It is perhaps strange to begin a review with a farewell, but we will say a heartfelt goodbye to the Royal George Theatre (for now) as it will close at the end of this season for a significant overhaul. Built in the early 20th century, it has a lengthy history, and we look forward to its reincarnation.
Also from the early 20th century, we have ‘Tons of Money’ by British writers Will Evans and Arthur Valentine. A full-blown farce with all the requisite doors and spit takes, it is an entertaining romp directed with zest by Eda Holmes.
In her program notes, she celebrates this “wonderful cast of clowns” and comments on the importance of clowning in theatre history. This hearty cast of clowns with acrobatic frenzy and immaculate timing is part of that rich history.
The plot has a number of layers. Aubrey Allington, played with abandon by Mike Nadajewski, is an impractical, optimistic inventor – he is deep in debt. Inheriting a large sum of money from a Mexican relative, he realizes that if he accepts the money, his creditors will pounce, and he will be broke. Julia Course plays Louise Allington, and her mantra is always “I have an idea!”
Her scheme rests on the idea that a Mexican cousin who would inherit the money upon Aubrey’s death is rumoured to be already dead, and Aubrey would fake his own death and return disguised as the cousin. (Whew)
It goes on – the cousin’s estranged wife appears on the scene to claim Aubrey as her own. He must fake another death. A scheming servant gets wind of the plot and complicates issues further. Aubrey must now disguise himself as a local curate, and the shenanigans boil over and over.
Nadajewski is a model of brilliant physical humour – he swims unrestrained over couches and cracks us up with silly hand signals. He throws himself into disguises with energetic veracity. Julia Course is a perfect partner with a high-pitched voice and unrestrained optimism.
Graeme Somerville plays a wonderful, scheming, but droll butler hatching plots and stealing romantic trysts with the equally artful servant Simpson, played by Marla McLean.
Some colourful blocking from Holmes enhances the high spirits. A fully perpendicular door entrance defies gravity and engages the audience with a sense of mirth. Many hilarious moments unfold on the floor. A game of “mirrors” is purposely played poorly, enhancing the fun.
As the wildness winds up, Benny Hill-style chases roar around the stage with seeming abandon, but with consummate timing and skill.
With a large cast and circus-like energy everywhere, a skilled stage manager, such as Amy Jewell, is a prerequisite. She is the conductor of the mayhem along with her assistants.
Sets and costume design are a massive undertaking, particularly with the period piece setting and the early-century costumes. Layered on top of this work are the many disguises that need to be both absurdly ridiculous and practical for fast changes. Judith Bowden has accomplished this with mastery.
This production is a brimming farewell to the Royal George. You know you are fully steeped in a traditional farce when a near-naked man at the end of Act One is covering his butt with a sign that says, “No Diving.”
‘Tons of Money’ by Will Evans and Arthur Valentine
Performers: Julia Course, Nehassaiu de Gannes, Ron Kennel, Qasim Khan, Marla McLean, Andre Morin, Mike Nadajewski, Sepehr Reybod, Graeme Somerville, Lindsay Wu.
Directed by: Eda Holmes
Sets and costumes: Judith Bowden
Lighting design: Kevin Lamotte
Stage manager: Amy Jewell
Production runs through: October 5, 2025.
Tickets: shawfest.com
