By John Steinbeck. A Sport for Jove Theatre Company and Seymour Centre Co-Production. The Canberra Theatre Centre. 8 Aug 2015
When you watch productions such as Of Mice and Men you realise just how vapid and self-conscious contemporary entertainment can be. This is a story borne out of a time when troubles were so painfully real but also when people had the time and attention to reflect, observe and even ruminate on the state of affairs with immense depth. It doesn’t rely on an overly convoluted plotline or ad nauseam script to convey complexity, but rather a fearless articulation that strikes with precision right into the heart of matters.
The language used may be shocking to a society now adjusted to political correctness, but there is something about the unadulterated honesty in Of Mice and Men that is, to some extent, novel and refreshing. There have been examples where plays penned in less enlightened times have been censored so as to not offend the modern theatre aficionado. In many ways this practice is tantamount to historical revisionism and prevents us from seeing the past with clear eyes.
This particular version of the play goes to great pains to remain authentic to the original tale written by John Steinbeck in 1937. In particular, the Australian (with the exception of Charles Allen as Crooks, who hails from Tennessee) cast’s commitment to perfecting their salt-of-the-earth American accents is impressive. Australian actors so frequently make audiences cringe at the cheesiness of their attempt at an American accent, but these guys (and gal) simply nail it. In fact, Of Mice and Men is one of the most superbly cast productions to grace a stage in Canberra for some time.
If Anthony Gooley as the quick-and-compassionate George and Andrew Henry as the innocent-yet-alarmingly-dangerous Lennie don’t win prestigious performing arts awards in the coming year, then it will be a grave injustice. Both of their performances are masterful, and nuanced to a fine polish. As the odd couple thrown together by circumstance, they charismatically lure the audience in to join them on their blundering journey – despite us knowing full well that things are going to end badly.
The accomplished supporting cast featuring Laurence Coy (Candy), Christopher Stollery (Slim), John McNeil (Carlson), Charles Allen (Crooks), Tom Stokes (Whit), Andre de Vanny (Curley), Anna Houston (Curley’s Wife) and Terry Serio (The Boss) are collectively the most phenomenal team of actors one could possibly hope for. Each one of them plumbs the depths in their respective roles and the camaraderie between them is ever-present.
While the acting alone is enough to keep you glued to your seat, there is also an abundance of talent at work in the ambient elements of the show. Besides his role as The Boss, Terry Serio also contributes as the solo guitarist during the melancholy musical interludes, transporting you right into the harsh environment of the Depression-Era Californian barley fields. Likewise, the dim, yellow-tinged lighting (Sian James-Holland) and uber rustic set design (Michael Hankin) is beautifully authentic, with the set changes creatively woven into the play as chores in the characters’ workdays.
By the concluding moments of the show, the characters are so completely under one's skin that it's impossible to not be overcome with concern and compassion for them – making the heart stopping finale just that much more haunting in the following few moments of stunned, silent darkness.
One could rave about Of Mice and Men until the cows come home, but to pay homage to Steinbeck a succinct conveyance of appreciation is in order – and reading this review any longer would just mean a delay in you discovering this story for yourself. It’s a fascinating investigation into one of the most profound issues we face in human societies, the treatment of our most vulnerable, and is a highlight of the 2015 theatrical calendar.
Deborah Hawke
When: 6 to 8 August
Where: Canberra Theatre Centre
Bookings: Closed
