Of Mice and Men
Review
By John Steinbeck9–17 March 2012
By John Steinbeck9–17 March 2012
Set during the great depression, Steinbeck’s story follows George and Lennie, two wandering workers striving for the American dream. The companions are on the run from one town and find work on a lonely ranch further south. All they want is to save up to buy themselves some land and be their own bosses. read more
The two men fall in with the other ranch hands—Candy (Alan Haynes), an old swamper with one hand; Slim (Rob Dyer), the strong compassionate leader of the team; Carlson (Aidan Tigwell) and Whit (Tim Wormley-Healing)—each with dreams for the future and stories from the past. They also meet the black and bitter stable buck Crooks (Loriston Jeakings), subject to the racial discrimination of the time, which shapes his life. For George and Lennie it was not going to be so simple to get their money and move on. Enter Curley (Ben Flores), the Boss’s (Hugh Bryant) son, to cause trouble for the men, and then his lonely wife (Lillian Pierce), craving only for someone to talk to but ultimately spelling disaster for the simple-minded Lennie.
The greatest strength of this production was the completely convincing and heart-wrenching relationship between Lennie (Kitson Wellard) and George (Rick Baker). The two actors made us feel as though these men were joined at the hip; the connection between them utterly real for the audience and superbly done. Kitson Wellard’s portrayal of a man of uncontrollable physical strength but little intellectual understanding was fantastic. He made playing this difficult role look easy. Alan Haynes’s portrayal of Candy, through physical movement and verbal expression, was also wonderfully convincing—yet another damaged person, with the odds stacked against him but still latching on to a dream. As an ensemble piece, all the cast did a fantastic job at performing this well-known and difficult play; attention to detail with props, set, lighting and music all contributing to the completeness of the piece.
The Stables’ decision to perform a GCSE text not only brought a classic play to the town but achieved a run of full houses, with groups from local schools helping to fill the theatre. Well done to the Stables for providing this opportunity and to director Niall Whitehead for a production that was compellingly engaging throughout and, despite the tragedy of the story, a joy for all to watch.
Mae Jackson and Philip Blurton
The greatest strength of this production was the completely convincing and heart-wrenching relationship between Lennie (Kitson Wellard) and George (Rick Baker). The two actors made us feel as though these men were joined at the hip; the connection between them utterly real for the audience and superbly done. Kitson Wellard’s portrayal of a man of uncontrollable physical strength but little intellectual understanding was fantastic. He made playing this difficult role look easy. Alan Haynes’s portrayal of Candy, through physical movement and verbal expression, was also wonderfully convincing—yet another damaged person, with the odds stacked against him but still latching on to a dream. As an ensemble piece, all the cast did a fantastic job at performing this well-known and difficult play; attention to detail with props, set, lighting and music all contributing to the completeness of the piece.
The Stables’ decision to perform a GCSE text not only brought a classic play to the town but achieved a run of full houses, with groups from local schools helping to fill the theatre. Well done to the Stables for providing this opportunity and to director Niall Whitehead for a production that was compellingly engaging throughout and, despite the tragedy of the story, a joy for all to watch.
Mae Jackson and Philip Blurton
A Stables Theatre production
Director: Niall Whitehead
Director: Niall Whitehead
A selection of photographs of Stables Theatre productions is available on our photographer Peter Mould’s website.
www.artypharty.com
www.artypharty.com
Entertaining Angels by Richard Everett (10–18 February)
Of Mice and Men by John Steinbeck (9–17 March)
Bedroom Farce by Alan Ayckbourn (13–21 April)
The Winslow Boy by Terence Rattigan (11–19 May)
The Real Inspector Hound and Red Peppers by Tom Stoppard and Noël Coward (6–14 July)
The Merchant of Venice by William Shakespeare (25–28 July)
The 39 Steps by John Buchan, Alfred Hitchcock and Patrick Barlow (13–18 August)
A Midsummer Night’s Dream by William Shakespeare (5–8 September)
Mine by Polly Teale (21–29 September)
Cranford adapted by Martyn Coleman, from the stories by Mrs Gaskell (19–27 October)
Accidental Death of an Anarchist by Dario Fo and Gavin Richards (16–24 November)
A Christmas Carol by Charles Dickens and John Mortimer (14–29 December)
2012 season review
Of Mice and Men by John Steinbeck (9–17 March)
Bedroom Farce by Alan Ayckbourn (13–21 April)
The Winslow Boy by Terence Rattigan (11–19 May)
The Real Inspector Hound and Red Peppers by Tom Stoppard and Noël Coward (6–14 July)
The Merchant of Venice by William Shakespeare (25–28 July)
The 39 Steps by John Buchan, Alfred Hitchcock and Patrick Barlow (13–18 August)
A Midsummer Night’s Dream by William Shakespeare (5–8 September)
Mine by Polly Teale (21–29 September)
Cranford adapted by Martyn Coleman, from the stories by Mrs Gaskell (19–27 October)
Accidental Death of an Anarchist by Dario Fo and Gavin Richards (16–24 November)
A Christmas Carol by Charles Dickens and John Mortimer (14–29 December)
2012 season review
