‘On Golden Pond’

Press, 25 October 1984, Page 8

‘On Golden Pond’

“On Golden Pond,” by Riccarton Players, at the Mill Theatre; October 24 to November 2. Running time: 135 minutes. Reviewed by Stephen Quinn. It is rather nice to be able to leave a theatre with a warm, gooey feeling in one’s tummy. Such was the case after the opening performance of “On Golden Pond” last evening. It was a most pleasant production, full of mellow charm and dry humour. The plot is relatively simple. Ethel and Norman Thayer return to Golden Pond for their thirty-eighth summer. They are visited by their daughter, Chelsea, and her boyfriend, Bill, who leave Bill's son with them while they go on holiday. A friendship develops between Norman, who is obsessed with death, and young Billy, who is full of life. It is a story of people growing old and growing up, and getting to know themselves and their family. While this may seem trite, it makes for excellent

drama. The author, Ernest Thompson, won a Pulitzer Prize for the script, which was adapted into a very successful film. Martin Phelan the director of this production, admittedly has good material to work with. But he and his cast have taken it further. They have managed a delightful study of maturity and growing awareness that is worthy of commendation. Patrick Paynter is particularly good as Norman, a man aged 70 who has never quite grown up. Mr Paynter successfully gives us a character who is cantankerous, crotchety, and caustic yet entirely believable. Moreen Eason, as Ethel, seemed a littled nervous initially yet blossomed as the play developed. She provides a creditable counter to Norman’s antics — long-suffer-ing and accommodating yet able to retaliate and appreciate Norman’s outbursts. My only complaint was that she appeared too sprightly for a woman aged 59, especially compared with the way Mr Paynter creaked

about the stage. A little more make-up to aid the ageing process would have helped. This was a tiny irritation in an otherwise worthy production that the audience certainly appreciated. While the play centres on the two main characters, the rest of the cast also deserve praise. The script is full of dry, warm humour which captures the feeling of acceptance of life. The banter between Ethel and Norman is especially effective. “That’s what happens when you live a long time,” Norman confides to Ethel, “you get old.” The natural consequence of ageing is death. While we are always conscious of that fact throughout the play, it is presented so beautifully that we, like the aged protagonists, learn to accept it as well. When, at the very end, Ethel says that death is “not such a bad place to go” the over-all sentiment is affirming and not frightening. It is one of the reasons why it is possible to leave the theature with such a warm feeling.