Reviewed 10/22/04
What compels actors to reprise their roles? A few season’s back, Theater Works mounted a very impressive production of Dale Wasserman’s adaptation of the Ken Kesey novel One Flew Over the Cuckoo’s Nest. Perhaps it’s biased of me to call it impressive, since I worked on it, but I particularly enjoyed the contribution of its lead, Ron Hunting. Hunting and his comrades from The Algonquin Rep (Tom Rees and Director Robyn Allen) have exchanged the west valley for the far-east valley with Fountain Hills Community Theater’s latest mounting of the mid-1960s mind games between the rebellious Randle P. McMurphy (Hunting) and the totalitarian Nurse Ratched (Jan Clevenger). Those who did not see his first McMurphy will enjoy his brutal enjoyment of the role, the strength of Rees as the brooding Chief Bromden, and Allen’s taut direction. The only disappointment of this production is the weaker supporting cast that forms the titled cuckoo’s nest around them.
Peter J. Hill’s smartly angled dayroom set contains a lot of nice playing areas on the small stage, and within these areas, Allen has Hunting bounce off the walls, careening into the other patient’s soporific lives and causing general mayhem. Allen paces the show smartly, never letting the loquacious script overwhelm the forward march of McMurphy’s self-destruction and ultimate example. She lets her stronger actors lead the way.
Those stronger actors include the able Hunting, who is creepily naturalistic in his offering; Rees, who skims the uncomfortable performance of an Indian and avoids stereotyping by underplaying; Garth Williams uptight self-conscious ways as the officious ward president Dale; and Jimmy Flowers’ stammeringly shy Billy Bibbit, whose earnestness overcomes what is unpolished in his performance. Hunting and Rees have some nice moments together during the quieter interludes, and Williams’ character arc is strongly supported.
Nurse Ratched is a challenge of the highest order; so easy to play as the overbearing ball-breaker or the manipulative ice-princess, many actresses lean toward extremes. Clevenger bends a little toward to the moustache-twirling villain, yet her emotional peaks appear forced. The moments between her and Hunting do not quite capture the right color of gall that can sometimes be achieved. Tony D’Alessio’s Dr. Spivey is an amusing creation, capitalizing on harried looks to offer an overwhelmed technocrat.
The remaining patients have few moments. Kevin Berman’s Ruckley is an inconsistent look at catatonia, but a few times Travis Tonzi’s Cheswick is a matter-of-fact hoot. Diane Senffner’s visiting Candy Starr is pure presentationalism that never tries to avoid obvious stereotyping.
Hill’s lighting compliments his institutional green set with a few interesting effects thrown in. Patricia Tonzi’s costumes are strong but somewhat timeless; It was only after reading the program to write the review that I realized she and Allen had chosen to keep it in the original timeframe. Hunting’s sound design is filled with lots of cool manipulations of music and sound, but sometimes feels too arty for its own good.
The reason to see this production is to watch polished actors at work within the well-constructed confines of Allen’s direction. While the supporting cast is often not up to the level of the stronger leads, it’s never enough to undermine a bittersweet evening of lunacy.
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