Theater review part deux: Around the World in 80 Days

by Mark-Brian Sonna of MBS Productions

Rover Dramawerks has taken a leap into a larger venue by doing the world premiere of the play Around the World in 80 Days written by the director, Carol M. Rice. While they usually use the Courtyard Theatre for their One Day Only festivals this is the first time they’ve used this venue to mount a full length play. This is a “test” run for them as they find themselves continuously filling up the space next door and are looking to expand onto a larger space. Yes, that is correct; they are one of the only arts organizations that are actually growing during this economic crisis, which is a testament to their artistic vision and success. As scheduled, all the other productions for the season will be mounted in the smaller Cox Building next door which has been their home for the last several years.

So how did they do?

There are quite a few versions of plays based on this Jules Verne novel. The script by Carol M. Rice is one of the best. It is very cute and has many clever moments. It stays faithful to the story and doesn’t really stray from it. Dialogue is lifted directly from the pages of the book. She isn’t plagiarizing; she clearly states in the by-line that this stage production is an “adaptation” from the novel which is in public domain. One familiar with the book will smile at recognizing some of the well known “verbal” passages of the manuscript. There is no prism or magnifier looking back at this piece of Victoriana, it is a straightforward and well realized re-telling of the story - one should not expect a modern era social commentary thrust upon it.

The acting, generally speaking, is good in the piece. The medium-size cast plays a total of 60 roles, which means that most of the performers end up doing either double, triple or more then quadruple duty. This can be a lot of fun for an audience. In this area there are some standouts such as Joe Porter and Nancy Lamb. Others on stage seemed a little “greener” but it is to be expected with the smaller parts. The leads carry their parts off well. Cobey Cathey as Passepartout mugs with much gusto. Mike Hathaway as detective Fix does a swell job with his eye rolls. Gary Anderson is thoroughly believable as Mr. Fogg, the overzealously punctual Englishman. If I have one quibble with the rest of the ensemble is that at times they failed to project enough. I could hear all their lines but greater volume was needed to make it more comfortable to the ear. And, for some, a bigger dose of energy was needed.

With exception to the lovely costumes, the flaws in the production were mostly on the design side. The stage at this building is rather large and there was quite a bit of empty stage space. As scenes transitioned we would get a musical clip indicating the next location – Indian-sounding music for India, for example - and as it headed to a crescendo, giving the impression we were about to be dazzled, the curtains would part revealing what amounted to a few oversized props and/or a not fully realized set. As an audience, our expectations were repeatedly built up only to be crashed. The lighting was mostly a series of washes that never fully conveyed much and at times left oddly dark spots on the stage. There was too much dependence on the back scrim for color or mood effect, which works great for concerts or dance, but not so much for a play unless it was a modern piece dealing with raw and intense human emotions which this play is not. In essence, the lighting and the set created a minimalist effect which is completely contrary to the Victorian era.

The direction is done by Jason Rice. The production felt like it was directed for a smaller space, which he obviously is more accustomed to working in and had it been done there it would have succeeded. On this stage there is ample room to create a myriad of visual pictures and the enormity of it requires the director to not block it based on “emotional” or “organic” needs of the characters, but to do a continuous visual story telling. Outside of a few isolated moments there was no visual emphasis to the story. Also, because there is so much space, it is of absolute importance that entrances and exits are done with precision - no lag times. Frequently the stage was split in two with one scene on the right side followed by another scene on the left. For this to work one scene has to end at the moment the other ends or even slightly overlap. I didn’t feel that the actors were in themselves culprit as much as the director. He allowed the scene to end, go dark, then have the lights come up on the other side and then have the actors enter. This would consistently kill any momentum generated from the prior scene. In a small theatre the distances and the timing wouldn’t have impacted the pace, but in such a cavernous space it caused the show to plod. Hopefully this show has served as a learning curve for Mr. Rice and for Rover Dramawerks and they will adjust to working in a larger theatre when they next do a production here.

I must say that despite the shortcomings, the audience seemed to thoroughly enjoy themselves and at the end of the performance the applause was generous and warm. This play may not please all the critics, but the public responded quite positively, and in truth, they are the final decision makers on how well a play does.

The production runs through March 21. Purchase tickets online or by calling 972-849-0358.