Yesterday was the first time that I had to assume that London Hydro's time of use electricity rates were fully into effect and it will take some getting used to. Much like I couldn't bring myself to spend a cent beyond necessity in my first university semester, I felt an exile from my house, afraid to come home before 7 pm and use any power beyond the things that need to be running constantly. For instance, I have my ceiling fan running all the time on the assumption that it helps force down the heated air down to the thermostat's level and keep it from activating the furnace as often. The problem is, I don't know if that's true and I'm half afraid to find out.
On a lighter note, I saw Ed's Garage at the Grand last night and since Theatre In London already has a review for that play, it seems redundant to contribute there, so I'll confide myself to a few thoughts here.
This is my second play by Dan Needles I've seen with Rod Beattie as the lead and it was so easy to assume it would be exactly like the Wingfield series. However, this one is a more traditional play with a multiplayer cast with a story similar only in tone and humour, but that is more than enough.
In tone, this play feels a bit like a Canadian version of Green Acres with a much more welcoming tone to outsiders. They both have this fun rural community that runs by its own rules, but unlike Hooterville with its silly surrealistic suspicion of Oliver Douglas' reasoned efforts, Ed's community feels like a more understanding home that is willing to go halfway with the real world. The result is a charming story where psychology is satirized with the small town mentality, but with a gentle touch that allows for a gentle compromise of worldviews in that small town.
Rod Beattie is charming as Ed, the village insider who has plenty of room in his heart and plenty of intelligence in his head to anchor the show with a refreshing mix of empathy and intelligence. Douglas E. Hughes is his equal as Nick, the downhome sidekick who seems like the stereotypical hick, but has a kind heart and just alert enough to follow Ed's lead to carry the heavy comedy lifting without ever being annoying.
In that regard, Anrienne Gould's Cassandra character, a psychotherapist who seeking a new venue for her treatment, but with James Herriot's open mindedness, is a welcome presence. I loved how she was willing to work with Ed's local quirks and see the larger truth while enjoying the experience. By comparison, Tim Campbell is somewhat flat as Peter, the beleaguered former farmboy. As much as his problems are moving, he seems largely intended as the romantic lead for Cassandra with an odd laugh or two. However, his intervention with the cow is a special moment that shows his true strength with charming clarity.
What I really loved is the stagecraft which is charmingly elaborate. The rustic charm is applied full blast with a completely convincing realism such as with the building structure and surrounding area. The overall effect is a enveloping world that sucks you in and allows your imagination to bridge the gap with the players' skill.
I'm still discovering the work of Needles and Beattie, but between this play and my first sampling of Wingfield, I had a great night out.
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