3 STARS, March 20-24. A slick adaptation of Steinbeck's masterpiece that stays true to the original plot, says Catherine Wilson
This slick production at New Wimbledon Theatre is true to the 1937 classic. This is not a re-imagining of Steinbeck's novella; rather a faithful retelling of the story; revealing all of the prejudice and inequalities that existed towards disability, race, the working class, women and animals at the time of the Great Depression. The story of Lennie and George is now an iconic one, a tale of two unlikely companions in search of the American dream, a better life. The delicate and astute script reveals the capability for love (in its many guises) and the stark contrast of loneliness and human detachment. This moving production clearly depicts that this was a harsh age to live, a place where “Maybe ever’body in the whole damn world is scared of each other.” But this is also a play of hope, of immense friendship, loyalty and compassion and the cast deliver Steinbeck's narrative with clear intent, poignantly delivering his iconic lines.
The director's notes communicate his intention; stating “It is crucial that we view the story in its original time and location to demonstrate how far today's world has moved on in 85 years, but, more significantly perhaps, to question how far we've still to go”. And whilst this sentiment may be true; to one familiar with the tale, this staid approach could hold the production back from exploring the subtleties and depth of the characters, with its ongoing relevance primarily due to Steinbeck's understanding of human nature. At times the action loses pace and whilst the production tugs on the emotions, it never quite gains the powerful grip that we associate with Lennie.
As the leads Richard Keightley, playing an exasperated George and Matthew Wynn, focusing on Lennie's childlike qualities, give solid performances, if at times the wobbly accents distract from the powerful dialogue. The dramatic exchange at the end of Act One is particularly gripping, with a convincing performance of Candy by Andrew Boyer and a mention should also be given to Harry Egan, giving a more natural portrayal of ranch hand Whit.
The set is simple yet effective; giving a feel for America at this point in time. The book is so vivid in its description that perhaps part of the magic is in our own imagination, but this stage production does go some way to capture some of Steinbeck's descriptive richness.
All in all this was a good retelling of a classic piece of literature and as with a story of this calibre, the audience were captivated by this epic tale of endurance, compassion and ultimate tragedy.
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