Venue: The Vancouver Playhouse
Dates: February 11 - March 9, 2002
Reviewer: Jane Penistan
The enthusiastic standing ovation at the close of the
first night of this play at the Vancouver Playhouse was more than
justified. The Drawer Boy is a beautiful play, beautifully
directed, presented and performed. Michael Healey's personae are
intricately delineated in his perceptive text; and Miles Potter and his
cast bring to life the fictitious characters in a rural Ontario
farming community, with warmth, humour, enjoyment and a deep
understanding of the human condition.
The mystery of the past, which Morgan, one of the two friends living on
the farm, has kept secret for years, to protect his war damaged fellow
farmer, Angus, is brought to light through the curiosity of the young
visiting actor, Miles. Miles' ignorance of things agricultural is a
source of great entertainment to Morgan, while Miles' retelling of
Hamlet is a revelation to Angus.
Miles' production of the play he has written from the life story told
him of these two friends delights Angus and infuriates Morgan, but it
also stirs up old memories for Angus, dispelling a small part of his
amnesia, leaving him confused and frustrated. After a stormy
interlude of recrimination and uncertainty amity is restored with the
revelation of the truth about the two tall English girls, the drawer
boy and the farmer.
Miles' play is fiction, Angus' dream is still a dream and Morgan
remains the solid hardworking pragmatist who sustains physical life for
the dreamers. While reminiscent of the famous Farm Show of 1972, this
work does not purport to be any part of that production, though
perhaps it might be perceived as an offspring. Both Miles Potter, the
director, and David Fox who plays Angus in the present production were
both young aspiring actors in the 1972 Farm Show.
As Angus, David Fox is a believably confused and erratic character,
one capable of great charm, warmth and compassion, but subject to fits
of uncontrollable, ungovernable rage. Jerry Franken's Morgan has a
quiet sly sense of humour, in which he delights in his dour and
steadfastly hardworking makeup. Tom Barnett never overplays his role
as a young actor. He accepts the merciless ridicule to which Morgan
subjects him, at first with misunderstanding, but later with equanimity
and ultimately a delight in repaying his tormentor in kinder
kind.
Miles has an immediate rapport with Angus and his concern and affection
for the older man is heartwarming. All three actors are in complete
harmony with their roles and with each other. They present a very
assured and polished performance.
John Ferguson's set is essentially Ontarian, but could be in any
farming community. The kitchen fittings and furniture, together with
the screen doors and boxed in staircase are redolent of the rural post
war period. The working clothes and the best suits for the evening out
at the play are also true to this time and place. Kevin Fraser's
subtle lighting changes enhance the changing moods of the unfolding
drama, as does the haunting music of Marc Desormeaux .
The Drawer Boy is a remarkable play and one which all Canadians
should be proud of. It is destined to become a classic, and hopefully
it will be well performed for years and years to come.
© 2002, Jane Penistan