The Graduate triumphant at the Grand
I must admit that I can be quite exaggerative and emotional over matters of theatre. With good reason, I often declare the most recent play I've attended as being the “best ever play I have ever seen ever.” However, I believe that my hyperbolic reviews have now met their match and must be retired as The Grand's opening play of the 2006 season, The Graduate, is actually the best ever play I have ever seen, ever.
In the wake of the acclaimed Charles Webb novel and legendary 1967 film, Terry Johnson's stage adaptation of The Graduate provides cathartic charm and wit to the rather grotesque tale. Indeed, the script is a triumph matched only by the artistry on behalf of the cast and crew. Directed by Grand veteran, Miles Potter, the entire cast is truly phenomenal with especially profound performances by Andrew Hachey, who plays title character Benjamin, and Gemini Award winning Sonja Smits as the infamous Mrs. Robinson.
With far less theatrical credits than anyone else in the cast, Hachey's greenhorn talents compliment the very young, very confused character of Benjamin Braddock flawlessly and particularly in contrast to Smits' obviously extensive experience. The skewed chemistry between the two is mesmerizing and without a doubt, Smits plays the perfect bitch anyone will delight in despising.
Though both script and acting are magnificent, it is truly the technical crew who take centre stage in the production.
From a poolside patio, to an elevator, to a street in a red-light district and beyond the set changes could have been distracting, clumsy and fatal. However, if one were to remove all dialogue and plot, simply watching the seamless set changes would be worth the price of admission. For anyone who has any interest in theatre technology or design, this is the play to see, as it is a fine example of design innovation.
The lighting, designed by Louise Guinand, and set, designed by Patrick Clark, compliment one another faultlessly and provide a sometimes-surprising backdrop for the action that is neither intrusive nor understated; being dramatic in both physical height and impact but predominantly light-coloured with graceful transformations that happen at times in front of the audience and at times behind a large screen.
Similarly, Gillian Gallow's costume design talent disguise the revolving cast of nine as a far larger troupe, all in period-appropriate clothing that also serves to provide further insight into the characters — most specifically in the contrast of Mrs. Robinson's dark, alluring outfits with the innocently pink and white ones of daughter Elaine.
The Graduate is, overall, incredibly entertaining and a wonderful example of contemporary theatre. From script, to performance, to design the production is a new rendition of a classic that will surely resonate with old fanatics and new eyes alike. Running until October 28, this season's opening at The Grand Theatre is the definition of a “must see” as it is truly a defining moment in the theatre's illustrious history.
In the wake of the acclaimed Charles Webb novel and legendary 1967 film, Terry Johnson's stage adaptation of The Graduate provides cathartic charm and wit to the rather grotesque tale. Indeed, the script is a triumph matched only by the artistry on behalf of the cast and crew. Directed by Grand veteran, Miles Potter, the entire cast is truly phenomenal with especially profound performances by Andrew Hachey, who plays title character Benjamin, and Gemini Award winning Sonja Smits as the infamous Mrs. Robinson.
With far less theatrical credits than anyone else in the cast, Hachey's greenhorn talents compliment the very young, very confused character of Benjamin Braddock flawlessly and particularly in contrast to Smits' obviously extensive experience. The skewed chemistry between the two is mesmerizing and without a doubt, Smits plays the perfect bitch anyone will delight in despising.
Though both script and acting are magnificent, it is truly the technical crew who take centre stage in the production.
From a poolside patio, to an elevator, to a street in a red-light district and beyond the set changes could have been distracting, clumsy and fatal. However, if one were to remove all dialogue and plot, simply watching the seamless set changes would be worth the price of admission. For anyone who has any interest in theatre technology or design, this is the play to see, as it is a fine example of design innovation.
The lighting, designed by Louise Guinand, and set, designed by Patrick Clark, compliment one another faultlessly and provide a sometimes-surprising backdrop for the action that is neither intrusive nor understated; being dramatic in both physical height and impact but predominantly light-coloured with graceful transformations that happen at times in front of the audience and at times behind a large screen.
Similarly, Gillian Gallow's costume design talent disguise the revolving cast of nine as a far larger troupe, all in period-appropriate clothing that also serves to provide further insight into the characters — most specifically in the contrast of Mrs. Robinson's dark, alluring outfits with the innocently pink and white ones of daughter Elaine.
The Graduate is, overall, incredibly entertaining and a wonderful example of contemporary theatre. From script, to performance, to design the production is a new rendition of a classic that will surely resonate with old fanatics and new eyes alike. Running until October 28, this season's opening at The Grand Theatre is the definition of a “must see” as it is truly a defining moment in the theatre's illustrious history.
