Culture October 30, 2002 Theatre Review Beyond Reasonable Doubt Dawn-Louise McLeod OP Contributor beyond reasonable doubt Deep Cove Stage’s production of Beyond Reasonable Doubt does justice—literally—to a steadfastly entertain- ing script by best-selling novelist and playwright Jeffrey Archer. Apparently I’m not the only sucker for a crowd- pleasing murder mystery. By the time I get there the show is sold out. And a half-hour before curtain, the line- up in the lobby is fierce as wanna-be theatregoers com- pete for stray tickets. As soon as the theatre doors open, the crowd members spryly elbow their way towards the seats as if reclaiming territorial space. For the Shaw Theatre is as much a stomping ground for these denizens of Deep Cove as if it were in their own back yards. I find myself wishing I'd worn a porcupine jacket, the same way you wish you drove a rubber car when someone cuts in front of you. Inside at last, I examine my bruises, the program, and the set. I’ve watched enough A & E and Masterpiece Theatre to recognize that set designer Ann Booth’ British courtroom is spot-on. It and the program, which informs the audience that in Act I we will be the jury, helps us “get with the program” before the house lights dim. The open acknowledgment of audience as jury frees the actors to break the fourth wall and address us direct- ly, an opportunity that most of them take satisfactory advantage of. The tacit reminder is that not only is an audience the jury in any live performance, but that also a connection exists between the audience and the perform- ers. This connection just isn’t there in film, but in theatre you feel the actors are there for you. Director Mike Jarvis seems to know this. He’s encour- aged his cast to include the audience, and allowed his competent veteran actors to go with their instincts. The result is a solid lineup of amusing codgers, each with their own shtick. Watching the judge, a black Scotsman, watch the repartee between the defendant and his oppo- nent, feels like an episode of Red Dwarf: Indeed, in a cast with varying levels of experience, characters seem alter- nately petrified or about to burst out laughing. Despite the expected gravity of a murder trial, there is a sense of contained hilarity prefacing the comic performance of some witnesses, notably Jackie Bowyer as Mrs. Rogers and Anthony Dodd as Dr. Weeden. Permission to guffaw outright, though, doesn’t distract us from getting deeply into the story of the “once a week pill” of cyclotoxolates and whether or not Lord Metcalfe poisoned his wife. There are insinuations of insider trading, domestic vio- lence, and alcoholism. But although generally entertaining, Act I needed a snappier pace. And keeping the characters largely rooted to assigned spots in the courtroom, though realistically accurate, enforced an awkwardness that could have been dissipated by the application of a little artistic licence. Audiences are often willing to forgo complete accuracy for the sake of entertainment; Hollywood is evidence of that. Unfortunately, the script doesn’t give the minor char- acters enough to do. Uncomfortably aware of their status as set dressing, they deliver their scant lines as if anxious to clear the stage for the main characters. Seemingly their character development has been neglected, possibly out of a concern of upstaging the main characters. But in the- atre, there can rarely be too much going on simultane- ously. Watching a character listen is as fascinating, some- times more so, than watching another speak. Allowing each character to have a piece of business gives them an inner life, and that life gives energy to their utterances. It “Al Night with Dame Edna —The Show That Cares” Oct 24-27 and Oct 29—Nov 3 The Centre in Vancouver for Performing Arts Jennifer Aikman Look fissistant Culture Editor the other pres all builds, bringing rich complexity to a production. Na that most of the performances, and particularly Jo Harris’ rendition of Lord Metcalfe, lack complexity—o the contrary. Harris’ management of a range of mood and the difference between the public persona and pr vate individual is entirely engaging. Both John Harris’ strong performance as Lo Metcalfe and the absence of the minor characters an their unease help the cast pick up the pace in Act | largely a reenactment of events described in the cour room. Plus there is a lot more moving around. Th seems like the actor’s favourite part of the play, judgi from the relish with which lines like “judges dress up lik transvestites and often behave like old women” are deli ered. Act II also contains the gem of Elizabeth Green's pe formance as Lady Metcalfe. Green is both elegantly ari tocratic and warmly elegant, while conveying the sense d debilitating illness. However, though I recognize that it a feat to combine the appearance of illness with stro voice projection, at times I can’t hear her from my seat j the second row. I suspect that more senior audieng members may have similar trouble. Aside from that, hg performance is quietly stellar, and livens up the secon act. Overall, this production is both good fun and a example of the fact that community theatre, and parti ularly everything I've seen at the Shaw, is an amazing ba gain. Doesn't it cost around $12 for a movie these day For that (sometimes less), you get a crafted piece of thf atre that actors and technicians have spent weeks volu teering their time, simply because they love the shed thrill of pulling off a production. And at the Sha Theatre, you have the added value during intermission 4 viewing the latest installment in the Seymour A Gallery. Beyond Reasonable Doubt runs only till October 26, b be sure to catch Deep Cove Stage’s next productio Check out < www.DeepCoveStage.com> Warning: B tix early. And if you go, wear something sharp. Literall “Oh, I know you people have to be politically correct these days,” a pause, “but I don't.” T unforgettable words of Dame Edna Everage—Housewife, investigative journalist, sod anthropologist, talk show host, swami, children’s book illustrator, megastar, spin doctor a icon. Recently, I was a member of her privileged audience or “focus group” as she prefers to us, and I am still reeling from the experience. Am I qualified to review a megastar? I doubt and I’m sure the Dame would agree with me, but for the sake of the Other Press I’m going take a stab it. This is the first time Dame Edna (A.K.A actor/artist Barry Humphries) has ever set a g tering pump on Vancouver soil, extending her North American tourette of “A Night w Dame Edna’ to our neck of the woods. In‘her press conference Wednesday, she told us that had sent the Queen ahead on a reconnaissance mission, which included the monarch jumpi on hotel beds and testing restaurants. Thankfully, we were given the royal thumbs up, pavi the way for the Dame’s momentous 10-day stay. Last Thursday, fans excited to get a glimpse of the Australian idol, filled The Centre Vancouver for Performing Arts (a venue that Dame Edna described as looking like a “funny Photo by Jennifer Aikman Look tle igloo”) to capacity. A motley assortment of middle age couples, gay men and the sort of p4