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Strong Playhouse cast props up Steinbeck’s ‘Of Mice and Men’
YOUNGSTOWN
Can a play be beautifully acted, lovingly directed and gorgeously designed while still remaining a pile of retrograde hooey?
That’s the conundrum posed by the current Youngstown Playhouse production of John Steinbeck’s “Of Mice and Men.”
While clearly a labor of love for director Sam Luptak Jr. (whose myriad credits include last fall’s nonpareil Victorian Players staging of “Our Town”), the object of Luptak’s affection — Steinbeck’s theatrical adaptation of his classic 1937 novella — feels unworthy of his ardor.
The reason “OM&M” leaves a somewhat unpleasant aftertaste is its antediluvian — nay insidious — sexual politics. Curly’s Wife — notice Steinbeck never even bothers giving her a proper name — remains a feminist’s worst nightmare. Not even the terrific Molly Makselan can make her unfortunately written character seem more than an assemblage of outmoded patriarchal fears and anxieties.
But I’m getting ahead of myself. The original “bromance,” “Of Mice and Man” tells the heart-rending story of itinerant field hands George (impressive Playhouse newcomer Craig Conrad) and Lennie (Tim Phillips, excellent) who wander the post-Depression American landscape in search of a better life (their ultimate dream is to earn enough money to buy a small piece of land). George’s fateful decision to (temporarily) settle down at a northern California farm ultimately proves catastrophic for both men, alas.
Taciturn George is the physical — and temperamental — opposite of gentle giant Lennie.
As much social worker as friend, George has been keeping a watchful eye on the quasi-retarded Lennie for years, protecting the overgrown manchild from his best (and worst) instincts.
The boss’s ornery son, Curly (a superb Charles Kettering), takes an immediate dislike to the newcomers, especially Lennie. And Curly’s flirtatious new bride (Makselan) seems much too, uh, friendly for comfort. Disaster is waiting just around the bend.
Disrespected by her pathologically jealous husband and derided by the workers who call her everything from “tart” to “tramp,” Curly’s Wife is a victim of entrenched societal misogyny whom Steinbeck insists upon portraying as a predatory siren. The tragic fate that befalls Curly’s Wife seems like punishment for her free-spiritedness, unapologetic sexuality and nascent independence. Pretty shocking stuff considering the author’s much-vaunted reputation as one of America’s great literary humanists.
Yet, if you’re willing to overlook the play’s reactionary bent, Luptak’s “Of Mice and Men” offers some of the finest acting you’ll see anywhere this season. Despite a tendency to swallow some of his lines on the big Playhouse stage, Conrad is remarkably effective as the fatally conflicted George, and Phillips’ sensitive interpretation of Lennie never succumbs to easy sentimentality or laughs. They make a beautiful pairing.
Equally strong are Kettering; Makselan; Gabby Hayes-ish Tim McGinley as crusty old-timer Candy; Jack Hay (worldly-wise Slim); Byron Armour (perennially disenfranchised African- American ranch hand Crooks); Tyler Moliterno (wet-behind-the-ears Whit); Jim Canacci (the tough but mostly fair boss man); and thesping novice Ed McColly (hair-trigger Carlson) who belies his inexperience with a remarkably confident “first-time-at-bat” turn.
Jim Lybarger’s set design (with an assist from the invaluable Johnny Pecano) is a thing of stark, muted beauty, and Cherie Stebner’s costumes are up to her usual exacting standards. Starr E. McClure’s ambient sound design proves a tad distracting, however. There’s so much background noise that it occasionally interferes with the performances.
“Of Mice and Men” runs through next Sunday at the Youngstown Playhouse. For tickets, call 330-788-8739.