Rediscovering Brilliance: “Wedding Band” Shines Anew at Stratford Festival

Imagine the delight of finding a lost masterpiece and witnessing its greatness anew. That was my experience this summer at the Stratford Festival in Ontario, where Alice Childress’s “Wedding Band” graced the stage. Written in 1962 and initially produced by the Public Theater in New York in 1972, the play had faded into obscurity for five decades. Thanks to Theater for a New Audience in Brooklyn, it resurfaced last spring. Now, at Stratford, it not only reconfirms its brilliance but does so in a distinct manner, breathing fresh life into this powerful narrative.

Second chances are pivotal for enriching and revitalizing the world of theater. A production might earn acclaim at its debut or when resurrected as a novelty, but it truly solidifies its presence after a second round of staging. This process of nurturing new and rediscovered works through this critical phase is a forte of noncommercial theater.

During my visit to Stratford last month, I immersed myself in four plays, each encompassing diverse perspectives and aims. Two among them – “Wedding Band” and a lively rendition of “Much Ado About Nothing” – were revelations. Meanwhile, a disco-era adaptation of “Richard II” felt like a jumbled metaphor, and the 1948 Italian absurdity “Grand Magic” added an air of stylish mystification.

The Stratford experience was twofold – rediscovering both plays and the festival itself. Having been disrupted by the two most challenging Covid-impacted seasons, I was heartened by the revival of both the festival and its rebuilt venue, the Tom Patterson Theatre.

“Wedding Band,” “Richard II,” and “Grand Magic” all graced the Patterson stage, uniquely equipped with a thrust setup. This layout was ideal for the intimate portrayal of Childress’s narrative, focusing on a Black woman and her white, yet unofficial husband in a racially constricted 1918 South Carolina. The world they share progressively diminishes, a tragedy reflecting broader struggles for racial unity in the nation.

The director Sam White’s rendition of the play adds another layer of complexity. The portrayal emphasizes the hard-won joys of the central relationship, deepening the sense of loss when the world disrupts it. Moreover, the production highlights the tragedy of the white characters, especially the man’s mother and sister, once seen as mere villains. Yet, we now glimpse how the tragedy of racism victimizes all.

The repertory system’s charm lies in its versatility, evident as an actress transformed from “Wedding Band’s” torment to a vivacious Beatrice in “Much Ado” the night before. This Shakespearean comedy, balancing insight and humor, often embraces contemporary updates. At Stratford, director Chris Abraham maintains the original backdrop, infusing it with a commedia dell’arte flair. Beatrice becomes more emotionally open, and Benedick more delightfully foolish, creating a refreshing take on timeless themes.

Purists may grumble at new additions by Canadian playwright Erin Shields, framing “Much Ado” with overt feminism. Yet, while unnecessary, these additions provide an amusing entry point for unanticipated sexual puns inherent in the text.

In contrast, “Richard II” at Stratford struggles to maintain the play’s essence amid an extravagant cultural shift to Studio 54-era New York. The adaptation by Jillian Keiley and Brad Fraser reframes the 14th-century English king’s tragedy through a queer Black “divinity” lens. However, this excessive celebration of flaws as fabulousness detracts from the play’s core exploration of personal imperfections leading to political turmoil.

Eduardo de Filippo’s “Grand Magic,” directed by Antoni Cimolino, unfolds beautifully on the same stage. Yet, despite the mesmerizing aesthetics, the story falters in conveying the washed-up magician’s narrative, focusing more on identity and illusion. This intriguing backdrop sometimes overshadows the characters and storyline.

In conclusion, this season at Stratford not only rekindles forgotten gems like “Wedding Band” but also marks the festival’s triumphant return. The revival of classics, reshaped for new audiences, and the introduction of novel adaptations contribute to theater’s continuous growth. Just as “Wedding Band” and Stratford embrace their second coming, the world of stagecraft stands poised for both winnowing and expansion.

L’article Revitalized Stratford: Second Chances for Plays and Theaters est apparu en premier sur Le Hérisson.