Civic Theatre, Darlington – 15 March 2016
Touring Consortium Theatre Company mark their 20th anniversary with a revival of John Steinbeck’s searing tale of migrant farm workers in America’s Great Depression. As we found out later the first show TCTC ever brought to Darlington was Of Mice and Men, so it was a nice circle that this was the last show for them to bring before the theatre closes for refurbishment.
Dudley Sutton may be the “star” in this emotionally devastating revival of John Steinbeck’s “Of Mice and Men.” But the other star of the show is Director Roxanna Silbert, who in conjuction with Birmingham Rep, turns in an impeccably mounted production without a single blemish. The ensemble acting is flawless. The design work is breathtaking. And Steinbeck’s Depression-based views on the human connections that are our only hope of survival in desperate times are just as relevant — even imperative — for living through our own cruel times
The relationship between migrant ranch workers Lennie (Kristian Phillips) and George (William Rodell) is the bruised heart of Steinbeck’s vivid portrait-in-miniature of a parched 1930s California, where money has drained away and kindness is a luxury. It’s a fragile constant in a world where dreams are as easily crushed as the mice Lennie accidentally kills with clumsy affection. The intensity of the drama and its focus on human relationships is perfect for stage, inspiring powerful performances all round. As a story which is embedded in the American conscious there is also a peculiar authenticity about the production, a feeling that nothing has been held back. It is a sort of anthropological case study in the origin of American culture as it functions today.
There’s no way to overpraise this ensemble who bring Steinbeck’s characters to life. They’re a motley crew, one and all, and most are truly memorable. Sutton is heart-wrenching as Candy, the pathetic old ranch hand who can read his fate on the bunkhouse walls, as well as Neil McKinven’s burly Carlson, the bunkhouse bully who intimidates Candy into letting him shoot his old dog. And Jonah Russell’s Slim, the sober peacemaker, along with Ben Stott’s sadistic Curley, who does everything a man can to destroy that peace. Not to mention Dave Fishley’s blazingly intelligent Crooks, the black guy the white guys won’t allow inside the bunkhouse.
Every last one of these men on this farm is given human dignity as well as character dimension by members of this extraordinary company. Which is more than the real-life models for these men got back in Steinbeck’s day.
As the never named Curley’s wife, Saoirse-Monica Jackson lights up the stage with every appearance, displaying the nuance and complexity necessary to make the character more than just the catalyst for the play’s tragic ending. Jackson and Phillips play off each other very well in a key scene when Curley’s wife shows the troubled man some kindness right before her sad end.
This is a truly stunning production, the staging is magnificent. Every aspect of the show’s design is first-rate, including Liz Ashcroft’s set designs, which help root the play in time; Simon Bond’s eloquent lighting; and Nick Powell’s understated sound design.
This was a book that I read for my O Levels far too many years ago for me to mention, but a tale that as stood the test of time and is still on the syllabus today. The theatre was filled with students who were reading this as set text and hopefully seeing this production will give them even more of an insight into this remarkable story.
In Darlington until Saturday 19 March and on tour around the UK