially glad to see the ravishing Nicole Underhay back at the Shaw Festival.  Her transformation from a bored, jaded Londoner to an exuberant, accomplished island-dweller is something to see.

Crichton is a marvelous character, and he’d probably be better-known today if The Admirable Crichton hadn’t been overshadowed by the the popularity of Peter Pan, and if P. G. Wodehouse had not created Jeeves, who since the 1920s has been by far the best-known fictional member of the English serving classes. Jeeves was not strictly speaking a butler; he was a gentleman’s gentleman, serving Bertie Wooster as valet, personal secretary, butler, and jack of all trades. Still, Jeeves and Crichton have a lot in common as polished, intelligent, well-read masters of their own domains.

We think Wodehouse, a man of the theater who happened to be one of J. M. Barrie’s cricket pals, surely had Crichton as one of his models when he brought Jeeves into being. Early in The Admirable Crichton, for instance, we learn that Crichton has an ulterior motive for promoting Tweeny as a maid for Lady Mary and her sisters on the yacht:  the promotion will elevate Tweeny’s social status and make her a more eligible mate for himself.

CRICHTON (after hesitating): There is in this establishment, your ladyship, a young woman —

LADY MARY: Yes?

CRICHTON: A young woman, on whom I have for some time cast an eye.

CATHERINE (eagerly). Do you mean as a possible lady’s maid?

CRICHTON: I had thought of her, my lady, in another connection.

LADY MARY: Ah!

We thought immediately of Jeeves. In story after story, as Wodehouse devotees know, Jeeves manipulates his employer to his will, whether to inveigle Bertie Wooster into taking a vacation in the country (so Jeeves can go fishing), to further a romantic scheme of Jeeves’s, or to tighten his control over Bertie’s selection of ties and dinner jackets. Like Jeeves, Crichton manages to further both his employer’s needs and his own personal wishes at the same time.

And who can doubt that the title of Wodehouse’s first great collection of Jeeves stories, The Inimitable Jeeves, echoes the title of The Admirable Crichton?

The two essays in the Shaw Festival’s program for The Admirable Crichton, by Mr. Panych and Michael Billington, claim to find egalitarian socio-political overtones in the play; Mr. Billington says it has “subversive implications.”  We don’t see it at all.  J. M. Barrie was a romantic, not a socialist, and we’ve never detected any political agenda in his novels and plays. Indeed, if anything political can be extracted from The Admirable Crichton, it would be the fundamentally conservative notion that class distinctions aren’t the bastard offspring of leftist bogeymen like imperialism, feudalism, and capitalism, but arise naturally in every society.

But Barrie did have, along with the similarly apolitical P. G. Wodehouse, a genuine sympathy for and interest in servants as human beings. The Admirable Crichton includes an exquisite portrait of the social distinctions between different kinds of servants in large English establishments. Consider what we learn when Tweeny is interrogated by Lady Mary as a possible lady’s maid for the voyage:

LADY MARY: And you and Crichton are — ah — keeping company?

(CRICHTON draws himself up.)

TWEENY (aghast): A butler don’t keep company, my lady.

LADY MARY (indifferently): Does he not?

CRICHTON: No, your ladyship, we butlers may — (he makes a gesture with his arms) — but we do not keep company.

AGATHA: I know what it is; you are engaged?

(TWEENY looks longingly at CRICHTON.)

CRICHTON: Certainly not, my lady. The utmost I can say at present is that I have cast a favourable eye.

Another great English dramatist, by contrast, had no interest in servants as people. Many of Emsworth’s readers will recall the exchange between Algernon and his butler Lane in the opening scene of Oscar Wilde’s The Importance of Being Earnest:

ALGERNON: Why is it that at a bachelor’s establishment the servants invariably drink the champagne? I ask merely for information.

LANE: I attribute it to the superior quality of the wine, sir. I have often observed that in married households the champagne is rarely of a first-rate brand.

ALGERNON: Good heavens! Is marriage so demoralising as that?

LANE: I believe it is a very pleasant state, sir. I have had very little experience of it myself up to the present. I have only been married once. That was in consequence of a misunderstanding between myself and a young person.

ALGERNON (languidly): I don’t know that I am much interested in your family life, Lane.

LANE: No, sir; it is not a very interesting subject. I never think of it myself.

But Wodehouse and Barrie do find servants interesting. In “Jeeves in the Springtime,” Jeeves speaks to his employer about his own personal life with the same delicacy and reserve as Crichton. Asked how he knows that Bingo Little’s uncle lives in Pounceby Gardens, Jeeves tells Bertie Wooster, who is narrating the story,

“I am on terms of some intimacy with the elder Mr. Little’s cook, sir. In fact, there is an understanding.”

[Bertie narrates:] I’m bound to say that this gave me a bit of a start. Somehow I’d never thought of Jeeves going in for that sort of thing.

“Do you mean you’re engaged?”

“It may be said to amount to that, sir.”

“Well, well!”

The stories of P. G. Wodehouse owe much of their interest to the cooks, butlers, valets, gardeners, secretaries, and pig-keepers who populate the country estates of Lord Emsworth and Bertie Wooster’s relatives.

J. M. Barrie, one of Emsworth’s favorite writers, was a elegant English prose stylist who can fairly be mentioned in the same breath as Wodehouse and Evelyn Waugh. The Admirable Crichton first appeared in 1902, two years before Peter Pan. The play is less fantastical than Barrie’s Peter Pan, and also much lighter — we’re remembering the dark, wonderful Peter Pan at the Shaw Festival in 2001.

To those who appreciate this production of The Admirable Crichton, we recommend not only the reading editions of J. M. Barrie’s plays, but also Barrie’s novels, like A Window in Thrums and The Little White Bird. We hope fervently that the Shaw Festival will be doing more Barrie plays over the next few seasons.

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We preview the Shaw Festival’s 2011 season

A year ago we were wondering whether the Shaw Festival management might be chafing a little at having to build its seasons around the plays of Bernard Shaw. The 2009 season was all about Noël Coward, and the Festival’s marketing for 2010 certainly didn’t lead with the two Shaw plays that were on the bill. In fact, the first Shaw play of 2010 didn’t even open until the end of June.

Shaw

But if the Shaw Festival is thinking about putting Shaw on the backburner, it’s not happening in 2011, because for its 50th season there will be an unprecedented four Shaw plays at Niagara-on-the-Lake. Personally, we’re not tired of Shaw yet. Here’s what we think of the 2011 Shaw Festival season, beginning with the shows we’re looking forward most.

1. The Admirable Crichton (James M. Barrie). Several months ago, when we offered a few suggestions for future Shaw Festival seasons (see this post), a play by J. M. Barrie was high on the list. It wasn’t The Admirable Crichton, but we’ll settle for this inventive comedy, which we’ve read but never seen (the Shaw Festival put it on back 1976, when Emsworth was still a student, unaware of theater festivals in Ontario).

J M Barrie

James M. Barrie

Like several Shaw plays (including Candida, also on the 2011 playbill), The Admirable Crichton involves the clumsy efforts of “advanced” English folk to live up to their socialist ideals. In this play, the Earl of Loam makes it a monthly practice to hold a dinner in which his household’s servants are treated like equals. The idealistic earl explains to Crichton, the butler: “Can’t you see, Crichton, that our divisions into classes are artificial, that if we were to return to Nature, which is the aspiration of my life, all would be equal?” Crichton, a clear-sighted conservative, does not agree: “The divisions into classes, my lord, are not artificial. They are the natural outcomes of a civilised society.”

Fantasies become reality in many of Barrie’s plays.  In The Admirable Crichton, the Earl’s household, servants and all, take a long voyage together and find themselves shipwrecked on a deserted Pacific island, where the Earl’s egalitarian theories are put to the test. In Bernard Shaw’s My Fair Lady (also on the 2011 playbill), a poor flower girl is taken out of her station life and transformed into a jewel of society; in Barrie’s play a butler is changed into a master, and a lord finds a station in life fitting his own natural ability.  Stephen Sutcliffe will play the butler, Crichton, and David Schurman will be the Earl of Loam.

2. My Fair Lady (Bernard Shaw, Alan Jay Lerner, Frederick Loewe). We can’t imagine why they’ve never put on My Fair Lady at Niagara-on-the-Lake till now. Sure, it’s just an “adaptation” of Shaw’s play Pygmalion, but it uses a high percentage of Shaw’s original lines and sticks to the story. There was no good reason for the Shaw Festival to snub My Fair Lady for 49 years.

P. G. Wodehouse must have been suffering from indigestion, or gout, or kidney stones when he saw this show in the 1950s and told a friend it was “the dullest lousiest show” he’d ever seen.  This is our favorite musical play, if Showboat isn’t. We love its songs and have sung and played them all our life: “Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church On Time.” Deborah Hay, who so successfully played another girl from the slums a couple of years ago in Born Yesterday, will play Eliza Doolittle.  We particularly look forward to Benedict Campbell as Henry Higgins.  Little round man Neil Barclay, who is in fact an excellent song-and-dance man, will be Alfred Doolittle.

3. Candida (Bernard Shaw). This never-tedious comedy is among our favorite Shaw plays. Candida is the wife of James Morelle, a vicar and popular socialist speaker who serves a run-down parish in London. In the fundamentalist circles of Emsworth’s younger years, one sometimes heard of preachers who were “so heavenly minded” that they were “of no earthly good.” Morelle is the liberal analogue, so zealous for his causes that he doesn’t pay enough attention to the living, breathing people in his own circle, especially his wife. We give the radical socialist Shaw credit for being able to satirize someone like Morelle, a soldier on the front lines of the socialist campaign.

The plot of Candida revolves around the infatuation of young Eugene Marchbanks for Candida, who is 15 years his senior. In other productions of Candida that we’ve seen, Candida is portrayed as genuinely wavering between the young poet and her husband. This has never seemed right to us; we don’t think Candida ever seriously considers leaving James for the boy, and we don’t think the dramatic interest of the play requires it.

Gina Wilkinson was originally scheduled to direct Candida; sadly, she passed away in December 2010. Claire Jullien will play Candida.

4. Drama at Inish (Lennox Robinson). Several years ago we got a charge out of the Shaw Festival’s production of Seán O’Casey’s 1926 play The Plough and the Stars, even though we had trouble understanding the heavy Irish accents. Irish drama was something new for us, and we liked it.

We’ve been expecting more O’Casey but instead, in 2011, we’ll be getting a 1933 drama called Drama at Inish from one of O’Casey’s Irish contemporaries, Lennox Robinson. We dug around and found a copy of this comedy on-line and were greatly entertained by our reading of it. Jackie Maxwell herself, who we think is the best director at the Shaw Festival, will be directing. Two of our favorite Shaw Festival actresses, Mary Haney and Corrine Koslo, will have leading roles.

This is a play about actors and their audiences. Perhaps you remember a story — it might have been Mark Twain, maybe Bret Harte — in which some cowboys seeing their first play didn’t understand that the drama on stage wasn’t real, so they pulled out their pistols to shoot the stage villain. Drama at Inish similarly pokes fun at small-town theater-goers who confuse the real world and the gloomy on-stage worlds of Ibsen and Chekhov. (When this play initially came to Broadway, it was called “Is Life Worth Living.”)  

5. Cat on a Hot Tin Roof (Tennessee Williams). This 1955 play is high on our list of all-time favorite plays. It will be only the second Tennessee Williams play to appear at the Shaw Festival (we enjoyed Summer and Smoke in 2007) and hope A Streetcar Named Desire won’t be far behind. We note, in passing, that, 10 years ago, before they relaxed “the Mandate,” the Shaw Festival probably wouldn’t have offered a play written after Shaw’s death in 1950.

This is the story of Brick and Maggie, a young couple whose childlessness is a sore point with Brick’s father, Big Daddy, a wealthy, domineering Southern planter who is dying of cancer. Maggie’s childless condition is due mainly to Brick’s puzzling lack of interest in his wife; does Brick simply despise her, or is he (like Tennessee Williams himself) simply not attracted to women?

Cat on a Hot Tin Roof is full of delicious, unforgettable scenes and characters.  Moya O’Connell will play Maggie the Cat; Jim Mezon will play Big Daddy.  It seems that this will be Mr. Mezon’s only major role at the Shaw Festival in 2011; we’re a little disappointed that in the Festival’s 50th year, he’s not playing a lead role in a Bernard Shaw play. 

6. The President (Ferenc Molnár). This one-act comedy, starring Lorne Kennedy, was such a success as the one-hour lunchtime show at the Shaw Festival in 2008 that they’re bringing it back. We meant to see it then, but it never worked out, so we’re glad for this second chance.  This play too involves a “make-over”; a cabdriver with communist leanings must become someone suitable as the husband for the daughter of a soybean tycoon. Presumably most of the same cast will be back, although Chilina Kennedy, who played the daughter in 2008, is now a leading lady at the Stratford Festival. At $32, it’s a bargain.

The plot of The President, originally written in Hungarian in 1929, is thoroughly Wodehousian, and in fact there’s a connection: P. G. Wodehouse adapted one of Ferenc Molnár’s plays into the 1926-27 Broadway smash The Play’s the Thing, which we intend to re-read before heading off to see The President.

7. Topdog/Underdog (Suzan-Lori Parks). This 2001 play by Suzan-Lori Parks won the Pulitzer. It’s about two brothers (black men, but they actually are brothers) and their struggles to get by. They’re the only two characters in the play, which will play for only a short run (from July 19 through August 27) in the Shaw Festival’s new Studio Theater, which they reserve for “contemporary” plays. The Shaw’s track record in this space (John Osborne’s The Entertainer in 2009, Caryl Churchill’s Serious Money in 2010) is very good.

8. Heartbreak House (George Bernard Shaw). It’s one of Shaw’s greatest plays, according to all the experts, and who are we to argue? It includes some of our favorite Shaw characters, like old Captain Shotover, who treats his country house as if it were a sailing ship and pretends to be more senile than he really is. We consider the Captain a role model for our own declining years and are delighted to see that Michael Ball will take the role.  In fact, this show will have the Shaw Festival’s “A” case, with Robin Evan Willis, Deborah Hay, Patrick Galligan, and Patrick McManus as key cast members.

The first half of Heartbreak House, written during the first World War, is witty and entertaining; the second half turns deadly serious, and it’s all intensely metaphorical. In fact, we would go so far as to suggest that Shaw’s reputation for being “talky” owes more to Heartbreak House than to any other of his plays. Toward the end, the characters simply sit around the terrace engaged in intellectual duels that make you, in the audience, feel stupid because you didn’t understand someone’s winning thrust.

9. Maria Severa (Jay Turvey and Paul Sportelli) Ever longer grows the list of recent Broadway musicals (like Spring Awaking, Billy Elliott, and In the Heights) that we have not seen and, frankly, don’t feel the urge to see. So will we make it a priority to see this brand-new musical by two talented members of the Shaw Festival company (Jay Turvey and Jay Sportelli)?

The play is about Maria Severa, a historical character who, in her short life (1820-1846), became a legendary Portugese singer of fado songs.  Julie Martell, who is both easy on the eyes and an excellent singer, will play the title role.

10. When the Rain Stops Falling (Andrew Bovell). We don’t know about this one. Here’s what Ben Brantley said in a review of a London production of this Australian play in the New York Times last summer:

The play begins with people hidden by umbrellas walking in circles under sheets of water, until a man in the center of the stage is compelled to scream a scream of human angst. Then a fish falls into his arms.

11. On the Rocks (George Bernard Shaw). Besides three of Shaw’s best-known plays, the 2010 season will include one of his least-known — or, at least, an adaptation of it. We were altogether unfamiliar with this late (1933) Shaw play till we saw it was going to be offered in 2011, so we read it.  We can now explain (a) why, in 50 years, this is only the second time the Shaw Festival has put on On the Rocks and (b) why it needed to be “adapted”.

Interviewed at the age of 92, P. G. Wodehouse stated, “I don’t want to be like Bernard Shaw. He turned out some awfully bad stuff in his nineties. He said he knew the stuff was bad but he couldn’t stop writing.”  Shaw may not have been in his nineties when he wrote On the Rocks, but it’s the sort of thing Wodehouse was talking about.  As Shaw wrote it, On the Rocks is a tedious play about a conservative English prime minister and his cabinet who, in a time of national crisis that has brought the nation close to anarchy, suddenly “realize” that various collectivist measures are what is needed to save the country. It’s the equivalent of a radical socialist’s wet dream. The characters, on the page anyway, are wooden and featureless. No doubt the adaptation, by Michael Healey, will be more interesting than if we were given Shaw’s play straight, but we’re not attracted.

J.M. Barrie’s Half an Hour at the Shaw Festival

This one-act play really does take just half an hour to perform, and we’re still puzzled as to why the Shaw Festival didn’t put another short one-act play into its mid-day show, which is generally close to an hour long. But James M. Barrie’s Half an Hour still packs a lot into one show. 

In some marriages not every touch is welcome, or kindly intended.

Into some people’s lives there comes a moment that decides everything — sometimes, as in this play, a moment of high drama and irony. We meet the high-toned Lady Lillian (Diana Donnelly) in the middle of an intense, bitter, late-afternoon marital quarrel that crushes the last hope she may have had of living amicably under the same roof as her brute of a husband, Richard Garson (Peter Krantz). She keeps our sympathy even when we learn that for months she has had a lover, the adventurous and dashing Hugh Paton (Gord Rand); she flees to his arms instead of dressing to receive the dinner guests her husband has invited. 

Norman Browning and Laurie Paton as Mr. and Mrs. Redding; Peter Krantz as Richard Garson

Until now Lady Lillian has resisted Hugh’s urgings that she leave England with him — he is returning to his work as an engineer in Egypt — but in the wake of this last quarrel with her husband she decides impulsively and desperately to abandon her miserable marriage, leave everything behind, and join her lover. What follows is an emotion-drenched and entirely unpredictable series of events. 

The scenes of this short play linger in the mind, and the final suspenseful scene, with Peter Millard, Laurie Paton, and Norman Browning, is unforgettable. Diana Donnelly, one of our favorite Shaw Festival actors, is superb as the desperate, trapped Lady Lillian. 

The lovers are torn between their carnal passions and their need to pack.

Since James M. Barrie himself was apparently immune to carnal passion of any kind, we were a little surprised at the director’s decision to add touches of eroticism to the first two scenes. In the opening quarrel, Richard Garson strokes his wife suggestively even as his words make clear that he despises her; the implication is that their relationship included not only cruel words, but also sexual brutality. Minutes later, when Lady Lillian jumps into the arms of her lover, patrons are likely to wonder whether the Shaw Festival is about to cross new boundaries of explicitness in portraying physical passion.  But it all worked only to heighten the dramatic tension inherent in the story.

Eating our picnic lunch in the park after the play, we got to thinking about other short pieces of dramatic fiction from the same era (Half an Hour premiered in 1913). We were reminded not only of the characteristic “twists” in O. Henry stories like “The Reformation of Calliope,” but also of the wonderfully clever and sometimes cruel stories of Saki.  And we thought in particular of the final line in Saki’s short masterpiece “The Open Window”: “Romance at short notice was her specialty.” 

In case the Shaw Festival should ask for requests . . .

How about a John Mortimer play at the Shaw Festival?

By now, Jackie Maxwell’s probably finished her list of Shaw Festival shows for 2011. But we’ve been thinking that we ought to be more proactive in letting Ms. Maxwell know what we’d like to see on stage in Niagara-on-the-Lake, Ontario next year, or maybe the year after, especially now that we’ve seen most of what we’re likely to see at the Shaw in 2010.

So herewith our helpful suggestions.  We’ve already vetted them for compliance with the Festival “mandate” (plays during George Bernard Shaw’s lifetime, or set during that period):

A Voyage Round My Father (John Mortimer)

The late writer, a great favorite of ours, would never have created Rumpole of the Bailey if not for his eccentric father, a blind barrister who specialized in divorce. This play — we’ve read it, want very much to see it performed — is a tension-packed fictionalized account of the mutually abusive and mordantly funny relationship between Mortimer and his dad. We can see Michael Ball and Steven Sutcliffe in the lead roles. The play’s our first choice.

Alice Sit-By-The Fire (J. M. Barrie)

For the last 20 years, the only plays besides Shaw’s that you’d have a betting chance of seeing at the Shaw Festival in any given year have been Noël Coward’s and Oscar Wilde’s. But we think James M. Barrie ought to be in the rotation too. Not that he’s been ignored altogether; in fact, the Shaw is doing Barrie’s one-act Half an Hour as its lunchtime show this season.  But the only full-length Barrie play besides Peter Pan that the Shaw has ever done was The Admirable Crichton, and that was before our time as Shaw patrons.

James M. Barrie

In his day Barrie had a long string of successful plays. We’ve read most of them, and they’re packed with lively, witty dialogue, vivid characters, clever plots, and bittersweet sentiment. They don’t seem at all dated or flat. We’d be thrilled with Mary Rose (a good choice for the slot usually reserved for a “mystery thriller” in a Shaw season playbill) or Quality Street. But our first choice would be Barrie’s 1905 comedy Alice Sit-By-the-Fire.

Like Peter Pan, Alice Sit-By-the-Fire is concerned with the impact of a powerful imagination on reality. In Peter Pan, the Darling children’s playworld becomes real as Neverland; in Alice Sit-By-the-Fire, a teenage girl’s imagination, inflamed by cheap theatrical melodramas, spins out of control as she transforms herself into a heroine who can save her too-youthful mother from a forbidden romance. We could see Diana Donnelly and Julie Martell in the mother and daughter roles.

The Iceman Cometh (Eugene O’Neill)

Ms. Maxwell has been cautiously introducing accustoming Shaw Festival audiences to Eugene O’Neill over the last several years, so with any luck The Iceman Cometh is already in her sights. She softened up patrons in 2004 with Ah! Wilderness, O’Neill’s wistful comedy about a teenage boy, his family, and the summer he became a man. Then she ratcheted up the misery in 2009 with A Moon for the Misbegotten, a play about the earthy and disagreeable Hogan family.

Eugene O'Neill

We think folks ought to be sufficiently braced now for O’Neill’s masterpiece about the down-and-outers and losers who hang out in Harry Hope’s grimy Greenwich Village bar. Ready or not, we want to see The Iceman Cometh, and we think Ms. Maxwell should lure Ben Carlson back to the Shaw Festival to play the salesman Hickey. It’s a play that cries out for the talents of a repertory company like the Shaw’s.

The Dresser (Ronald Harwood)

The golden age of British theater! We wish we could have been there in the decades before television when great classical actors like John Gielgud and Ralph Richardson played all over the British Isles. We know The Dresser only from the film version from the early 1980s, starring Albert Finney as a fading Shakespearean and Tom Courtenay as his long-time dresser.

The part of "Sir" was based on British actor Sir Donald Wolfit

This portrait of the delicate and complex relationship between “Sir” (the actor) and Norman (his dresser) is a perfect fit for the Shaw, which last year gave us slices of English vaudeville during the same time period (John Osborne’s The Entertainer and Coward’s Red Peppers). We see David Schurmann and Evan Buliung in the lead roles.

They even made a movie from Shaw's Androcles and the Lion

Androcles and the Lion (Bernard Shaw)

Why does Jackie Maxwell, year after year, like Christopher Newton before her, avoid Androcles and the Lion?  Why should a short list of plays one wants to see at the Shaw Festival need to include one of Shaw’s most celebrated plays? Surely it’s not too hard to stage; the Shaw has done it twice before, though not since 1984, before our time. 

Happy to help!

Political correctness takes a hunk out of Peter Pan at the Stratford Shakespeare Festival

Banished from Neverland

Just when you think that political correctness has done its worst, some fresh horror comes along. What possible excuse could the Stratford Festival have for banishing Tiger Lily and the Indians from Neverland?  

Among all the fantastic denizens of Neverland, the Indian princess is by far the worthiest. Captain Hook murders his own men when the whim strikes. Peter Pan is impossibly vain and selfish. The Lost Boys tell lies about the mothers they never knew. The crocodile is a monomaniac. Amidst these villains and rogues, Tiger Lily alone is decent and heroic.  

James M. Barrie’s Indian princess is the essence of courage under pressure. Captured by the pirates, tied to Marooner’s Rock to be drowned by the rising tides, and facing spiritual torture, Tiger Lily stands resolute, as Mr. Barrie tells us in Peter and Wendy (his novelization of his play):  

Her hands and ankles were tied, and she knew what was to be her fate. Yet her face was impassive; she was the daughter of a chief, she must die as a chief’s daughter, it is enough. She was to be left on the rock to perish, an end to one of her race more terrible than death by fire or torture, for is it not written in the book of the tribe that there is no path through water to the happy hunting-ground?  

A prototypical feminist, Tiger Lily is in control of her own sexuality. From Peter Pan, Act II:  

She is the belle of the Piccaninny tribe, whose braves would all have her to wife, but she wards them off with a hatchet.  

Accomplished in woodcraft, she is a natural leader. Again from Peter Pan, Act II:  

TIGER LILY comes first. She puts her ear to the ground and listens, then beckons, and GREAT BIG LITTLE PANTHER and the tribe are around her, carpeting the ground.  

As the Indians track noiselessly along the warpath, Barrie shows us Tiger Lily “bringing up the rear, the place of greatest danger.” She is “proudly erect, a princess in her own right.”  

From a 1907 book

And to her friends, Tiger Lily is loyal to the death. Grateful to Peter Pan for rescuing Tiger Lily from the Marooning Rock, the Indians guard the home of the Lost Boys and suffer heavy casualties when the pirates attack.  

What finer fictional role model could a girl have? What better symbol of feminist empowerment? No wonder that young women clamor to play this strong, brave, virtuous, loyal heroine.   

But there’s no Indian princess in the Stratford Shakespeare Festival’s 2010 production of Peter Pan, which we recently saw.  Yes, there is a female character named Tiger Lily who is part of the “Marooning Rock” scene, but she’s not an Indian princess, does not lead a band of braves, and has no “Indian” characteristics.  Out of an absurdly misplaced sense that she and the other Indians are offensive to native Americans, director Tim Carroll has cut them out of the play and replaced them with preening, bare-bellied “Amazons”. 

The cover page of a 1915 book illustrates the three-way balance of power on Neverland

Consider the violence this does to the integrity of the play. First, it distorts the balance of power in Neverland. Anticipating Orwell’s Nineteen Eighty-Four by 45 years, Barrie created a violent world with three powers in perpetual states of war and shifting alliances. But the Stratford show has only the Lost Boys against the pirates.  The nameless Amazons have no higher profile than Neverland’s mermaids, wolves, or fairies.  

Eliminating the Indian princess also destroys the parallels between the Darling household and the fantasy island. The play is so constructed that the actor who plays Mr. Darling, who pretends to be a stern master in his house, can also play Hook, who is a bona fide tyrant. (For example, Christopher Newton played both parts in the Shaw Festival’s 1987 Peter Pan.) The actress who plays the patient Mrs. Darling can also play the stoical, virtuous Tiger Lily. (In the Shaw Festival’s 1987 Peter Pan, Nora McLellan played both parts.) Indeed, the playwright means us to understand that, in the children’s imaginations, their parents are Hook and Tiger Lily.

But in the Stratford show, Mrs. Darling has no counterpart in Neverland.  In fact, the faux Amazon “Tiger Lily” jumps into the play as a fantasy projection of a character invented solely by Mr. Carroll for this show: Lily, the narrator’s (Mr. Barrie’s) maid.

The base of the statue of Peter Pan in Kensington Park, which we visited on our trip to London several years ago, is composed of a jumble of the magical and wonderful people of Neverland

Most important, replacing the Indians with bland “Amazons” violates the premise that Neverland and its inhabitants as the ultimate projection of the children’s fertile imaginations. Even in their Bloomsbury home, the fantasy life of Wendy, Peter, and Michael is so powerful that pretense can hardly be distinguished from reality. The children imagine the dog Nana as a nurse — and she is a nurse. They imagine their father as an overgrown child, and that is just how he behaves.  

In Neverland, where the children’s imaginations rule absolutely, the world of the nursery reappears, transformed. We need only look around Neverland to know just what toys the Darling children have in their nursery, what games they play in nearby Kensington Park, and what children’s books they burrow into on rainy days. Especially the books — luridly illustrated memoirs of bloodthirsty pirates! Picture folios of exotic, stupendous beasts (like wolves and crocodiles)! Stories of sailors, sirens, and mermaids! Grimm’s and Andersen’s fairy tales! Treasure Island and The Last of the Mohicans.  Stories of strange, un-Englishlike peoples and their strange ways in the far corners of the world! Stories of the British empire, its frontiers, and its heroes! And more than one volume in the children’s library, surely, about the diverse customs and ways of North American Indians.  

Mary Martin and Sondra Lee as Peter Pan and Tiger Lily in the 1960 musical adaptation

When children play, anything is possible, including a world co-inhabited by such unlikely real-world companions as mermaids, pirates, wolves, and Indians.  But who would really suppose that “Amazons” were part of the Darling children’s fantasy world? The toy chest and doll house in their nursery surely included wooden pirates, tin soldiers and sailors, mermaids, fairies, cowboys, and Indians — but what girl ever played with “Amazon” dolls? In 1904, middle-class English children learned Greek mythology, but one can’t imagine that these children would ever have been taught about giant female warriors who (according to legend) cut off their right breasts so as to facilitate the use of bows and spears, and who (again according to legend) kept men as slaves and mated with them once a year to propagate the race.  

And the Darling children would never have dreamed up the provocatively dressed creatures in the Stratford show. (One blogger who saw Peter Pan in Stratford thought the Amazons looked like Xena the Warrior Princess.) It may be that in today’s hypersexualized culture, prepubescent children may fantasize about dressing up like Lady Gaga. But these were Victorian children.  

(Curiously, the Amazons are played by actresses of ordinary size who hardly suggest the plus-size women warriors of legend. While Mr. Carroll’s concern for the feelings of native Americans does him credit, he was apparently unconcerned that women like our wife might think the Amazons were there only as eye candy for male patrons like us.)

And did the Stratford Festival think for a moment that today’s kids would have any idea who “Amazons” were, or know anything about their mythical matriarchal society? The kids will instantly recognize the pirates, the mermaid, and the fairy Tinkerbelle. The Amazons will only puzzle them.  

Perhaps Brit director Tim Carroll was merely casting about for a people so imaginary that no modern-day people could possibly be offended. But if putting Tiger Lily on stage might offend people, it’s time for people to adjust their sensitivity meters. 

In writing Peter Pan James M. Barrie never set out to show us anything “true” about native Americans, pirates, fairies, mermaids or anyone else.  What Mr. Barrie did set out to do was to show us how highly imaginative children think when they play. As Mr. Barrie announced at the beginning of his play, “All the characters, whether grown-ups or babes, must wear a child’s outlook on life as their only important adornment.” The Indians, like all the other characters in Peter Pan, are only playmates who behave in accordance with the arbitrary and ever-changing rules of children’s play, as illustrated in this wonderful scene from Peter and Wendy:  

Should we take the brush with the redskins at Slightly Gulch? It was a sanguinary affair, and especially interesting as showing one of Peter’s peculiarities, which was that in the middle of a fight he would suddenly change sides. At the Gulch, when victory was still in the balance, he called out, “I’m redskin to-day; what are you, Tootles?” And Tootles answered, “Redskin; what are you, Nibs?” and Nibs said, “Redskin; what are you Twin?” and so on; and they were all redskins; and of course this would have ended the fight had not the real redskins, fascinated by Peter’s methods, agreed to be lost boys for that once, and so at it they all went again, more fiercely than ever.  

Does Peter Pan — as Mr. Barrie wrote it — include caricatured elements of native Americans? Of course it does — and wildly inaccurate stereotypes of mothers, fathers, pirates, and mermaids, too. In conceiving Tiger Lily and her people, these Victorian children jumbled together all the romantic and exotic bits of information they thought they knew about North American Indian tribes. What else would children do? 

All that is true in Peter Pan is its portrait of three children’s fantasy life. That’s more than enough. 

Aside from missing Tiger Lily in the show — no small point — Emsworth thought that the Stratford Festival’s Peter Pan was pretty good entertainment. See this post

Peter Pan at the Stratford Shakespeare Festival

The Stratford Festival’s Peter Pan is not a stage version of the Disney movie, nor is it the dreadful musical play version that schools often do. It’s the original.

Two minutes before showtime, the only empty seat in the Avon Theater was right in front of us.  A woman explained to us that when her little son saw the gauze screen veiling the stage, he remembered a movie that had scared him, began crying, and had to be taken out.  The boy never did see the splendid sets or costumes or any of the wonderfully choreographed action of Peter Pan in person; he watched it all on the lobby monitor with his grandmother.

This was a shame, we thought afterward, because this was just the sort of Peter Pan that a fainthearted child could safely enjoy.  The Darling children’s father (Sanjay Talwar), lampooned and patronized by his wife and children, is neither formidable nor fearsome.  The pirates are lovably cartoonish, and the bumbling, benign Captain Hook (Tom McCamus) won’t inspire nightmares.

As for Neverland’s savage Indians — wait, this Peter Pan doesn’t have any Indians!  — merely playful, posing, sexy “Amazons”.  We’ll have more to say in a later post about this alarming capitulation to the tyranny of political correctness.  (Here it is.)

J. M. Barrie

In short, even though this Peter Pan is still a ripping children’s adventure tale, it’s painted in broad strokes and scrubbed of whatever might either offend or stimulate. And it betrays the influence of decades of Disney and Pixar cartoon features. An essay in the program reminded us that Peter Pan topped one drama scholar’s list of the finest English language plays of the twentieth century.  (Emsworth, who is devoted to J. M. Barrie’s novels as well as to his plays, would rank it nearly as high.)  But this production does not suggest nearly enough of the psychological complexity of this dark play — too little of what puts Peter Pan in the ranks of plays like PygmalionDeath of a Salesman, and Fences.

At the Shaw Festival in 2000 we were fortunate to see a Peter Pan that did, indeed, mine the riches of James M. Barrie’s play, a show that is among our most memorable theater experiences.  We will remember the Stratford Festival’s Peter Pan, on the other hand, mostly because it was our eldest grandson’s very first play.

Boy and swan along the banks of the Stratford-on-Avon

Our excursion to Stratford, Ontario with this seven-year-old was a great success.  He tolerated the long drive and back with admirable patience, had fun trying to feed the swans along the river, was mesmerized by the play, and thrilled at the swordfights and the crocodile. And he never ran out of questions.  Were these real pirates?  Is Captain Hook really dead?  Does the man write a different play every night?  (In this production there’s a narrator — not J. M. Barrie’s idea, but intended to represent him — who sits at a table to the side of the stage writing the play, which unfolds in his imagination before our eyes.)

Michael Therriault as Irving Berlin in the 2009 Broadway musical “Tin Pan Alley Rag”

There’s still a lot to enjoy in this show, including plenty of clever sight gags and fine acting from the entire large cast.  Michael Therriault bucks the tradition of casting a slender woman as Peter Pan; he is lithe and acrobatic, vain and cocky, with a strong stage presence.  Our grandson noticed right away, though, that Mr. Therriault doesn’t look much like a boy.  We had to agree; in fact, the 36-year-old actor is a good deal closer to his grandpa’s age than to his. We also noticed that the diminutive figure of Michael, the youngest of the Darling children (played by Stacie Steadman), was not very boyish.

We thought Sanjay Talwar was a riot as Mr. Darling and that the ensemble work of the Lost Boys was immensely entertaining.  Sara Topham was an excellent Wendy — although the way she delivered some of her lines gave me flashbacks to The Importance of Being Ernest, in which Ms. Topham played Gwendolen Fairfax last year in Stratford (see Emsworth’s thoughts on that worthy show).

Sara Topham last season as Gwendolyn Fairfax

J. M. Barrie’s original 1904 stage play has no part for a narrator, but this show does (James Kirriemuir, who, unlike the other actors, is miked for sound). The narration is, at least, still the playwright’s prose, for the most part, taken either from his detailed stage directions, which help make the original play a joy to read, or from Peter and Wendy, the tremendously popular novelization of the play that Barrie himself wrote five years later.  Still, we felt there was too much of it.

Why a narrator at all?  We suppose Brit director Tim Carroll saw it as a device for speaking directly to the patrons; at one point the narrator invited us to chime in on which of several episodes in Neverland they’d like to see played.

But Peter Pan already includes the most famous bit of audience participation in modern theater: the moment when, with the fairy Tinkerbelle’s life hanging in the balance, Peter Pan asks the children in the audience to clap if they believe in fairies.  We thought having Mr. Barrie address the audience detracted from the thrill and uniqueness of the “save Tinkerbelle” moment.

We missed the play’s final coda (Mr. Barrie wrote it but regarded as optional) in which Peter returns to take Wendy back to Neverland for “spring cleaning” after she has grown up and has a daughter of her own.  But this wistful, sentimental scene did not belong, perhaps, in a production like this.

As promised, Emsworth’s thoughts on the Stratford Festival’s thoroughly disgraceful capitulation to political correctness — a Peter Pan without Tiger Lily, the Indian princess! — are at this post.

More broadly, Emsworth’s pre-season thoughts on the entire lineup of shows at the Stratford Festival in 2010 are at this post.

We preview the Stratford Festival’s 2010 season

The 36-year-old Michael Therriault, who once played Ariel in The Tempest, will play Peter Pan at Stratford in 2010

Life is too busy and money too scarce for us to drive all the way to Stratford, Ontario to see a disappointing show; we’ve got to be selective. The eight shows we saw in 2009 were mostly worth it; Julius Caesar and the musicals A Funny Thing Happened on the Way to the Forum and West Side Story were memorable. But Bartholomew Fair and Macbeth left us fidgeting and annoyed, respectively, and made us feel we might have given them a miss.

Happily, for the 2010 season, the powers at the Stratford Shakespeare Festival (here’s its website) have decreed that there will once more be four Shakespeare plays on the playbill (there were only three in 2009) out of a total of 12 shows. Here’s what we think of the menu, which also includes Kiss Me Kate, Evita, and J. M. Barrie’s original Peter Pan:

Shakespeare’s The Winter’s Tale (at the Tom Patterson Theater)

This is the 2010 Stratford show we’re looking to most. It’s the story of Leontes, a Sicilian king who becomes violently jealous of his wife Hermione’s friendship with his friend Polixenes.

Ben Carlson

The Winter’s Tale should have a lot going for it. Marti Maraden was one of the main victims of the Stratford’s ill-conceived and short-lived experiment in having three co-artistic directors a couple of years ago, but she apparently holds no grudges and is coming back to direct this play. We like her Shakespeare better than anyone’s. Ben Carlson, a first-rate Shakespeare actor (Hamlet in 2008, Brutus in 2009), will play Leontes. Tom Rooney’s first two seasons at the Stratford have made him one of our favorite actors; he will play the philosopher-peddler Autolycus, just as in 2009 he played the philosophical Porter in Macbeth. Yanna McIntosh will, thankfully, take the place of the worst actress we’ve ever seen in a Shakespeare play, Nikki James, who was originally scheduled to play Hermione.

In one scene, the playwright directs that the character Antigonus, sent by Leontes to Bohemia to abandon Hermione’s (and his) baby to the cruel elements, should “exit, pursued by a bear.” Back in 1600, coming up with a suitable live bear for a show couldn’t have been very hard, since the drama theaters were also used for bear-baiting exhibitions. Fortunately, Ontario practically swarms with bears, so getting one should be a cinch. Should make for a lively show.

James M. Barrie

Peter Pan (by James M. Barrie, at the Avon Theater)

This is not, repeat not, a musical play, and it won’t be much like the treacly, annoying thing with Mary Martin that you’ve seen on television. It’s J. M. Barrie’s original stage play, first performed in 1904, and it’s one of the finest plays in the English language. At Stratford in 2010, the androgynous Peter Pan will be be played by Michael Therriault.

With Peter Pan, the Stratford Festival is trying to tap the kids’ market. But when we first saw the play at the Shaw Festival a few years ago, we found that Peter Pan was a dark, decidedly adult play, apt to scare the bejeezus out of the average five-year-old. Then again, maybe today’s five-year-olds, weaned on Darth Vader and Spiderman, can take it.

Shakespeare’s The Tempest (at the Festival Theater)

Christopher Plummer, who be 80 years old next summer, is coming back to Stratford to play Prospero. Surely there’s no finer Shakespeare actor in the world; Mr. Plummer’s King Lear at Stratford seven years ago was hands down the most breath-taking theater experience we’ve ever had. We were mesmerized by the zillions of great theater anecdotes in Mr. Plummer’s recent autobiography, In Spite of Myself (see Emsworth’s review at this post).

So even though it was only five years ago that we saw the late William Hutt in a marvelous performance of The Tempest at Stratford, we wouldn’t think of missing the 2010 show, though we do wish someone besides Des McAnuff were directing it. Folks will need to get their tickets for The Tempest early; the show is only running from June 11 through September 12, and at a relaxed schedule designed no doubt to keep Mr. Plummer from wearing out. Don’t plan to save money at a preview performance; the Stratford Festival is charging full price for every single performance of The Tempest.

Cole Porter, no doubt in the process of composing songs for Kiss Me, Kate

Kiss Me, Kate (music by Cole Porter, at the Festival Theater)

Another opening, another show. We love the songs of Cole Porter, and the plot of Kiss Me, Kate might have been written by P. G. Wodehouse himself, so this classic musical is tempting. Like so many musicals, it’s a show business story, and it has a play within a play: one of the characters, Fred Graham, is directing a musical version of The Taming of the Shrew, starring Fred’s ex-wife Lilli as Katherine the shrew. Real-life actress Chilina Kennedy will play Fred’s girlfriend Lois Lane. Our favorite songs: “Always True to You in My Fashion,” “Why Can’t You Behave,” and “So In Love.”

Dangerous Liaisons (by Christopher Hampton, at the Festival Theater)

This is the racy play on which the 1988 movie, starring Glenn Close, John Malkovich, and Michelle Pfeiffer, was based; you probably saw it. It takes us back to eighteenth-century France, when the amoral, idle nobility amused themselves by playing humiliating practical jokes on one another. Tom McCamus and Seana McKenna will play the jaded aristocrats whose game is to bring about the deflowering of a young girl and the fall from virtue of a married woman. Martha Henry will also be in the cast.

Shakespeare’s As You Like It (at the Festival Theater)

This would be among our top choices at Stratford for 2010 if it weren’t for our fear that the Stratford Festival’s Artistic Director, Des McAnuff, who has designated himself to direct it, will spoil the play with distracting gimmicks. (We have the same fear for The Tempest, but trust that Christopher Plummer will keep his director focused on the story of the play.) We have now seen two deeply unsatisfactory Shakespeare plays directed by Mr. McAnuff: 2008’s Romeo and Juliet and 2009’s Macbeth, and we are not alone in thinking that this is not where Mr. McAnuff’s talents lie. Couldn’t he have taken on Kiss Me, Kate instead? This is sheer stubbornness.

Tom Rooney

But As You Like It seemingly has a foolproof cast, with Paul Nolan (star of 2009’s West Side Story) as Orlando, Tom Rooney in the dual roles of the good duke and the bad duke, Ben Carlson and Lucy Peacock as the unenthusiastic fiancées Touchstone and Audrey, and Brent Carver as Jacques. How badly could the play be spoiled?

Evita (by Tim Rice and Andrew Lloyd Webber, at the Avon Theater)

This is not our favorite Rice-Webber show; indeed, we have only lukewarm enthusiasm for Andrew Lloyd Webber shows after Jesus Christ Superstar. But Evita should pack them in, as did West Side Story in 2009. And as the very first rock-style musical presented at the Stratford Festival, it’ll presumably draw a younger audience.

Not a bad marketing move, considering that the Stratford Festival depends so heavily now on revenues from its high-priced musicals. Evita will be directed by Gary Griffin, who did practically everything right with West Side Story, and it will star Chilina Kennedy, who was dazzling as Maria in West Side Story and is now clearly Stratford’s diva of choice. Ms. Kennedy will play the charismatic wife of Argentinian dictator Juan Peron, and everyone will sing along with “Don’t Cry For Me, Argentina.

Jacques Brel is Alive and Well and Living in Paris (at the Tom Patterson Theatre)

This is yet another musical show — but one more in the nature of a revue, with commentary from the performers, than a play. Brent Carver will be the lead troubadour, singing the songs of the late Belgian songwriter Jacques Brel, who wrote his songs in French.

We know a few Jacques Brel songs that were translated into English and became hits in the late 1960s and early 1970s, like “If You Go Away” and “Seasons in the Sun.” But most of the songs in the show won’t be familiar to us. Will there be English subtitles? We’re probably not adventurous enough to find out.

Shakespeare’s The Two Gentleman of Verona (at the Studio Theatre)

Emsworth has never paid much attention to this early Shakespeare play, let alone seen it performed, but a recent reading has whetted his interest. It’s the story of two pals, Valentine and Proteus, and their women; no sooner has Proteus successfully courted one named Julia than he leaves for Milan, where he promptly forgets her and falls in love with a duke’s daughter, Silvia, who falls in love instead with Valentine even though the duke intends her for someone else. The plot will seem familiar to hardcore fans of P. G. Wodehouse, who stole it for his 1931 comic novel Big Money.

In 2009, instead of a fourth Shakespeare play, the Stratford Festival put on Ben Jonson’s Bartholomew Fair, which had a large cast and a lot of fancy original props. It couldn’t have been cheap to mount. The Two Gentlemen of Verona will be more economically performed at the small Studio Theatre space, where the audience surrounds the stage. There will be only a short window of opportunity to see this play; it will run for less than two months (from July 30 to September 19, 2010).

For the Pleasure of Seeing Her Again (by Michel Tremblay, at the Tom Patterson Theatre)

In its 2009 season, the Shaw Festival offered Michel Tremblay’s Albertine in Five Times; in 2010, the Stratford Festival will put on Tremblay’s well-received 1998 play For the Pleasure of Seeing Her Again, a comedy based on the gay French-Canadian playwright’s relationship with his mother.

Lucy Peacock will play Nana (the mother character); Tom Rooney will be the Narrator (presumably a stand-in for Tremblay himself). This play will run for only two months, from July 27 to September 26, 2010.

Do Not Go Gentle (by Leon Pownall, in the Studio Theatre)

A one-man show starring Geraint Wyn Davies could be really good; our appreciation for Mr. Wyn Davies grows year by year. He will play Dylan Thomas soliloquizing about his life and how he rates as a poet compared to William Shakespeare.

This very show actually just opened on Broadway! (We write as of December 8, 2009.) It won’t appear at Stratford, though, till July 2, 2010, where it will run through August 22.

King of Thieves (by George F. Walker, in the Studio Theatre)

This play is actually a musical — another one! — but the Stratford Festival evidently doesn’t dare to risk putting this world-premiere piece in one of its larger theaters. Wonder what Mr. Walker thinks of that! The show is a new take on old material, a tale of a couple of crooks (Mac, to be played by Evan Buliung, and his father-in-law Peachum, to be played by Sean Cullen).

George F. Walker

Its source is John Gay’s 1720 ballad opera The Beggar’s Opera (whose characters included Macheath and Polly Peachum), but most of us are more familiar with Bertolt Brecht’s and Kurt Weill’s 1928 The Threepenny Opera. Those were both set in London; Walker’s version is set in New York City in 1928.

This is the second year in a row that the Stratford Festival has put on a work by Walker; we didn’t see last year’s Zastrozzi. A few years back, we saw Walker’s straight play Nothing Sacred at the Shaw Festival, but it didn’t make a lasting impression.

From its press releases, we gather that the Stratford Festival will have avoided losing money during 2009 on the strength of having had two extraordinarily popular musical shows. By offering Peter Pan and Christopher Plummer in The Tempest on top of Evita and Kiss Me, Kate, management has probably taken its best shot at increasing the number of sold-out shows in 2010.

We can’t help noticing that there’s nothing on the 2010 playbill even remotely comparable to the Ben Jonson, Racine, and Chekhov plays that were seen in 2009. In fact, aside from the Shakespeare plays and Peter Pan, the Stratford is offering mostly contemporary shows. The Stratford Festival will be that much less of a “classical” repertory theater company in 2010.

We preview the Shaw Festival’s 2010 season

One_Touch_of_Venus poster w Mary Martin

The poster for the original stage production of One Touch of Venus, the only musical on the 2010 playbill

We enjoy the challenge of trying to figure out what’s really going on at the Shaw Festival from the official clues. To our eyes, the 2010 schedule of plays shows that the Shaw is shifting direction, possibly because of the glum report that Shaw Festival theaters were only 63.5 percent full in 2009, down from 70 percent in 2008.

But we still like the 2010 lineup. We’ll begin with the shows we’re most looking forward to and end with a couple we may skip.

1. The Women (Clare Boothe Luce). Emsworth takes credit for this one. A year ago, reviewing the dreadful Hollywood version of The Women, we broadly hinted that this play was way overdue at the Shaw Festival (last seen in 1985, when Nora McClellan played the much-abused Mary Haines).  To the Shaw Festival: Thanks for taking requests! 

Clare Boothe Luce

Clare Boothe Luce, a successful playwright during the 1930s, a Republican congresswoman in the 1940s

The Women is on our short list of the finest plays of the twentieth century, a tale of ruthless, catty, insecure society women behaving in beastly ways to one another, a play liable to make you quirm in discomfort and laugh at the same time.  (The Office is not an altogether original concept.) When it’s over you’ll realize you never actually saw any men on stage. By our count, this is the fourth play with an all-female cast that Jackie Maxwell has programmed since she’s been in charge — not a bad idea, since just at this point in its history, the female contingent of the Shaw company is remarkably strong. Deborah Hay, Mary Haney, Kelli Fox, and Sharry Flett will be among The Women. Ms. Hay will play Sylvia Fowler, the treacherous friend of Mary Haines, to be played by Jenny Young.

2. Harvey (Mary Chase).  If classic American comedies are what people will pay money to see (as was the case with Born Yesterday in the season just past; see Emsworth’s review of that excellent show), why not put on two? This play won the Pulitzer in 1945, and the 1950 movie starring Jimmy Stewart is among Emsworth’s five favorite films.

Dowd with Harvey

Elwood Dowd (James Stewart) admires a portrait of himself and Harvey in the 1950 movie

Harvey is, of course, the sentimental, half-magical story of the ever-pleasant, alcoholic, eccentric Elwood Dowd and his socially inconvenient friend Harvey, an invisible six-and-a-half foot rabbit.  Joseph Ziegler will direct; he’s one of the Shaw’s best. Peter Krantz will play Elwood Dowd and Mary Haney his distracted sister Veta.

3. One Touch of Venus (Kurt Weill, Ogden Nash, S. J. Perelman). The Shaw Festival is evidently ceding the field of expensive big production musical plays to the Stratford Festival. In 2007 Nash postage stampand 2008, the Shaw put on two of the finest musicals we’ve ever seen (Mack and Mabel and Wonderful Town), but they evidently weren’t as popular as they needed to be. The Shaw’s 2009 musical, Sunday in the Park with George, was, as we sorrowfully reported, a crashing bore (see this post).

So the Shaw is trying to re-create past glories. Back in 2005, the Shaw pulled Kurt Weill’s edgy musical Happy End out of utter obscurity; it did so well that they brought it back in 2006.  In 2010, it’ll be One Touch of Venus, a not-quite-so-obscure Kurt Weill musical about what happens when a barber from the New York suburbs brings a priceless statue of Venus to life (they fall in love). The songs include “Speak Low,” which we know mostly from Barbra Streisand’s “Back to Broadway” album a few years ago. Robin Evan Willis will play the goddess; Deborah Hay also appears.

J M Barrie

James M. Barrie

4. Half an Hour (James M. Barrie) We are extraordinarily partial to both the novels and the plays of J. M. Barrie (see this Emsworth review of a recent Barrie biography) and think he belongs in the top tier of English writers.  This poignant one-act play — we’ve only read it, never seen it — is superb drama, as a mistreated young wife flees to a lover. Expect an emotional roller-coaster and a shocking plot twist. But don’t expect Half an Hour to be anything like Peter Pan — it’s more in the vein of Noël Coward’s Still Life, which the Shaw presented in 2009 (see Emsworth’s delighted review). The talented and extremely attractive Diana Donnelly will play Lady Lillian.

This will be the “Lunchtime” offering at the Shaw this year.  These hour-long $30 shows are a great bargain, though we wonder how Half an Hour will take up the full hour of the show. Might there be another short one-act Barrie play? Coincidentally, Peter Pan is on the playbill at the Stratford Festival for 2010.

5. An Ideal Husband (Oscar Wilde). Once again, the Shaw’s looking backwards; An Ideal Husband was such a hit in 1995 that the Shaw brought the production back for a second year. But we don’t weary of Wilde and applaud the Shaw Festival for keeping his plays in rotation. An Ideal Husband is the story of a woman who worships her husband, a hot-shot British politician, to be played by the silver-haired Patrick Galligan; she’s ill-prepared to learn from a morally challenged rival that her husband has a skeleton in his closet. (Insider trading, of all things, is a theme at the Shaw in 2010.)

6. Serious Money (Caryl Churchill). Candidly?  We’re skeptical of contemporary plays that we don’t know anything about, and ticket prices being what they are, we don’t often take chances. We’ve been burned too often with newer plays that aren’t any better than mediocre TV sitcoms.  Not to say that good plays haven’t been written in the last fifty years — we know all about Edward Albee, August Wilson, Neil Simon, and David Mamet — but we’re not good at sifting the wheat from the chaff.  So if the Shaw Festival is going to weed out the dreck of the post-modern era and bringing the good stuff to Niagara-on-the-Lake, we’re all for it.

We don’t know much about Caryl Churchill except that she’s a leftist with an interest in gender issues. That would ordinarily be a recipe for dreariness and drivel.  But Churchill is also said to be one of the finest living English playwrights, and Shaw Artistic Director Jackie Maxwell still has capital with us, so we’ll give Serious Money a shot. The play was written in 1987 and apparently has to do with shenanigans in the stock market.

This contemporary drama will be at the new, small Studio Theater space where The Entertainer was presented in 2009. (We liked both the space and the John Osborne play; see this Emsworth review). We are grateful to see that tickets for shows in the Studio Theater space are cheaper — only $49 — though we’re not quite sure why. Or perhaps we do — would we pay full price for a pig in a poke?

7. The Doctor’s Dilemma (George Bernard Shaw). What does it say about the status of Bernard Shaw at the Shaw Festival when no Shaw play is scheduled to be performed till mid-June, nearly three months after the season starts?  Ominously, a recent piece in one of the Toronto papers suggested that Shaw’s standing among playwrights of the modern era isn’t what it used to be. Is it possible that the Shaw Festival is beginning to feel weighed down by having to build its seasons around Shaw?

We hope not — the Shaw plays have been better than ever in recent years, including The Devil’s Disciple, which was one of the best things we saw anywhere in 2009 (see this post) and Mrs. Warren’s Profession (ditto in 2008; see this post).  The Doctor’s Dilemma deals with a doctor (Patrick Galligan) who has to choose between two patients who need the same life-saving treatment; he can treat only one.  Now that Obamacare has become law in the United States, of course, the theme has renewed relevance for us patrons from the United States.

8. The Cherry Orchard (Anton Chekhov). Ever since we saw a marvelous production of this play at the BAM Harvey Theater in Brooklyn last winter (see our review), The Cherry Orchard has rated as one of our very favorite plays. The cast will include Shaw all-stars Benedict Campbell and Jim Mezon. Sadly, the exquisite Goldie Semple, who had been scheduled to appear in this play, passed away last winter. We’re looking forward to seeing it close up in the Courthouse Theatre.

Age of Arousal scene

A scene from one of the earlier productions of The Age of Arousal (we borrowed the image from Linda Griffiths's website)

9. The Age of Arousal (Linda Griffiths). Two contemporary plays in one season? Things are definitely changing at the Shaw Festival. Written in 2007, this play is practically fresh off the press. Set in 1885, The Age of Arousal is about a London suffragette, Mary Barfoot, who opens a typewriting school to help young women become independent.

Linda Griffiths is an award-winning Canadian playwright and actress, but this is the first this American has heard of her. So many contemporary writers find Victorian mores an inviting target; we hope the play’s not just another version of “isn’t it awful how repressed they were before the sexual revolution?” Or, God forbid, a stage version of a bodice-ripper.

10. John Bull’s Other Island (George Bernard Shaw). We saw this play at the Shaw Festival in 1998 and again here in Rochester at GeVa Theater several years ago, and we just haven’t taken to it. So we figure to give it a miss in 2010, feeling we are not bound to like every Shaw play. It’s the story of a couple of men from London who go to Ireland and get mixed up with a Irish beauty and local politics. Benedict Campbell and Graeme Somerville will play Tom Broadbent and Larry Doyle.