Fine Elmwood production

Press, Volume CXV, Issue 33957, 25 September 1975, Page 18

Fine Elmwood production

“The Fantasticks.”~Words by Tom Jones, music by Harvey L. Schmidt. Produced by Brian Deavoll for the Elmwood Players. September 24 to October 4. Running time: 8 p.m. to 10.5 p.m. Although the Christchurch ' September is not exactly the season intended by the .American lyricist. Elmwood supporters will have little difficulty when they heed the theme song of “Fantasticks” and “Try To Remember"; they will remember the group’s best and warmest production for many a year. Labelled “A Parable of Love,” “Fantasticks” teeters happily on the brink of sentimentality in parading, as if from a fantasy world, the maturing of a girl and boy in love. A gently mocking tone, and a deliberately very simple storyline, set, costumes, and characters focus the attention on the theme of growing to the re-birth of adulthood through the pain of tumultuous discoveries about the world. “There is a curious para,dox,” concludes the Narrator. "Who understands why we must all die a bit before we [grow again?” The moonlight ;of the first scenes masks the reality which the later sunshine highlights: it has all

■ been said before, but Elmwood has done the show well enough to exhibit the un-i pretentious honesty that has ;kept “The Fantasticks” on ithe New York stage for 15 years. Brian Deavoll’s imaginative control of his small cast (and his ability to have every- ‘ one continuously involved give the production a stamp of class. There are lots of minor deficiencies, but one feels satisfied that a very worth-while standard has been attained and that every ounce of potential has been well employed. Robert Naysmith exerts an (easy control over proceedings. As a Narrator of considerable presence, he leads' a cast who have pace and [timing firmly in their grasp.; He also leads a cast who never fail to handle the music [with a sound technique and (appropriate feeling. The songs vary greatly in [Style and difficulty: Mr Nay-i !smith handles the most vital •and difficult with ease. So, too, does Helen Powell, as’ the Girl. Her characterisa-1 [tion never falters. ) The Boy is played by Martyn Duffy, who handle's Ithe entire role admirably, especially the difficult poses of the struck lover, the determined young man, and the fearless seeker of fortune in the blue yonder at the back

of the auditorium (especially difficult when this is but 30ft’ away). The Fathers, Arthur Chapman and Peter Brown, work; very well together, and Bryon; Jones and Peter Hart enter-, tain with the perfect touch of pathos as a remnant of a lost theatrical troupe. Lindsay Simpson is a very busy and efficient Mute. This is really a role for a trained mime, but Miss Simpson’s messages were invariably! clear. Choreography (by Berryl McLeod) was wisely limited.; so that what was attempted' came off verv well. Eric Cornwall produced a fine body of singers, but one wishes that the score had been played on two pianos, .as was the original design. Other minor quibbles concern the general lighting, which seemed to be sacrificed at times in favour of some admittedly’ most successful (special effects, and the avoidance of American accents when they were obviously an [essential element of the lyrics and libretto. The final impression is one of amazement that such a; simple piece can weave as' much magic as the Peter. Harcourts of the world say' it can; and satisfaction that Elmwood handled it well) enough to cast the spell. —W.H.L.