The huge imposing wooden three-sided structure that forms the set for John Steinbeck’s classic tale of two ranch hands in America’s Great Depression performs two functions. Firstly, it provides a very versatile space within which the action unfolds but, at the same time as shutting everything out on three sides it invites the audience in through the open side and, judging by the totally silent auditorium, we are all very willing to be drawn in.
There are no special effects or dazzling lighting in this production, it is driven by the incredibly powerful narrative and the well defined characters within it. The cast of ten work hard in the first act to “become” their characters and, as a result, the second act flows seamlessly through to it’s tragic conclusion.
Robert Ashe is the Boss of the ranch where Slim (Cameron Robertson) is the “Jerkline Skinner”, the leader of the mule team and the most respected ranch hand. The other ranch hands are Carlson (Darren Bancroft), Whit (Harry Egan), Candy (Andrew Boyer) and Crooks (Kevin Mathurin). All six actors give their characters plenty of depth and, as the action unfolds, we are drawn further and further into their world of loneliness, oppression and economic powerlessness.
Perfectly cast as the son of the ranch boss is Kamran Darabi-Ford. Short in stature and suffering from what is commonly referred to as a “Napoleon Complex”, the character tries to make up for his lack of height by bullying the ranch hands. Recently married, his jealousy leads him to also mistreat his new wife, played beautifully by Rosemary Boyle.
The central characters of the piece are polar opposites. George, skillfully portrayed by Richard Keightley, is an intelligent and quick-witted man who dreams of a better future for him and his constant travelling companion Lennie (Matthew Wynn), a giant of a man with the strength of an ox but with mental health issues that leave him unable to take care of himself.
Their companionship, and the deep affection that they hold for each other, is incredibly touching with George acting as both carer and protector for Lennie who, in turn, gives George a sense of purpose in a life that is otherwise dreary and meaningless.
As events race toward the tragic climax, the auditorium remains, as it has been throughout the performance, totally silent as we watch this juggernaut of a production heading for a crash that we know must come, but hope that, somehow, it won’t.
Although the book is quite short, Steinbeck chooses his words well and this company of ten tremendously skilled actors make every effort to deliver power and meaning with every single one. Their portrayals of the various characters are so good that we feel that we have “lived” the story with them and, as we leave the auditorium, we cannot help but be swept along on the wave of emotion that they have created.
***** Five Stars
