Theatre on the Ridge’s final show of the summer season is one for thinkers.
That’s a good thing when theatre gets its audiences to do that.
Let’s establish a sense of context first – ‘idiot’ in this case is not meant as a putdown. We’re all idiots. We all have turmoil in our lives. Hopefully, as humans, we can all deal with this turmoil and conflict and remain relatively intact. Sometimes, we don’t.
That’s the emotional chaos of life that we all have to face.
‘Any Idiot Can Face a Crisis’ is based on a series of sharp and witty stories by playwright Anton Chekhov. Director and adaptor Andy Massingham writes in his Programme Note that he modernizes Chekhov’s texts and places the characters in a contemporary style where emotional chaos tests everyone.
Is it necessary for audiences to read the original stories to appreciate the humour in the stage production?
Massingham says no.
I agree. Literature lovers and purists may want to do so. If you type in the name of the ‘one-act’ for an internet search, the story will pop up. I did it earlier. I’ll probably read the stories later.
Massingham and Theatre on the Ridge Artistic Director Carey Nicholson have created a theatre-in-the-round setup. The raised stage floor is painted with continuous clouds extending to each corner, set against an azure blue sky that transports the audience to a different realm beneath the tent at Port Perry’s Scugog Shores and Museum. Centrally positioned on stage is a portable ghost light, an element traditionally kept illuminated in silent theatres. Adjacent to the ghost light is a table with a telescope, while a standing coat rack adorned with what appear to be dressing gowns occupies one corner. Michael Williamson’s lighting design effectively highlights key moments as needed, and Lyle Corrigan’s sound design exhibits precise timing to enhance the comedic aspects of the performance. The costumes, coordinated by Henry Peirson, Carey Nicholson, and Joanne Norman, emphasize the individuality of each eccentric character.
After Act One, I found myself puzzled by one aspect of Massingham’s adaptation. Although three narratives are presented—”The Diary of an Angry Young Man,” “The Beggar,” and “The Box”—there is no clear indication of where one story ends and the next begins. It might have been helpful to read the short stories before attending the theatre. I spent most of the intermission reflecting on why Massingham made this choice.
And then it dawned on me.
Chekhov was not a North American playwright. He’s a Russian author. His standards may not necessarily conform to those standards here in North America that we have come to accept.
Massingham is under no obligation to follow conventional standards in this adaptation. (Thanks for getting me to think again, Andy.)
A strong five-player ensemble of ‘idiots’ (Alea Carrington, Henry Peirson, Shannon Pitre, Austin White and Michael Williamson) breaks the fourth wall and speaks to the audience at the top of the show to remind us that we are watching a play. There are ways in which we should try to watch a play.
It’s amusing to watch the group of five at first, but soon it becomes a pleasure to listen to each of them. This ensemble truly enjoys the words they are saying; they savour them, understand their meanings, and effectively convey that meaning to the audience.
The conclusion to Act Two becomes an appropriate homage to the working actor. While some have come and gone, the inspirational message that concludes the evening is this: “The influence of the working theatre actor will never be forgotten.”
A fitting tribute.
Running time: approximately two hours and 15 minutes with one interval/intermission.
The production runs until August 24 at the Scugog Shores Museum and Village, 16210 Island Road, Port Perry. For tickets: theatreontheridge.ca, call 905-242-9343, or email: boxoffice@theatreontheridge.ca
THEATRE ON THE RIDGE presents
ANY IDIOT CAN FACE A CRISIS Based on stories by Anton Chekhov
Adapted and directed by Andy Massingham
Assistant Director: Adrian Marchesano
Stage Manager: Reid Martin
Scenic Painting: Ari Leroux
Production and Set Design: Andy Massingham and Carey Nicholson
Lighting Design: Michael Williamson
Sound Design: Lyle Corrigan
Technical Operators: Reid Martin and Ari Leroux
Props and Costume Coordination: Henry Peirson, Carey Nicholson, Joanne Norman
Performers: Alea Carrington, Henry Peirson, Shannon Pitre, Austin White, Michael Williamson
