CurtainUp
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CurtainUp The Internet Theater Magazine of Reviews, Features,
Annotated Listings |
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A CurtainUp Review
Of Human Bondage
By Elyse Sommer
"I consented without a minute's hesitation. A novel is not for a fugue, for instance, which if you cut, say, 20 bars from it would be rendered meaningless, not like a picture in which one element balance another to complete the composition. A novel is a very loose form of art. You can do almost anything with it. . .So far as the reader is concerned, it is a work which purports to offer him an intelligent entertainment. If this book, in this shortened version, finds new readers who get that from it I shall be well satisfied."If the prolific and practical Maugham were still with us, it's clear from the above that he would also be happy to finally see Of Human Bondage made stage-worthy. Despite three film versions (in 1934 with Leslie Howard and Bette Davis in her star making role as Mildred, in 1946, with Paul Henreid and Eleanor Parker and in 19 64 with Laurence Harvey and Kim Novak), no one ever attempted to stage it. Thus playwright Vern Thiessen's adaptation for the Soulpepper Company and helmed by its Artistic Director Albert Schultz is a first — and thankfully the Company has done well by it and now chosen it as one of the main features for its month on 42nd Street. I revisited the novel (in a full-length but larger type digital edition) before seeing the Soulpepper production at the Pershing Square Signature Center's largest venue. To be honest, I fast forwarded quite a bit through Maugham's lengthy chapters about Philip's lonely childhood in his uncle's vicarage; also the ones at boarding school and art school in Paris. And so, as Mr. Maugham readily accepted Pocketbook's cuts, I bought right into Vern Thiessen's skipping Philip's early history in which he abandoned religion and the possibility of a career as an artist. Instead, he used some of that material as background and takes us right into Philip's life as a medical student; also his disastrously masochistic love affair with the slutty, manipulative waitress who turns him into an emotional wreck, and also ruins him financially. The plot that is kept is pretty much word-for-word true to the book. The inexplicable passion (possibly Maugham's way of channelling his still closeted homosexuality that's not really a factor in Soulpepper's adaptation) undoubtedly is what made Of Human Bondage so popular with readers and movie patrons. Consequently, this massive bildungsroman has always tended to tilt towards soap opera. Thiessen's adaptation is still essentially a soap opera-ish tale of tortured unrequited love which Maugham, with reader-pleasing practicality, ended happily. It's nevertheless an edgy, very modern theatrical work. Credit Albert Schultz, his inventive designers and the extremely versatile 12-member Soulpepper ensemble for mounting one of the most exciting adaptations of a century old book. Unlike Philip's unwise choices — giving in to his fixation with Mildred and unwisely investing his meager resources in the stock market— the playwright and director's choices are all very smart. They start things off with a dynamic gathering of all the characters on the central playing area, a large red square, where the club-footed Philip Carey's career and romantic adventures and misadventures will unfold. The opening image fluidly segues into an anatomy class where Philip and the ensemble, now his fellow medical students, take turns sawing a cadaver which morphs into a double bass. This is just one of several instruments, unobtrusively but effectively played throughout by the ensemble members who stay at the edge of the central playing area even when not part of the action. Count on more dazzling character and plot supporting wizardry from scenic and lighting designer Lorenzo Savoini and composer and sound designer Mike Ross. A stage adaptation in the days when Maugham himself wrote plays would have featured more realistic settings for the various locations. However, despite the less realistic staging, even viewers unfamiliar with Maugham's story will have no problem following the plot and keeping the actors' various roles sorted out. Naturally there's no multi-tasking for Philip and while the limp is somewhat too exaggerated it does allow a striking accompanying thump from that big Bass. And Gregory Prest breaks our heart and makes us glad that Mr. Thiessen has made Maugham's happy ending even more joyous. As for Mildred, I never saw the 1934 movie (though it can still be seen on You Tube), but I'm pretty sure Bette Davis was more wildly sluttish than Michelle Monteith. Still, Mildred's repeated "I wouldn't mind" (similarly repeated in the book) clearly evokes her vulgarity and limited vocabulary. And Monteith foes full steam nasty in the scene that has her vengefully reacting to Philip's finally freeing himself from her spell — a scene Mr. Thyssen has smartly turned a into a show rather than tell scene. Monteith's overall performance is less that of a one-note low=life than one of society's losers to be pitied. The snippets of music hall fare introduced during her outings with Philip are a delightfully satirical reflection of her lowbrow taste. I was glad to see that Thyssen also kept Maugham's amusing bit about Mildred's reading one of the trashy novels that Norah Nesbitt (Sarah wilson) writes to support herself. Sarah Wilson, excels as this more suitable romantic interest the Mildred-obsessed Philip unwisely rejects. But while Philip and Mildred are the pivotal characters this is an ensemble rather than a leading player tour de force. The ways in which the actors make their roles as Philip's friends, benefactors, supervising doctor and other women in his life memorable are too numerous to detail. Oliver Dennis is especially impressive as Dr. Tyrell, Philip's tough but supportive teacher and as his artist friend Lawson. John Jarvis is another standout as Thorpe Arbelney, the former patient who, when Philip's life takes a really dark turn, becomes his benefactor. And speaking of benefactors. . . since Thyssen eliminated the uncle who turns Philip's financial situation into a Dickensian nightmare, he has him the beneficiary of his poet friend Cranshaw's will (Stuart Hughes). Happily, the adaptation has not cut Philip's stint as a fashionable shop's floor walker and designer before that inheritance and the feel-good finale. That final detour from his career as a doctor adds some welcome humorous moments. Ultimately everything adds up to lots of good choices by everyone connected with Of Human Bondage's long overdue stage debut. Consequently, you would be making a pretty smart choice yourself if you put it on your must-see list. For a more recently minted Soulpepper play, I also reviewed Soulpepper's more recently minted hit comedy Kim's Convenience ( the review). And Charles Wright will be giving his take on the company's musical adaptation of Spoon River the cast of which will include the Bondage ensemble and composer Mike Ross. For other events that are part of Soulpepper on 42nd street, see https://www.soulpepper.ca/new-york |
Search CurtainUp in the box below PRODUCTION NOTES Of Human Bondage Written by Vern Thiessen based on Somerset Maugham novel Directed by Albert Schultz Cast: Oliver Dennis (Dr. Tyrell, Lawson, & Others), Raquel Duffy (Alice & Others), Stuart Hughes (Cronshaw & Others), John Jarvis (Thorpe Arbelney), Macalister & Others), Richard Lam (Various), Courtney Ch'ng Lancaster (Sally & Others), Jeff Lillico (Griffiths & Others), Michelle Monteith (Mildred Rogers), Gregory Prest (Philip Carey), Paolo Santalucia (Dunsford & Others), Brendan Wall (Miller & Others), Sarah Wilson (Norah Nesbit & Others) Lorenzo Savoini, Set and Lighting Designer Erika Connor, Costume Designer Mike Ross, Sound Designer and Composer Guillermo Verdecchia, Dramaturg Michael Armstrong, Dialect Coach Kelly Mcevenue, Alexander Coach Robert Harding, Production Stage Manager Running Time: 2 1/2 hours, includes 1 intermission Soulpepper at Pershing Square Signature Center From 7/01/17; opening 7/06/17/ 7/16/17 Reviewed by Elyse Sommer at 7/02/17 press matinee Kim's Conven REVIEW FEEDBACK Highlight one of the responses below and click "copy" or"CTRL+C"
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