Summer Studio - The Happy Journey to Trenton and Camden

We were invited to see two one-act plays in an experimental production presented in ‘studio’ style, which turned out to be cabaret seating in small groups around tables for the audience, and a black draped stage with minimal representational additions serving as set.  This informality focussed the attention onto the performances themselves and we were able to compare and contrast the plays with their shared theme of existentialism. 

Written in 1931 The Happy Journey… is a good choice for a studio offering, demanding no detailed sets or props and expecting the cast to do all the work in suggesting to the audience what is deliberately missing.  To achieve this it incorporates a great deal of mime into the storytelling, which in itself may be the biggest challenge, but Gweek Players are not a group to shie away from a challenge as we’ve seen in the past.  The black tabs were the backdrop for a scattering of upright chairs, one DL covered with Old Glory that instantly told us we were in America.  At centre was a raised area topped by suitcases.  Subsequently this dais was transformed into a ‘car’.  A final scene at Beulah’s home showed a changed arrangement of the chairs.  The economy worked well because the pieces were easily moved by the Stage Manager without distracting or holding up the flow, and if the chairs were identical to those we were sitting on they merely reinforced the context of a studio performance.

A simple lighting plot ensured that we could see everyone clearly with just slightly less light UR where the SM sat, very much still part of the scene but not obviously so.  The soundtrack of music that opened the show and covered the transformation was at a suitable volume and helped set the era, while vocally all the actors had good projection and diction ensuring that no words were lost.  The American accents sounded good enough to me, (a non-expert) and were carefully maintained throughout.

Props were relatively few in this short play since so many were mimed - the leather suitcases were apt.  I found myself wondering if there was a ‘correct’ way to fold the American flag and sure enough the SM folded it in four down the length of its stripes leaving the stars visible!  A real American would definitely know and give it due respect.  Arthur’s frame for the playing of marbles was a sensible addition to keep them safely within his reach.  Ma’s handbag looked just a little flat to me as if there was nothing in it; perhaps just a hankie!  but surprisingly real coin changed hands. 

The cast were dressed in period costume believably of the 1930s with a commendable attention to detail in the lacy gloves of Ma together with her hat and bow-tied shoes.  I couldn’t help feeling that Beulah’s dress was a bit too short; most pictures I’ve seen are below the knee, but the spotty shoes set off her outfit.  Arthur’s Fair Isle pullover was a quintessential touch over his check shirt with short trousers and knee length socks.  Caroline looked quite hillbilly in her gingham pinafore dress with laced bodice over puffed-sleeved blouse.  Pa’s unmatched jacket and trousers seemed to reproduce authentic casual menswear of the period and the flat caps worn by both him and Arthur underlined the family’s homespun philosophy.  Make up was fresh and natural while hair was a combination - Ma’s wig was dressed well in an untidy low bun with a net, while Beulah’s seemed rather overly bleached blonde for a country girl of the ‘30s and didn’t quite sit with me.  Evidently her move to Camden gave her more Jean Harlow sophistication than the rest of the family.  Caroline’s pigtails were perfect for giving her that young girl look and the ribbons added a final flourish.

How much of that intro sequence was a given and how much came from the director, I wondered.  It was such an imaginative way of introducing us to the characters and worked extremely effectively.  The miming held together well as the babies were cradled and the movement around to the flag-draped chair told us what we needed to know before the dialogue commenced.  It also successfully introduced us to the idea of mime being a part of the performance. The ‘set’ change to the car was slick and the central positioning of a split-level seating arrangement ensured we had a good view of the back passengers.  The cast kept up the pace of delivery secure in their words and we saw excellent body movement as the signposts went past with realistic twisting and turning, particularly from the youngsters.  Miming opening/closing doors and driving - not so easy!  So now I ask, how much do I accept that we were watching Studio?  The steering wheel kept its size and shape, pretty much, so only a really fussy person would note that it crossed to the passenger side when they turned right, or that the ‘take off’ and braking seemed excessively over exaggerated  - I know, artistic ‘cartoon’ license.  Nice detail of Pa leaning his elbow on the lowered window, and the bump over the bridge was in sync.  Miming the food eating was studied, with finger licking before Ma produced a cloth for hand wiping.  Good matching eye-lines as the quartet looked out at any given point on the journey.  The arrival at Beulah’s was accomplished in a smooth way as the car disappeared and we were back in a home with furniture.  You brought out well-defined relationships between the family members so it was plain to see who was in charge of the strict moral code that guided their lives and the great affection in which Ma was held; a closeness that was emphasised by the gleeful singing when they let themselves go in abandoned happiness at being together.  Although nothing happens in this play (!) I still found myself engrossed in watching these characters in live theatre and the time just flew by.

 

 

© NODA CIO. All rights reserved.