By Carol Davis
CARLSBAD, California— New Village Arts Theatre has hit a homerun out of the park with its current production of John Steinbeck’s Of Mice and Men. It deserves a standing ovation.
Steinbeck’s play set in the drought and dreariness of Salinas Valley, 1937 isn’t exactly what one might call a fun play to watch but it is absorbing given the right set of circumstances and the right chemistry in and among the players.
And here’s where director Daren Scott succeeds with the casting of Manny Fernandes as Lennie Small the lumbering giant of a man who most likely couldn’t pass a third grade exit exam but remembers every word his pal George Milton (Justin Lang) says to him about working hard to save money for a dream they both relive: a stake in a piece of land to call their own.
Of Mice and Men is the tragic story of two itinerant ranch hands who are diametrically opposite in personality yet who cling together for companionship and protection. They have a symbiotic dependency and loyalty second to none and live in a world of loneliness, isolation, and dreams. Unfortunately, they are always looking over their shoulders to see if they are being followed by any former employers because of Lennie’s past, inappropriate behaviors.
Lennie loves to cuddle and stroke warm soft things like mice and rabbits, puppies and at the last ranch job, a woman’s dress. No matter how many times George reminds him, Lennie can’t keep
his hands or himself from capturing mice or wanting to pet a dog. One thing Lennie doesn’t seem to realize is how strong he is. George does his best to look after Lennie and see to it that Lennie stays out of trouble but trouble follows as night follows day.
In 2004 the San Diego Opera presented composer Floyd Collins 1970 opera, Of Mice and Men with Anthony Dean Griffey playing the hulk, Lennie. That same year the now defunct Renaissance Theatre Company under the direction of the late George Flint mounted Steinbeck’s Of Mice and Men with Daren Scott as a leaner, tamer Lennie. It won him critical acclaim.
Now in a turnabout, Scott a member of The New Village Arts Ensemble Project is directing this current rendering of the show and his handprints can be seen in Fernandes’ exceptional performance as
it is with the rest of the ensemble.
Fernandes, who is a top-notch actor, is classic Lennie. He’s not over the top crazy. He’s not a caricature of a mentally unstable person nor does he mock in any way the instability of his handicap. He is so real. His concentration and focus is so intent and intense on doing the right thing, that in spite of everything you can’t help feeling sorry for him. In some ways he’s like a cuddly bear that doesn’t know his ownstrength yet just beneath the surface, a dangerous and lethal one.
When Lennie and George finally do find work at a new ranch they meet up with a whole new set of characters in name only, however. They all display the same sense of loneliness, dependency and cruelty as in every other job they have had. In a way they all feed off each other’s weaknesses.
Most of the action takes place in the bunkhouse. There is a stream running just in back of it (Tim Wallace designed a series of sliding wooden slats that open and close) where George and Lennie agree to meet if problems arise. On the surface, the ranch seems to run itself with each hand having his own work cut out for him.
The light atmosphere changes when Curley’s wife, Kelly Iversen, wanders into the bunkhouse looking sexy and appealing. Shortly after she leaves, the jealous Curley, the boss’ son, (Kyle Lucy) comes looking for her. It seems she’s always MIA. Lennie thinks she’s real purty!
George manages to keep Lennie out of the fray most of the time reminding him of past conversations and promises. He keeps a tight reign on his friend, especially when he foresees trouble, all the while assuring him affectionately that they are friends together and forever. His performance is warm and endearing while cautious and oft times tenderly indulgent.
John De Carlo’s soft spoken Slim could use a little more volume in his voice, Adam Brick’s Whit is just right, Durwood Murray, the cook Crooks, and Jack Missett’s Candy, the aging handyman are all on solid footing but it’s Missett’s Candy, who lost his hand in an accident, who is the most sympathetic. He too longs for a piece of the American Dream and offers George and Lennie his life’s savings to ‘go in with them’.
At one point he lets Carlson (Samuel Sherman) convince him that his long time pet sheep dog (Kelsey), needs to be put down because he’s blind, old and stinks. When he finally surrenders the dog, it breaks your heart to watch him, still as a corpse, staring out in space as a gunshot is heard and fear of his own being put out to pasture because of his age, creeps into his consciousness.
But in the final analysis a gunshot of another sort rings out to mark the end of a friendship when Lennie, put to the test by Curley’s flirtatious wife, can’t resist her offer to stroke her soft hair. Ms. Iversen is at her best in her last visit to the bunkhouse. Alone with Lennie, she struggles to break free from his tight grip only to end up like a limp rag doll.
George, the ever-faithful friend and brother like companion and Lennie’s protector until the end, is forced to make things right in his friend’s name.
Technical support is also outstanding in this exceptional production. Chris Renda’s lighting, Kristianne Kurner’s costumes, Adam Brick and Bill Bradbury’s sound design with Bradbury’s
original music complete a picture worthy of this fine show. It’s a must see.
See you at the theatre.
Dates: Through Nov. 20th
Organization: New Village Arts
Theatre
Phone: 760-433-3245
Production Type: Drama
Where: 2787 State Street, Carlsbad, CA 92008
Ticket Prices: $25.00-$29.00
Web: newvillagearts.org