Arms and the Man at the Gas Station Arts Centre, presented by Black Hole Theatre, January 20, 2012
Reviewed by Stephanie Adamov
I attended the premiere of Winnipeg’s ShawFest with the mother daughter quarrel presented in Mrs. Warrren’s Profession by MTC’s Warehouse. The second evening, I ventured into new territory for my first experience with the University of Manitoba’s Black Hole Theatre and their contribution to the Master Playwright’s Festival, Arms and the Man.
As a student of University of Winnipeg’s theatre program, it was intriguing to see what other students were producing theatrically in Winnipeg. The Black Hole Theatre Company is based on student-initiated participation. Any students (from any school) are welcome and encouraged to audition and be part of the several shows produced throughout the year.
Arms and the Man at the Gas Station Arts Centre
As a critic and social reformer, Arms and the Man was one of Shaw’s early attempts at writing for the theatre. In the late nineteenth century it was published in a volume entitled Plays Pleasant, accompanied by other satirical and comic plays such as The Man of Destiny (1894), Candida (1898) and You Never Can Tell (1897). The partner publication is so perfectly titled as Plays Unpleasant, and includes The Philanderer (1898), Widowers’ Houses (1892) and the subject of my last review, Mrs. Warren’s Profession (1898). The two companion volumes mirror each other in subject matter, character traits and ideas. One is meant to have audiences reflect on comedy while the other is meant to stir and evoke displeasure in the audience regarding societal circumstances, and possibly act as a springboard for social action and progress.
The cast and crew for Arms and the Man was a combination of veterans and first time aspiring artists. Director Margaret Groome, a professor at the University of Manitoba, as well as a member of Canadian Actor’s Equity Association, led the students to discover this Shaw classic.
The play is placed in the midst of the Serbo-Bulgarian War of 1885. Raina is light heartedly played by Kelly Jenkin, and indulges in the heroic notions of war and saturates herself in heavily romanticized ideals. She awaits the arrival of her fiancé, the flawed and unfaithful (unknown to her) Sergius who is unfortunately interpreted as a mere stock character by Brennan Hakes. A surprise visitor, Bluntschili, a Serbian soldier played by Stephen Currie, fills the theatre with his resonating baritone voice and impeccable comedic timing. He changes Raina’s outlook on the world by speaking to her rationally and treating her as an adult.
I found many inconsistencies specifically in the portrayal of the female characters in this production. I had difficulty finding the strength and weight Shaw provides for the female voice in his plays. Lines were raced through and the audience did not have time to ponder the significance of Shaw’s words and to consider the representative circumstances in which both Raina and Louka find themselves as women of that era.
Louka, a servant of Raina’s household, aspires to break out of the limitations of her societal circumstances, “I do not have the soul of a servant.” She is played by Sarah Jane Martin. Martin portrayed tendencies, used mannerisms and accents that deviated from the time period as well as the historical context. Was this an attempt to appeal to the audience by providing a unique interpretation and contemporary adaptation of the role? For me the actions seemed unintended and distracting.
If these mannerisms were intended, then they were rather ineffective despite a few short laughs from the audience. From exasperatingly pursuing Sergius to—in the next breath— attempting to push him away and landing a nasty bruise on her arm as he attempts to control her, there was evidently little character transition from these two extremes.
Raina, the idealistic heroine played by Kelly Jenken does not quite reveal the depth of her character’s transformation as she gradually loses her idealism and gains understanding of a more realistic world view. A view where soldiers attempt to stay alive at all cost, rather than searching to earn medals and glory in battle.
At times, I needed to step back and disconnect the words from the action on stage to discern the intent of the play. I believe that certain performers needed to treat the text not as a folly but to create a realistic environment for these characters and their circumstances to unfold naturally. This immediately increases the believability and brings a sense of urgency to the piece. It is beneficial to both audience and performers that those notions be present. Then the satire of romantic idealism would have been present, rather than random laughter at a few funny lines that seemingly pop out of the script.
With the broad presentation of this play the performance precipitously teeters towards farce. In a few scenes, in this interpretation, Arms and the Man seemed closer to an Oscar Wilde play than to one of Shaw’s works.
Arguably, folly is separate from farce and it is, in my experience, how Shaw and Wilde differ in the subject matter presented in their work. I am more accustomed to Shaw’s more serious works but regardless, even in Candida, there is a sense of urgency and a note of seriousness when the heroine ridiculously asks her husband and the poet to plead their cases for who deserves her more.
Stephen Currie’s performance of Bluntschili, Raina’s “Chocolate Cream Soldier” was as admirable as his role. His delivery and presentation of his character enhanced certain scenes, such as those involving him and his unknowing rival, Sergius. Brennan Hakes who played Serguis did not develop in his character as quickly as the play and the text unfold.
The audience adored Shaw’s script as it was delivered and heard through the voices of the students. This is illustrated when Sergius challenges Bluntschili to combat. Sergius says, “You are my rival. At six o’clock I shall be in the drilling-ground, alone, on horseback, with my sabre. Do you understand?” The response from Bluntschili, “Oh, thank you, that’s a cavalry man’s proposal. I’m in the artillery, and I have the choice of weapons. If I go, I shall take a machine gun. And there shall be no mistake about the cartridges this time.” In this post-Iraq war era, Shaw’s play is timely as he satirically reminds audiences of the foolishness of glorifying warfare.
As we view Shaw’s plays in this month’s Master Playwright Festival we are reminded that he has often been charged by critics with merely using his characters as mouth pieces for his perspectives and platform. Shaw scholar Leonard Conolly in a January 21st Shaw seminar here in Winnipeg, defended the playwright. Shaw, he said, merely “magnifies the circumstances that cause his characters to react” within his works.
Conolly later stated that “Shaw does not need to search for vehicles such as plays and characters to ensure his voice is heard. Shaw in very explicit ways through his never ending essays and lengthy prefaces and direction notes in all of the works …ensures his voice is heard and heeded by everyone who is literate.”
Taking into account that this was a student production, and setting aside any Ontario Shaw Festival expectations, I believe that Arms and the Man may have been slightly out of reach for certain hopeful young actors. Nonetheless, it was great to see veterans of the University of Manitoba’s Theater Program teaming with several actors making their debut with the Black Hole Theatre Company. Participating in the Arms and the Man production as part of this ShawFest 2012 is an important opportunity for these young thespians to present their interpretation of Shaw to new audiences, to continue to grow as actors and actresses in new roles in this company, and to prepare themselves to advance to future stages.
Arms and the Man presented by Black Hole Theatre at the Gas Station Arts Centre, 445 River Avenue, Winnipeg. Showtimes:
Mon Jan 23 7:00 pm • Tue Jan 24 7:00 pm • Wed Jan 25 7:00 pm • Thu Jan 26 7:00 pm • Fri Jan 27 7:00 pm • Sat Jan 28 2:00 pm • Sat Jan 28 7:00 pm • Sun Jan 29 2:00 pm.
Arms and the Slightly Farcical Man
Columns
Arms and the Man at the Gas Station Arts Centre, presented by Black Hole Theatre, January 20, 2012
Reviewed by Stephanie Adamov
I attended the premiere of Winnipeg’s ShawFest with the mother daughter quarrel presented in Mrs. Warrren’s Profession by MTC’s Warehouse. The second evening, I ventured into new territory for my first experience with the University of Manitoba’s Black Hole Theatre and their contribution to the Master Playwright’s Festival, Arms and the Man.
As a student of University of Winnipeg’s theatre program, it was intriguing to see what other students were producing theatrically in Winnipeg. The Black Hole Theatre Company is based on student-initiated participation. Any students (from any school) are welcome and encouraged to audition and be part of the several shows produced throughout the year.
Arms and the Man at the Gas Station Arts Centre
As a critic and social reformer, Arms and the Man was one of Shaw’s early attempts at writing for the theatre. In the late nineteenth century it was published in a volume entitled Plays Pleasant, accompanied by other satirical and comic plays such as The Man of Destiny (1894), Candida (1898) and You Never Can Tell (1897). The partner publication is so perfectly titled as Plays Unpleasant, and includes The Philanderer (1898), Widowers’ Houses (1892) and the subject of my last review, Mrs. Warren’s Profession (1898). The two companion volumes mirror each other in subject matter, character traits and ideas. One is meant to have audiences reflect on comedy while the other is meant to stir and evoke displeasure in the audience regarding societal circumstances, and possibly act as a springboard for social action and progress.
The cast and crew for Arms and the Man was a combination of veterans and first time aspiring artists. Director Margaret Groome, a professor at the University of Manitoba, as well as a member of Canadian Actor’s Equity Association, led the students to discover this Shaw classic.
The play is placed in the midst of the Serbo-Bulgarian War of 1885. Raina is light heartedly played by Kelly Jenkin, and indulges in the heroic notions of war and saturates herself in heavily romanticized ideals. She awaits the arrival of her fiancé, the flawed and unfaithful (unknown to her) Sergius who is unfortunately interpreted as a mere stock character by Brennan Hakes. A surprise visitor, Bluntschili, a Serbian soldier played by Stephen Currie, fills the theatre with his resonating baritone voice and impeccable comedic timing. He changes Raina’s outlook on the world by speaking to her rationally and treating her as an adult.
I found many inconsistencies specifically in the portrayal of the female characters in this production. I had difficulty finding the strength and weight Shaw provides for the female voice in his plays. Lines were raced through and the audience did not have time to ponder the significance of Shaw’s words and to consider the representative circumstances in which both Raina and Louka find themselves as women of that era.
Louka, a servant of Raina’s household, aspires to break out of the limitations of her societal circumstances, “I do not have the soul of a servant.” She is played by Sarah Jane Martin. Martin portrayed tendencies, used mannerisms and accents that deviated from the time period as well as the historical context. Was this an attempt to appeal to the audience by providing a unique interpretation and contemporary adaptation of the role? For me the actions seemed unintended and distracting.
If these mannerisms were intended, then they were rather ineffective despite a few short laughs from the audience. From exasperatingly pursuing Sergius to—in the next breath— attempting to push him away and landing a nasty bruise on her arm as he attempts to control her, there was evidently little character transition from these two extremes.
Raina, the idealistic heroine played by Kelly Jenken does not quite reveal the depth of her character’s transformation as she gradually loses her idealism and gains understanding of a more realistic world view. A view where soldiers attempt to stay alive at all cost, rather than searching to earn medals and glory in battle.
At times, I needed to step back and disconnect the words from the action on stage to discern the intent of the play. I believe that certain performers needed to treat the text not as a folly but to create a realistic environment for these characters and their circumstances to unfold naturally. This immediately increases the believability and brings a sense of urgency to the piece. It is beneficial to both audience and performers that those notions be present. Then the satire of romantic idealism would have been present, rather than random laughter at a few funny lines that seemingly pop out of the script.
With the broad presentation of this play the performance precipitously teeters towards farce. In a few scenes, in this interpretation, Arms and the Man seemed closer to an Oscar Wilde play than to one of Shaw’s works.
Arguably, folly is separate from farce and it is, in my experience, how Shaw and Wilde differ in the subject matter presented in their work. I am more accustomed to Shaw’s more serious works but regardless, even in Candida, there is a sense of urgency and a note of seriousness when the heroine ridiculously asks her husband and the poet to plead their cases for who deserves her more.
Stephen Currie’s performance of Bluntschili, Raina’s “Chocolate Cream Soldier” was as admirable as his role. His delivery and presentation of his character enhanced certain scenes, such as those involving him and his unknowing rival, Sergius. Brennan Hakes who played Serguis did not develop in his character as quickly as the play and the text unfold.
The audience adored Shaw’s script as it was delivered and heard through the voices of the students. This is illustrated when Sergius challenges Bluntschili to combat. Sergius says, “You are my rival. At six o’clock I shall be in the drilling-ground, alone, on horseback, with my sabre. Do you understand?” The response from Bluntschili, “Oh, thank you, that’s a cavalry man’s proposal. I’m in the artillery, and I have the choice of weapons. If I go, I shall take a machine gun. And there shall be no mistake about the cartridges this time.” In this post-Iraq war era, Shaw’s play is timely as he satirically reminds audiences of the foolishness of glorifying warfare.
As we view Shaw’s plays in this month’s Master Playwright Festival we are reminded that he has often been charged by critics with merely using his characters as mouth pieces for his perspectives and platform. Shaw scholar Leonard Conolly in a January 21st Shaw seminar here in Winnipeg, defended the playwright. Shaw, he said, merely “magnifies the circumstances that cause his characters to react” within his works.
Conolly later stated that “Shaw does not need to search for vehicles such as plays and characters to ensure his voice is heard. Shaw in very explicit ways through his never ending essays and lengthy prefaces and direction notes in all of the works …ensures his voice is heard and heeded by everyone who is literate.”
Taking into account that this was a student production, and setting aside any Ontario Shaw Festival expectations, I believe that Arms and the Man may have been slightly out of reach for certain hopeful young actors. Nonetheless, it was great to see veterans of the University of Manitoba’s Theater Program teaming with several actors making their debut with the Black Hole Theatre Company. Participating in the Arms and the Man production as part of this ShawFest 2012 is an important opportunity for these young thespians to present their interpretation of Shaw to new audiences, to continue to grow as actors and actresses in new roles in this company, and to prepare themselves to advance to future stages.
Arms and the Man presented by Black Hole Theatre at the Gas Station Arts Centre, 445 River Avenue, Winnipeg. Showtimes:
Mon Jan 23 7:00 pm • Tue Jan 24 7:00 pm • Wed Jan 25 7:00 pm • Thu Jan 26 7:00 pm • Fri Jan 27 7:00 pm • Sat Jan 28 2:00 pm • Sat Jan 28 7:00 pm • Sun Jan 29 2:00 pm.