The Farnsworth Invention at Lakewood Playhouse
Reviewed by Michael Dresdner
Photos:
Top, from left: Dylan Twiner, Jacob Tice, Niclas R Olson
Bottom, from left: Niclas R Olson, Jacob Tice, Dylan Twiner, Matt Garry, Jeffery Weaver
Photos by Dean Lapin
When everything works perfectly in theatre, when an outstanding play meets an even better cast and production crew, you come away feeling breathless, exhilarated and moved. That’s what I felt at the end of “The Farnsworth Invention” at Lakewood Playhouse. That and more.
Forget the blurb you read about the play. Never mind what seems like an uninteresting topic (inventing television?), because it is much more than it seems. Instead, think of the best story you’ve ever been told unfolding in live action right before your eyes.
Written by Aaron Sorkin (“The West Wing,” “A Few Good Men”), it is the fictionalized roman a clef of the contentious relationship between RCA’s legendary president, David Sarnoff (Gabriel McClelland), and the reputed inventor of television, Philo Farnsworth (Niclas R. Olson), along with a huge cast of others who carom into and out of their story.
What it’s really about though, is people. Fast paced, exciting, and chock full of fascinating facts, it peels back the curtain on wide swath of compelling individuals and their interpersonal clashes.
To call this an outstanding production is an understatement. It may well be the best overall offering of many outstanding plays Lakewood can claim. Credit for it goes to more than just the usual suspects.
First, there are McClelland and Olson, top notch actors who were both absolutely perfect in their roles. But even as good as they were, their work was amplified by a huge and well oiled ensemble cast that was every bit as outstanding. Twenty actors (sadly, too many to name with their deserved accolades in this small space) played over 70 different characters, smoothly appearing, disappearing, and meshing perfectly with one another to create a thoroughly convincing range of persons and personalities. This was, in short, an amazing cast doing as superb a job as you can imagine.
Direction by John Munn was ideal; crisp, fast paced, and fluid, but never confusing, with enough movement to make this two hour story simply whiz by. Subtle lighting changes (Deborah Armstrong-Evans) predicted, followed and intensified the rapid fire mood and attitude sweeps taking place in front of us. Props (Jeffrey Weaver) were creative and appropriate; never distracting, but spot on.
A very simple stage (Brett Carr) used two, movable, bi-level arcs that, by their position, indicated repeat locations along with a myriad of other changing ones, and offered a sense of movement in time and place. It let the actors, who were almost never still and certainly never static, add realistic movement to a very human discourse.
And costumes? Good heavens, what a tour de force. Alex Lewington fitted each character with a period-accurate wardrobe, right down to the perfect hats and shoes on the women, which changed, just as we do in real life, for each different day presented. She’s truly the Edith Head of the South Sound.
Even the backstage crew, amplified by the actors themselves, smoothly and unobtrusively moved sets and props all while the fast paced action and dialogue continued around them. This, in turn, means kudos are surely due the stage manager (Nathaniel Quinn) who deftly choreographed what had to have been a staggering number of light and sound cues, all executed with pinpoint timing.
I won’t bother telling you the story; they do that better than I could. Nor will I waste any more time on praise, though they all deserve much more. Instead, I’ll just say this: Change your schedule, rearrange your life, but do what you must to see this play.
As Monk says, you’ll thank me later.
The Farnsworth Invention
March 2nd through March 25th, 2012
Lakewood Playhouse
When everything works perfectly in theatre, when an outstanding play meets an even better cast and production crew, you come away feeling breathless, exhilarated and moved. That’s what I felt at the end of “The Farnsworth Invention” at Lakewood Playhouse. That and more.
Forget the blurb you read about the play. Never mind what seems like an uninteresting topic (inventing television?), because it is much more than it seems. Instead, think of the best story you’ve ever been told unfolding in live action right before your eyes.
Written by Aaron Sorkin (“The West Wing,” “A Few Good Men”), it is the fictionalized roman a clef of the contentious relationship between RCA’s legendary president, David Sarnoff (Gabriel McClelland), and the reputed inventor of television, Philo Farnsworth (Niclas R. Olson), along with a huge cast of others who carom into and out of their story.
What it’s really about though, is people. Fast paced, exciting, and chock full of fascinating facts, it peels back the curtain on wide swath of compelling individuals and their interpersonal clashes.
To call this an outstanding production is an understatement. It may well be the best overall offering of many outstanding plays Lakewood can claim. Credit for it goes to more than just the usual suspects.
First, there are McClelland and Olson, top notch actors who were both absolutely perfect in their roles. But even as good as they were, their work was amplified by a huge and well oiled ensemble cast that was every bit as outstanding. Twenty actors (sadly, too many to name with their deserved accolades in this small space) played over 70 different characters, smoothly appearing, disappearing, and meshing perfectly with one another to create a thoroughly convincing range of persons and personalities. This was, in short, an amazing cast doing as superb a job as you can imagine.
Direction by John Munn was ideal; crisp, fast paced, and fluid, but never confusing, with enough movement to make this two hour story simply whiz by. Subtle lighting changes (Deborah Armstrong-Evans) predicted, followed and intensified the rapid fire mood and attitude sweeps taking place in front of us. Props (Jeffrey Weaver) were creative and appropriate; never distracting, but spot on.
A very simple stage (Brett Carr) used two, movable, bi-level arcs that, by their position, indicated repeat locations along with a myriad of other changing ones, and offered a sense of movement in time and place. It let the actors, who were almost never still and certainly never static, add realistic movement to a very human discourse.
And costumes? Good heavens, what a tour de force. Alex Lewington fitted each character with a period-accurate wardrobe, right down to the perfect hats and shoes on the women, which changed, just as we do in real life, for each different day presented. She’s truly the Edith Head of the South Sound.
Even the backstage crew, amplified by the actors themselves, smoothly and unobtrusively moved sets and props all while the fast paced action and dialogue continued around them. This, in turn, means kudos are surely due the stage manager (Nathaniel Quinn) who deftly choreographed what had to have been a staggering number of light and sound cues, all executed with pinpoint timing.
I won’t bother telling you the story; they do that better than I could. Nor will I waste any more time on praise, though they all deserve much more. Instead, I’ll just say this: Change your schedule, rearrange your life, but do what you must to see this play.
As Monk says, you’ll thank me later.
The Farnsworth Invention
March 2nd through March 25th, 2012
Lakewood Playhouse
No comments:
Post a Comment