I
normally review the Dramaworks productions in some depth, but this is a
more abbreviated commentary as we did not attend our usual first preview or
dress rehearsal as Dramaworks refers to it.
Instead, we had the pleasure of attending Opening Night, so I will look
forward to reading what the pros have to say just like everyone else.
But
we did attend our usual luncheon with the cast at Dramaworks, after which the
play was discussed by the actors and the always knowledgeable and charismatic
director, J. Barry Lewis, who pointed out that Tryst is somewhat of a departure for Dramaworks. It’s not a well-known classic play. But judging
by the opening night, it was produced with Dramaworks’ usual careful detail to
scenic design, costumes and lighting, bringing out the best the play has to
offer.
And
it’s an unusual play because of the characters’ interaction with the audience,
breaching the fourth wall frequently, perhaps more in touch with the audience
than with each other, pleading their cases. As Mr. Lewis explained, it used to be called
“story theatre,” the actors speaking directly to the audience. The
overarching themes of reality perceived vs. reality, the struggle between the masculine
and feminine, and trusting one’s heart, resonate continually. The play is set
on the eve of the women’s suffrage movement in England further highlighting
these issues.
 |
| Don Thomas (lighting), Brian O’Keefe (costumes), Claire Brownell and Jim Ballard (actors), J. Barry Lewis (director) discuss the play |
Actors
Jim Ballard and Claire Brownell discussed the differences between a “two-handed
play” and an ensemble production, particularly the enormous burden it puts on each
actor to carry half the play, both on stage for two hours without relief. Even the rehearsals are intense as there is
no downtime for the individual actors as in a larger production.
The
multiple scenes in the play require the audience’s involvement, the actors creating
the beginning of the illusion, along with sound effects, lighting, and the
swift changing of props, and the audience having to fill in the rest. Don Thomas,
who did the lighting design, said he chose to see the story through the eyes of
the cad, George Love, played by Ballard.
As Thomas said, “he isn’t pretty and the lighting conforms.” And side
and overhead lighting is extensively used to create shadows (portraying the
dark side of the play). The first act
alone has some seventy lighting changes.
 |
|
Stage
Setting
|
And
indeed the production seemed to meet all the standards discussed at the
luncheon, a two character play that holds the audience spellbound in its melodramatic
grip, set in the period Ann and I enjoy so much, early 20th century
England during the times of PBS’ Mr.
Selfridge and Downton Abbey! The costumes
and the set perfectly capture Edwardian England. Its premise is universal; a con is a con is a
con, for monetary gain or in capturing a trusting heart, there is a “Mr. Love”
predatorily waiting to take advantage of the weak. Sometimes, and delightfully for the audience,
the predator is exposed.
 |
| Jim Ballard and Claire Brownell |
The
two hour production, with an intermission, flies by thanks to the skillful
direction provided by Mr. Lewis and the compelling performances of Dramaworks’
veteran actor Jim Ballard as George Love and Claire Brownell as
Adelaide Pinchin in her second appearance at the theatre. In particular, Ms. Brownell inhabits the role
of the demure Adelaide, who, during the course of the play, with prodding by
George (although that is not his altruistic intention), begins to find her own
inner strength while George’s perceived charismatic force and ulterior motives
are revealed. Indeed, they discover a
commonality of abuse they both suffered from their fathers which has crippled
both of them in profound ways.
Playwright
Karoline Leach uses a number of contrivances to bring the play this far. It would be a spoiler to list them, but the
conclusion, in my opinion, which some found disturbing, fits the essence of
what was revealed on stage, and how the characters were changed by one another. Is Tryst
great theatre? No. But between the acting and the production elements,
Dramaworks’ version is well worth seeing.
The
production is directed by Resident Director J. Barry Lewis, and features scenic
design by Jeff Modereger, costume design by Brian O’Keefe (whose costumes were
designed not only for the period, but for the fast changes that take place on
stage), lighting design by Don Thomas, and sound design by Rich Szczublewski. A special mention should be made of the work
of the dialect coach, the renowned Gillian Lane-Plescia who indeed helped make
the characters sound like they are from their appropriate Edwardian English
class (although George is feigning his), enhancing the production’s
verisimilitude .
Perhaps
I would have written a more detailed review if I was in my usual “reviewing mode”
but opening night interceded! Ann and I
agreed it was delightful to attend this occasion with the generous librations
and delicious spread of tasty treats, but especially the affectionate accolades
for actors, staff and crew: all so well deserved by Dramaworks, a threatre with
a vision -- and mission accomplished for the 2013/4 season. We are looking forward to next season!
 |
|
Resident
Director J. Barry Lewis and Ann On Opening Night
|
