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Kristian Phillips as Lennie and William Rodell as
George. Picture: Ellie Kurttz Of Mice and Men
The Grand Theatre, Wolverhampton
**** WHEN John
Steinbeck’s Of Mice
And Men premiered on
Broadway in 1937, it was hailed by
The New York Times
as ‘the quintessence of commercial theatre’. Some 80 years on, that claim is now probably
better suited to the big budget musicals that dominate the West End and
prove the biggest sellers on tour. There can be little doubt, however, that this
beautifully crafted play has stood the test of time and remains as
important and relevant as it ever was. Theatre Consortium and Birmingham Rep combine to
bring a fresh but loyal revival that makes some bold choices,
particularly design wise.
Liz Ascroft has created a wide open set that uses
every inch of the space. Gone are the conventional curtain blacks in
each wing that would ordinarily define the acting area. Here we see actors sitting in the wings, in
character but not in the scene. Some play instruments to underscore
dialogue or to fill scene changes. The result is a smooth flow of action
and narrative that works well, once the audience has accepted the
slightly unconventional approach. Key to the story is the bond between the
itinerant farm workers, George and Lenny. Steinbeck takes time to set up
their relationship in an economically structured first scene. Lenny, the
well-meaning gentle giant whose confused understanding of
love
ultimately ends in tragedy and George, his protector who can only defend
his pal’s failings for so long. William Rodell brings warmth and swagger to
George. A man who has a genuine love for his friend but ultimately knows
he can't protect him forever. Kristian Phillips avoids over playing Lennie.
Ultimately, here is a man who simply wants to love. His vision of the
world is clearly simpler than those around him but he is no way
stupid. Phillips gives Lennie real empathy and highlights well a man
with a huge heart and a confused mind. Strong performances too from Dave Fishley as
Crooks, Jonah Russell as Slim and Saoirise – Monica Jackson as Curley’s
wife. Using a real animal is inevitably a gamble in any
production. It pays off well here though, thanks to a very obedient
performance by Tilly, the dog. Nicely handled too by the always
impressive Dudley Sutton as Candy. Overall, an engaging, atmospheric version of a
masterful piece of writing . It may no longer be the
quintessence of
commercial theatre but it loses none of its power and deserves full
attention. Runs until Saturday March 12th 08-03-16
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