Tackling an epic of this proportion with a cast and crew that outnumber most classes at the university could have been a disaster, or at least something that resembles theatrical mayhem. I thought I would never be able to keep track of who was coming and going and that maybe, just maybe, this might be really boring.
But the show that launches the 50th Anniversary of Studio Theatre is nothing short of brilliant. Director Kevin Sutley obviously knows this show inside and out and has found all of the right elements to flawlessly pull off one of the best plays I have ever seen.
Frank Galati’s adaptation of the book smoothly tells the story of the Joad family as they struggle through the Depression, trying to make ends meet and keep the family together. The story begins as Tom is paroled from prison. He comes home only to find that everything his family owns is destroyed, as big corporations take over the land, forcing the poorest of the poor to pack up everything in search of something better.
So the Joads move west, conquering thousands of miles across mountains and deserts in a broken-down jalopy so overloaded with possessions and people that it’s a miracle they make it even a few blocks. And everyone is filled with hope and promise--the promise that California will bring them the prosperity that the midwest never could offer. They will pick fruit and stomp grapes and maybe even one day, own their own business.
But dreams are just that--dreams. The reality that the Joads face when they reach California is one of exploitation and despair. Thousands of families have made the trek west and there are a finite number of jobs. The hope and excitement that filled the family as they traveled west is gone as the continuous struggle pulls and stretches the family to its very limits.
A set for stars
I think everyone in the audience at the Timms Centre on opening night, felt the Joad’s struggle and despair. I was told that the set was breathtaking and it certainly is. Designer E. Chérie Hoyles has embodied the dust and the weariness in an absolutely amazing set. From the barbed wire fences to the stars and sunsets, Hoyles has really made Steinbeck’s world come alive. The overburdened jalopy is perfect and when the stage opens up to bury Grandpa, my jaw dropped. But when the family hits the Colorado River and the stage again opens up to reveal water, I was just plain blown away.
However, this show isn’t only about the set. The ensemble cast is excellent and though the range of experience and training is vast, there are no weak links. All of the members of the Joad family were very well cast and, with only one or two exceptions, should be commended for their performances. Jimmy Hodges as Tom Joad, Dale Wilson as Pa Joad and John Kirkpatrick as Casey the ex-preacher stood out above the rest, giving excellent, powerful and memorable performances.
Live-ly tunes make the show
But, what really made this show for me was the live music that seamlessly bridged the many scenes. The numerous set and cast changes went unnoticed as Sarah Card on violin, Grant Dryden on guitar and banjo and Robert Clinton on guitar strummed, yodeled and harmonized a soundscape that neared perfection. What a great show. If this is the future of Edmonton theatre, then it’s bright indeed. I would have to say it’s not to be missed. Unfortunately, however, if you haven’t already bought your tickets, you might be out of luck. The entire run of The Grapes of Wrath is sold out, as it should be. I was told that you can always come down at about 7 p.m., put your name on the waiting list, and hope that folks with reservations don’t show up. And it’s well worth the wait.