Life Upon the Wicked Stage

     All of us in the theatrical community have heard reference to "the acting bug", but in truth it seems to be more of a parasite than a generic bug. Dictionary.com defines a parasite as the following:  "an organism that lives on or in an organism of another species, known as the host, from the body of which it obtains nutriment." However, there are studies which show occasionally there are parasites which are just as helpful to the host, for example hookworms in small quantities prevent humans from suffering from allergies, asthma and a myriad of other common ailments without harm to the host.
    The "acting bug" is like that. That's why people call it a bug, once the creature has found a cozy nest inside its host, it may lie dormant, but it never lets go. Attempts to suppress the creature, to live what most might refer to as a "normal life" serve only to weaken the nature of the host.
    It's been too long since I've eagerly anticipated the fight for a role and now that has arrived I feel electric. Every fiber of my being buzzes with thought, passion, courage - I don't just want to win this role - I want to find the precipice of the emotional barriers, spread my arms, close my eyes and leap.
    Those around me think I'm mad, perhaps I am, since now that my schedule has cleared up I've signed on for one show and am auditioning for two more. All I can say is if this is madness, let me stay mad.

Review: Shepherd Productions, Waiting for Godot

Even though it was 16 years ago, I still recount in awe the sheer acting brilliance portrayed by the Tony, Drama Desk, and Obie Award-winning actor/director Brian Bedford.  I was 17, watching a production of Peter Shaffer’s Amadeus. For those less familiar with the play, it tells the life of Mozart through fellow composer, Salieri who is tormented by Mozart’s success and seeks to destroy him.  The story begins at the end of Salieri’s life, then quickly shifts to when the pair were young men – and as I sat there in the cushioned seats of the Festival Theatre in Stratford Canada I was spellbound. Here was a man who could do something I had never seen before, in the space of seconds he was utterly transformed from a completely believable frail old man to a sprightly youth. 

          Last night, during the opening night of Shepherd Productions performance of Samuel Beckett’s Waiting for Godot, I was reminded of this experience due to the sheer talent of the cast. Admittedly, I am familiar with all five actors and the entire production team, in just the past six months I have directed one of the actors and appeared onstage with another, but these were not the men I know. 

          I first saw Waiting for Godot for a high school class when it was presented by the (long gone) Red Herring Company. Although half my life has passed in the meantime the two experiences could hardly be more different. Red Herring ‘s production was presented (to my memory) on an almost entirely bare stage in an old warehouse with the audience seated in folding chairs, Shepherd’s version is on a set which is simultaneously austere and slightly whimsical due to Doug Northern’s stunning design.  Both productions deftly brought forth the inherent humor, without losing sight of the grit and world-weary humanity.

          Last night, however I was in awe of the transformation of two men whose talents I already admired, Jim Azelvandre as Gogo initially robbed all attention, delightful to watch in his misery – his physicality and facial expressions lending a nuanced blend of the addled and childlike. However,  Jeff Potts as Didi held his own, showing true skill, appearing older, and burdened perhaps equally by his ongoing appointment with the mysterious Godot, the ever-increasing loss of Gogo’s mind, and doubt of his own intelligence.

          John Feather as Pozzo and Michael Moore as Lucky make a well-suited pair as they charm, sputter, and growl through their two appearances and  Robert Prines does a fine job of displaying the needed contrast of youth and innocence.

          As I mentioned to a friend last night, it is possible the thing that was most different about my experiences with the two productions of Waiting for Godot was me, more specifically the depth of life experience – 17 years and philosophy minor later, certainly the script held me rapt in entirely different ways… as it should.  Regardless, where you are in life this is a production everyone should make time to experience. What you see in the production, and in yourself, just might surprise you.

Waiting for Godot runs Thursday-Saturday, September 6^th-8^th and 13^th-15^th at 8pm, with a matinee at 2pm on Sunday, September 9^th.  Tickets are $15 ($10 for Student/Senior), to reserve yours visit www.madlab.net or call 614.221.5418.