For a company to mount the play version of John Steinbeck's Of Mice and Men as only the second performance of their existence could be foolhardy. The Algonquin Theatre Company is no mere startup, though; their talent base consists of several seasoned veterans, and this brash statement is backed up by many successes in their collective past. What's more, Director Susan Morrell and her talented cast and crew nearly accomplish the impossible. The show that they present is nearly perfect in design and execution. Unfortunately, a few minor problems and one major flaw exist that undercuts their triumph. With mid-run changes, though, this could be the surprise of this young season.
Most everyone knows the story of depression-era migrant workers George and Lenny. George is a drifter with dreams, and Lenny is his companion, a dim, gentle giant. While pursuing their dreams of land of their own, they come upon a ranch job filled with good people and traps. In trying to raise their stakes, the ranch owner's son, Curley, and his wife raise the stakes on George and Lenny's lives.
In the Theater Works Black Box, a space not known for roominess, Ms. Morrell and her talented set designer, Ron Hunting, manage to transform the room into the bunkhouse, stables, and fields of this ranch in a spectacular way. The cast ranges from impressive to near perfect. Ms. Morrell draws wonderful performances from all of her cast, making them reach above their comfort zones. Her blocking and command of the evening, save for one point, are masterful.
Simply put, this Lenny is the best performance Tom Rees has ever given. He has the large considerations and subtle nuances completely in his control. From his vocal hesitations to his seemingly unconscious bits with his hands, this is a role that he has obviously nurtured. His characterization remains remarkably consistent, even for those long stretches when he is not the center of attention. Scott Campbell is very good as George. While he lacks some of the roughness that sharpens the edges of the dreamer, his softness is wonderful in his dealings with Lenny.
The ensemble is also generally impressive. Irv Rothman does a good job presenting the old ranch-hand, Candy, who is at turns pitiable, defiant, and full of dreams. Gary Vos and Mike Kevil are utterly believable as the boss and a fellow worker. Mason Walker does a very good job as the short man with a big attitude Curley. Thom Morrison is appropriately threatening and ruthless. Only three of the ensemble offer less impressive performances. Adam Hiniker in the smaller worker role passes generally unnoticed. Christy Gordon, as Curley's beautiful, though desperate and ignored wife, squanders her opportunity to broaden her character during the second act. As black stableworker Crooks, DeForest Hollingsworth Jr. is too young for his role, and lacks the angst of his oppressed station.
While Mr. Hunting's set is the highlight of the technical, Mr. Campbell's lighting is the abovementioned major flaw that undercuts the finale of the show. In the tense moments of the waning part of the second act just before the painful act that crushes everyone's dreams to dust, a fog suddenly and obtrusively appeared, and the lighting, whose colors had already been too heavily saturated, suddenly introduced a gobo effect hitherto unseen by the audience. This called attention to itself so much, it knocked the audience from the powerful level to which the two actors had emotionally built. The result was a disappointment, one that was multiplied by the impressive work that had prior come from all. Without this turn of events, this could well have been the best show I've seen since Into the Woods.
Despite this situation, there is still some wonderful work to be seen here. One can only hope that the technical will be subdued during the run, and the actors will be trusted to bring to fruition what they had impressively set up.
Production Details:
Of Mice and Men by John Steinbeck
Algonquin Theatre Company
Theater Works Black Box Stage, Peoria
(623) 815-7930
October 27th - November 12th, 2000