When Jackie Maxwell arrived as new artistic
director of the Shaw Festival last year, nobody had to wait long to see
her emerge as a distinctive presence in one of Canada's most lauded
repertory theater companies. She was replacing the formidable
Christopher Newton, who over two decades had put his fine stamp on
Shaw. With some help from him, she shaped what turned out to be a
tremendous first season.
It was a season that revealed Maxwell's
singular talent for intelligent and balanced play selection. It also
proved her to be an excellent literary sleuth in the vein of what she
calls Newton's "archaeological" unearthing of worthy works by
heretofore neglected playwrights. And not incidently,
Niagara-on-the-Lake theatergoers were given confirmation of what was
already widely known in the rest of Canada: Maxwell is a superb stage
For 2004 Maxwell returns, once again mightily armed
with a fabulously varied slate of plays. As anyone might guess, the
unbreakable rule at Shaw is that George Bernard Shaw's plays establish
the bedrock of a season. Maxwell has chosen "Pygmalion," one of two
plays she will direct, and "Man and Superman" with a dozen of the
performances to be the full five-hour version that includes the
play-within-a-play "Don Juan in Hell."
" "Pygmalion' is such
an iconic Shaw play," Maxwell said by phone between the multiple duties
of a season already into preview performances. "It is kind of scary to
be directing it because it is so identified with so many different
people. But it is a fabulous story I get to tell, and we have a
wonderful Henry Higgins and Eliza Doolittle in Jim Mezon and Lisa
She departs from tradition with this play by
expanding the presence of those noisy Londoners of the first scene.
"What I've done is have the Londoners appear throughout the play,
moving sets and reading some of Shaw's stage directions. I think that
hearing Shaw's descriptions in the stage directions will set a real
context for the story. Of course the focus will still be on the battle
of wills between Higgins and Eliza."
She has not messed with Shaw's infamous unhappy ending, as did the
1956 musical version, "My Fair Lady."
"In my mind, it doesn't need a happy ending," she said. "In "My Fair
Lady' the implication is that they will get together; with Shaw it's
clear they're won't. I hope to turn some heads around by emphasizing
Maxwell's chose "Rutherford and Son" as the second play
to direct. This makes sense, since she's the one who, during one of
those "archaeological" missions, dug up this obscure 1912 piece about a
Northern England industrialist named John Rutherford who rules factory
and family with an iron hand.
"I have taken a different tack
from that of Christopher," Maxwell explained. "I decided to search out
forgotten Edwardian women writers, such as last season's "Diana of
Dobson's' (by Ceely Hamilton) and this season's "Rutherford and Son.' "
"Rutherford and Son" was not only written by a woman - the
British playwright and verse writer Githa Sowerby - but it also
features a woman as both subject and as agent of change, Maxwell said.
"It was really hailed in 1912. It's a hard-hitting piece."
Maxwell is happy to announce that Newton will return this season as
director of what might be the world's most perfect farce - Oscar
Wilde's "The Importance of Being Earnest."
"You've got to have
a real reason to do "Earnest' again," Maxwell said. "Christopher and I
wanted to take the barnacles off and give it an intimate look. That's
why we're doing it in the Royal George Theatre."
George is indeed more intimate, a theater that Maxwell thinks will
allow them to remove "a little of the gloss" and tighten things up to
further enliven the comedy.
"Man and Superman," Shaw's great
satire on romance, and its internal drama "Don Juan in Hell" are most
often done separately, given that together they run upwards of five
hours. Shaw Festival has solved the problem of a long play by dividing
it in two with a pre-arranged lunch as part of the ticket price,
according to Maxwell. "It should be great fun."
this year include a standard - what Maxwell described as "a sassy and
sexy" rendering of Richard Rodger's 1948 "Pal Joey" - and a
contemporary musical by Adam Guettle, the 1996 "Floyd Collins."
"Guettle represents a new generation of younger composers," Maxwell
said about an artist who was mentored by none other than Stephen
Sondheim. " "Floyd Collins' is a true story. Set in the depression in
Kentucky, a caver - a spelunker, as they're called - is looking for a
way to get his family out of poverty and discovers a cave that he hopes
to make into a tourist trap."
The trouble is, the cave becomes
a trap for Floyd himself. "At the time he was trapped it set off the
first media circus," Maxwell noted. "So we have the musical divided
between this carnival-like atmosphere above ground set against the
underground scene where Floyd is trapped. The music has a wonderful,
soaring, very American feeling."
One of the shining gems of
last season was Brian Friel's "Afterplay," in which the Irish
playwright brings together two Chekhov characters from two different
plays and creates an entirely new "Chekhovian" encounter. This season
we have George T. Walker basing his 1988 play "Nothing Sacred" on
Turgenev's "Father and Sons."
In Maxwell's view, the art of
adaptation is an endlessly tricky one. But Walker succeeds fabulously:
"He takes the spirit of the piece and casts it in his own voice, giving
it this powerful contemporary energy."
Among the lighter fare
is John Cecil Holm's 1935 "Three Men on a Horse," what Maxwell calls
"an all-out, no-holds-barred caper driven by a very physical kind of
comedy." Terence Rattigan's 1948 "Harlequinade" is about a thespian
couple who may have performed one too many presentations of "Romeo and
Juliet." Maxwell sees it as a backstage comedy that is something like a
"post-World War II version of Michael Frayn's "Noises Off.' "
Maxwell pointed out that the Second World War is also the dropback
another sort of play by Canadian playwright John Murrell. "Waiting for
the Parade" is a 1977 piece that gives a nostalgic look back on the
women who waited on the homefront in Alberta.
In addition to
Wilde, Maxwell draws on another great Irish playwright this season, the
very un-Wildean J.M. Synge. "The Tinker's Wedding" (1907) tells the
comic tale of a woman determined to marry a man but can't find a priest
who will perform the ceremony.
And Maxwell's season holds one
huge surprise: a Eugene O'Neill play. "Shaw Festival has never done one
before," Maxwell said. "We're changing that with "Ah, Wilderness!,'
O'Neill's only comedy."
The play deals with an ordinary
American family in 1906 and the usual trials of small town life. The
chief character is a young and rebellious romantic by the name of
Richard Miller. What most alarms his parents is his reading habits.
They suspect writers like Swinburne and Omar Khayyam are putting
strange ideas into his head, while the naughty Oscar Wilde is busy
undermining his morals. And then there's that political and social
upstart, George Bernard Shaw: He may be the most corrupting of all.
Shaw's days of derailing susceptile youth may be long past. But in
Maxwell's words, Shaw was "a cranky provocateur who continually burst
through the palls of self-satisfaction and mediocrity."
His plays still do that. And so does the festival that bears his