The Graduate

The play The Graduate tells the story of Benjamin Braddock, a young man who has just finished college and finds himself at a crossroads in life. He is uncertain about his future, weighed down by expectations from his parents and society, and searching for meaning in a world that suddenly feels both vast and empty. Into this confusion steps Mrs Robinson, the older, married woman who seduces him, setting off a chain of events that are both comic and tragic. What begins as an affair quickly spirals into a tangled web of secrecy, awkwardness, and emotional turmoil, especially when Benjamin falls in love with Mrs Robinson’s daughter, Elaine. It is a narrative that explores themes of disillusionment, rebellion, and the struggle to define one’s identity, and this production at the Forum Theatre brought those themes vividly to life.

The staging was particularly impressive. The Forum Theatre is a lovely large space, and it can sometimes feel overwhelming for productions that rely heavily on intimacy and subtlety. Yet director Richard Parker and production manager Paul Wilson made excellent use of the performance area, creating a sense of journey and location that carried the audience seamlessly from scene to scene. The clever use of split projection allowed the stage to be broken up into distinct areas, giving the impression of multiple settings without the need for cumbersome set changes. This technique also reinforced the fragmented, unsettled nature of Benjamin’s world, where he is constantly moving from one environment to another without ever feeling truly at home. David Jarvis’ creative lighting design further enhanced the staging, guiding the audience’s focus with precision and ensuring that the emotional tone of each scene was fully realised.

One of the most memorable aspects of the production was the way pacing and pauses were handled. In Benjamin’s bedroom, for example, the interactions between characters were clear and articulate, with a rhythm that felt natural and controlled. The actors were unafraid to embrace silence, allowing moments of pause to linger just long enough to build tension and atmosphere. These pauses were not empty but charged with meaning, reflecting the awkwardness and uncertainty that permeates Benjamin’s relationships. It was a reminder that sometimes what is left unsaid can be more powerful than dialogue.

That said, there were moments when the sound levels of dialogue dipped, making it difficult to catch every word. It was unclear whether this was due to projection or technical limitations, but microphones might have helped to ensure consistency. While this did not detract significantly from the overall experience, it was noticeable in scenes where clarity was essential to understanding the shifting dynamics between characters.

Tom Williams delivered a strong performance as Benjamin Braddock. He captured the essence of a young man caught between youthful charm and existential confusion. His portrayal balanced vulnerability with flashes of defiance, making Benjamin both sympathetic and frustrating a character who is at once relatable and flawed. Tom’s ability to embody awkwardness without overplaying it was particularly effective, especially in scenes where Benjamin struggled to articulate his feelings or navigate the complexities of his relationships. Jenny Smith was nothing short of iconic as Mrs Robinson. Her performance was sharp, commanding, and layered with nuance. At times she dominated the stage with her wit and confidence, yet she also revealed moments of fragility that hinted at the loneliness and dissatisfaction beneath her polished exterior. Jenny’s as Mrs Robinson was not simply a seductress but a complex character whose choices were driven by a mix of desire, bitterness, and vulnerability. The interactions between Benjamin and Mrs Robinson were tastefully and carefully directed. Their scenes together captured the awkwardness of an affair that is both thrilling and uncomfortable. The pauses, glances, and restrained physicality heightened the tension, making the audience feel the weight of their secrecy and the inevitability of its consequences. These moments were never played for cheap laughs but instead balanced humour with genuine emotional complexity.

Mike Lamont brought depth to the role of Mr Robinson. His geniality in early scenes gave way to an underlying menace as the truth of the affair emerged. Mike’s performance made Mr Robinson’s confrontation with Benjamin all the more impactful, as the shift from friendly father figure to betrayed husband was handled with subtlety and force. Emily Foy played Elaine with sincerity and warmth. Her portrayal offered a refreshing contrast to Mrs Robinson’s cynicism, embodying hope and innocence. Elaine’s relationship with Benjamin was believable and tender, providing a sense of redemption and possibility amidst the chaos. Emily’s performance reminded the audience that Elaine is not simply a pawn in her parents’ drama but a young woman with her own agency and emotional depth.

Terry Halliday’s Mr Braddock highlighted the generational divide. His earnest but slightly oblivious fatherly advice underscored Benjamin’s alienation, showing how parental expectations can sometimes miss the mark. Tracey Parker as Mrs Braddock brought gentle humour and maternal concern, grounding the family dynamic with authenticity and warmth. James Burgess as the Hotel Clerk provided comic relief with wit and dry humour. His timing and facial expressions were spot on, particularly in scenes where Benjamin’s awkwardness was at its peak. Burgess’ understated reactions added levity without detracting from the seriousness of the narrative. Leah Owens-Brown as the Exotic Dancer was poised and professional, tastefully dressed and in line with the artistic intentions of the production. Her presence ensured the scene carried its intended humour without straying into excess.

The overall play was cleverly realised because the creative team managed to balance humour, tension, and poignancy. The staging was inventive, the performances strong, and the direction thoughtful. What could easily have been a dated story was instead presented with freshness and relevance, reminding the audience that the themes of The Graduate uncertainty, rebellion, and the search for meaning, are timeless.

This production succeeded not only in entertaining but also in provoking reflection. It asked the audience to consider the pressures placed on young people, the complexities of desire, and the consequences of choices made in moments of weakness. By blending comedy with drama, intimacy with spectacle, the play captured the contradictions of life itself. It was a performance that lingered long after the lights fell, a testament to the skill and vision of everyone involved, congratulations to the team at NK Theatre Arts.

© NODA CIO. All rights reserved.