By Jason Crawford Samios-Uy
Running Time: Approx. 2 hours a 15-minute intermission
“Plastics.” If you are familiar with this one-word movie quote, you are familiar with one of the American Film Institute’s 100 Greatest Movie Quotes of All Time (#42), and the 1967 film The Graduate. It’s a classic film with big name stars such as Dustin Hoffman and Anne Bancroft and gave us the musical styling of the impeccable Simon and Garfunkle, including the well-known “Sound of Silence.” In 2002, The Graduate was taken from the screen and transferred to the stage starring Kathleen Turner, Jason Biggs, and Alicia Silverstone, who were all on their games at the time and it was a critical and commercial hit during its year-long, 380 performance run. The Graduate is now Dundalk Community Theatre’s latest offering, Directed by Todd Starkey, and presents this 1960’s coming-of-age and still-relevant piece to a new generation, some of whom may be dealing with similar personal problems as the complex characters in the story.
Scenic Design by Marc W. Smith (who also wears the hats of Lighting and Sound Design, as well as Technical Director, in general) is, to say the least, exquisite. Smith, being the resident Scenic Designer for Dundalk Community Theatre, knows his space and is wise in his choice of a clean, minimal unit set utilizing set pieces to present various locations. Though the set is minimal, Smith has a great attention to detail with his choice of pieces adding a realistic, but non-hindering value to the production as a whole. With the amount of locations written in the script, the pieces are many and cause for a few lengthy transitions, but the design is superb, as a whole.
Costume Design by Eva Grove, who also graces the stage in a few supporting roles, is spot on and absolutely appropriate for the 1960s setting. Being a unique and eclectic time for fashion, Grove has managed to represent it flawlessly with loud colorful patterns, as well as subdued conservative looks that help, not distract from the action and setting. Her well thought-out, detailed design adds great value to the entire production.
Todd Starkey takes the helm of this production and, directing an adaption of an already well-known piece is always a challenge, but Starkey seems to have stepped up to that challenge. There are definite minor issues with the script, the main problem being missing information. If you’re familiar with the film, you’ll be okay, but if you are not, you might get confused as to how the relationship between the younger characters blossom and why but, taking it at face value, the gist is still intact. Starkey has cast his show well and has a good comprehension of the material and, aside from a few aforementioned lengthy transitions (the production could have done without a few of the blackouts, which broke up the momentum a bit), the pace is appropriate and consistent. Overall, Starkey should be applauded for his efforts in bringing this relevant and relatable story to the stage.
Moving on to the performance aspect of this piece, it’s worth stating that the entire ensemble is dedicated and gives 100% effort to this production and each player works hard to bring this material together to tell this multifaceted story.
Alice Scanlon and Thomas “Toby” Hessenauer take on the roles of the caring, but somewhat oblivious Mr. and Mrs. Braddock. Though Scanlon is a little stiff and scripted in her performance, she clearly understands the character of the hapless, naïve mother who is a woman of a different time and is content being a housewife and letting the males in her life take the lead. She pulls off the role nicely and compliments the superb performance from Hessenauer, who is a highlight of this production and who completely embodies the character of the financially and, some would consider, personally successful Mr. Braddock. He emotes the confidence and strong will of a 1960s head-of-household. He works well with and off of his fellow cast mates that makes for a brilliant and believable performance.
John Dignam as Mr. Robinson and Elisabeth Johnson and Elaine Robinson make up 2/3 of the dysfunctional Robinson family and are major players in this tawdry tale. Elisabeth Johnson does well with the role, having a good understanding of her character and the naiveté and sheltered upbringing that makes up Elaine Robinson. She has good chemistry with her cast mates and gives a commendable portrayal, save an over the top, hokey scene where her character gets drunk and Johnson is scripted and unnatural, barely getting her dialogue out, but, overall, she gives a delightful performance.
John Dignam is another highlight of this piece, portraying the at first confident, successful business man to distraught husband near flawlessly. His dramatic turn where his character breaks down and confronts Ben, his unassuming nemesis, is a bit forced and unnatural but, aside from that, his performance is strong, confident, and authentic.
Last but certainly not least, we have Dyana Neal as the sensual cougar, Mrs. Robinson, and Stephen Edwards as Benjamin Braddock, the young man who is just searching for purpose, like so many so soon after graduating from college. It’s clear that Neal and Edwards have a firm grasp of their characters, but, unfortunately, the chemistry between the two is just not as apparent. Both play their characters well, individually, with Neal being the stronger performer, but are missing the connection and attraction required of these two characters, not to mention the awkward, forced insinuation of sexual acts that are, I assume, supposed to be humorous to downplay the sex, but just end up falling flat. Neal is on point with the sultriness of the bored Mrs. Robinson and keeps her character consistent, as she should be portrayed. It’s also worth mentioning Neal’s velvet voice that is a pleasure to listen to and makes it easy to understand why she is on the radio. Edwards starts off portraying Benjamin Braddock as an awkward, unsure recent graduate, which works perfectly, but as the story moves forward, Benjamin is supposed to find his footing and become surer of himself and comfortable with the world around him, but Edwards can’t seem to find that arc in this character. With that being said, he exudes a certain confidence and authenticity that makes for a charming performance.
Final thought…The Graduate is a coming-of-age story with a good blend of lightheartedness and complexity that keeps this piece interesting. Being a well-known, classic film, there are built-in challenges of transferring to the live stage and for those who are unfamiliar with the film, there may be some missing pieces in the script and it may seem a little jumbled and rushed, but in the end, you get the gist of the story. The performances are commendable and, aside from the numerous blackouts breaking up the flow, the pacing is decent. The story itself is timeless and relatable, so it’s worth checking out this well put-together production.
This is what I thought of Dundalk Community Theatre’s production of The Graduate… What did you think? Please feel free to leave a comment!
The Graduate will run through March 4 at Dundalk Community Theatre, College Community Center, John E. Ravekes Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.
Email us at email@example.com
Like Backstage Baltimore on Facebook