Some writers see the human condition so clearly that their story-telling – the means by which we connect and try to make sense of our existence – becomes a profound experience which smashes down all barriers of race, class and culture; despite the very localised nature of the story itself. John Steinbeck was such a writer. Of Mice and Men (currently at Campbelltown Arts Theatre) is such a story. It began as a novella, and whilst still on the best-seller lists, became a play. George and Lennie have a memetic legacy which goes beyond America.
It is the story of the human need for connection, of loneliness, of the need to have dreams. That it takes place as America is dragging itself out of the Great Depression after years of grinding poverty underscores the themes. These characters are, for the most part, homeless men, migrant workers, beaten by circumstance, collapsing from one day to the next, desperately trying to avoid the abyss of despair which yawns before them by believing, instead, in a dream of a better life ahead.
George (Joshua Paterson) and Lennie (Brendan Flood) are migrant workers, forced to move from ranch to ranch not only by the seasonal nature of their work but Lennie’s predilection for petting small, soft things. They are bound by George’s devotion and Lennie’s “pathetic helplessness”. George’s guardianship keeps Lennie out of trouble, but we soon see this is a slippery slope. Paterson presents George beautifully, layering in fear, wit, pragmatism and hope in a performance which holds the production together. Flood is appealing as Lennie, a small child in a huge man’s body.
The ensemble in Campbelltown Theatre Group’s production work hard to make each character more than a stereotype; one-handed Candy (a compelling Tony Woollams), Slim (David Cascarino), Whit (Brendan James Raymond who also doubled as the AD), the surly Carlson (Paul Mackenzie), Crooks (a powerfully bitter Haki Pepo Olu Crisden), The Boss (Matthew Mansell), Curley (a pugnacious if awkward Peter David Allison) and Curley’s wife (Erin Middleton) whose character does not have a name. She is, as George observes, trouble – with a “T”. Her desperation for connection is not evidenced until the last Act. Whilst this choice verifies the men’s perception of her as a “tart”, earlier notes of loneliness would serve the play better. On opening night, some were more confident than others with their lines and this affected the energy and pace at times. This will iron with a few performances under their belts.
John Steinbeck wrote this own adaptation. And herein lies the difficulty with the script – it is little more than a page-to-stage version of the novel. The experience of a reader with a book is not that of actors and audience. Steinbeck needed a dramaturg. It is faithful to the plot but offering little chance for a director to take the play into enriching territory. One suspects Director Felicity Burke knows this too. She does everything to elevate the script. A clever set maximises the small space available and high-quality projections (Peter O’Connell) bring in the sense of time, place and atmosphere. But the play itself – and not the production, needs less story and more theme(s).
Provincial theatre is the cradle of performance art and some delightful experiences are awaiting those prepared to make the effort to go. Those who craft art in their communities away from cities do so without the resources available to groups in large centres and so often they pull off wonderful results. Go. See. Support.
Kate Stratford – On The Town
Of Mice and Men
John Steinbeck
19 Oct – 3 Nov 2018
Fri & Sat 8pm
Sat matinee 2pm
Venue: Town Hall Theatre
Theatre Company: Campbelltown Theatre Group Inc.
Duration: 3 hours, including two 10 min intervals
