BRIEF ENCOUNTER BECOMES A DELIGHTFUL EVENING
Married doctor Alec (Milo Twomey) and suburban housewife Laura (Hannah Yeland) begin an affair over a series of stolen afternoons, including a date at the cinema.
NOEL COWARDS BRIEF ENCOUNTER: Adapted for the stage and direct by Emma Rice. Originally produced by David Pugh & Dafydd Rogers and Cineworld by British Kneehigh Theatre Company. American Conservatory Theater (A.C.T.)
BRIEF ENCOUNTER BECOMES A DELIGHTFUL EVENING
EXTENDED THROUGH OCTOBER 17!!!
Before the curtain rises on this splendid British import, cast members mingle with the audience and a four piece rag-tag band serenades us with 1930s songs. The two main characters Laura (Hannah Yelland) and Alec (Milo Twomey) are sitting in the front row seats. On the Palladium Cinema screen is a projection of Laura’s living room with two empty chairs. As Alec professes his love, she being a sensible married woman mounts the stage and physically enters the screen to join her on-screen husband. What a great start for an evening of inventive staging. It is what we expect from the fertile mind of Emma Rice, Kneehigh Theatre Company’s artistic director. Originating in the National Trust barn on the cliffs of
The major scene is Milford Junction train station tearoom where Alec and Laura first meet. The denizens of the tearoom/train station are a motley group that you will come to love while laughing at their peccadilloes. The most loveable of the bunch is full-bodied Beryl (Beverly Rudd) the waitress who scoots around the stage on her scooter and eventually energetically pounces on concession employee Stanley (Stuart McLoughlin) the object of her love. The horn-rimmed eye glass worn by love-starved Myrtle (Annette McLoughlin), boss of the tearoom, cannot hide her desires for randy ticket inspector Albert (Joseph Alessi) who trots her off to the back room. Among other roles, Alessi generates empathy when he doubles as Laura’s unassuming husband Fred. Musicians Eddie Jay and Adam Pleeth fill in as needed along with adding atmosphere and providing accompaniment to the singers.
Although the movie is the basis for the show, it is really a framework for a multimedia fusion theatre combining film, stage action and music. A frilly curtain often descends hiding the marvelous eclectic set while the characters sing, dance or both to Noel Coward’s songs that include, “Any Little Fish”, “I’m No Good at Love”, “A Room With A View”, and “Mad About the Boy.” With the three sets of lovers identified in Act one, Rice fills out the love story line of Laura and Alec and emphasizes water symbolism where Laura is eventual is able to swim free. A great example of fusion theater is exemplified in the opening of Act two with film clip of Alec and Laura in a row boat that throws them both into the water. When the movie screen lifts the other cast members move and overturn a row boat on stage and the lovers sing “Romantic Fool.”
During intermission, the cast again mingles with the audience offering petite sandwiches and sweets. The gesture solidifies the director’s intention to make you part and not just an observer of the action. It works beautifully. Every member of the cast performs brilliantly even when they are competing with the jaw-dropping technical effects created by scenic and costume designer Neil Murray, lighting designer Malcolm Rippeth, projection and film designers Jon Driscoll and Gemma Carrington, sound designer Simon Baker, musical director Pete Judge, and puppetry designer Lyndie Wright.
Highly recommended with a running time of 2 hours and 10 minutes including intermission.
Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagazine.com