I suppose one’s taste in many things, ranging from food to reading, is determined in childhood. I readily admit that my own taste in musical theatre was probably largely formed when, at the age of 11, I joyously witnessed the 1947 London productions of Oklahoma and Annie Get Your Gun — predecessors of many musicals whose songs, for many years, were the main source of top-of-the-charts pop music. So it has resulted for me in the requirement that any stage musical must lead to one leaving the theatre humming at least a couple of songs from the show just witnessed.
Unfortunately, therefore, I must say I left the opening night of the Arts Club production of Waitress less than impressed — an attitude further strengthened by the fact that I found the book decidedly disappointing. Its story of a waitress in a small-town café, where she also makes the pies, struck me as unconvincing, especially as the plot is guilty of non sequiturs and some decidedly distasteful elements — including a pregnant woman having an affair with her (married) doctor. I don’t say such things don’t happen, but I do believe they have no place in musical theatre. At the same time, I found the songs decidedly less than melodically memorable.
More importantly, however, let it be known that I find myself — not for the first time — in a minority of one in my overall response. The show has enjoyed great success in many productions, including Britain’s National Theatre and on Broadway. On a different level, the friend who accompanied me to the Arts Club production absolutely loved every minute of it.
I grant that, in large part, my lukewarm reception was above all a result of the vehicle itself. The Arts Club has certainly done a great job in mounting the show. A strong cast, excellent singing, creative sets, excellent costuming, and a highly energized approach once again bear witness to the fact that the Arts Club is, indeed, a company of which the city can be proud.
Although I am less than enthusiastic about its current production of Waitress, I know that many will want to see a musical that has enjoyed so much success. I wholeheartedly therefore urge them to go see it and judge the show for themselves. They’ll very likely enjoy it — and may even come out singing some of the melodies, happily smiling as a result of their experience.
This latter undoubtedly will be the case with the opening production of this summer’s Bard on the Beach season.
Much Ado About Nothing is undoubtedly Shakespeare’s funniest comedy, and the Bard on the Beach production takes full advantage of this.
The production, from beginning to end, provides laughs aplenty. By turn farcical, witty, satirical, and outrageous, the play romps along with the robust participation of a talented and delightful cast that not only throws itself fully into the comic delights, but also takes full advantage of the gentler moments and the charming musical and dance numbers that, by their contrast, lend further weight to the effectiveness of the whole.
Beautifully costumed, with a wonderfully elegant set and inventively directed, Bard on the Beach — with its production of Much Ado About Nothing — indeed proves that the company is much ado about a great deal! It is, like the Arts Club, another jewel in Vancouver’s theatrical crown. Much Ado About Nothing is a must-see for anyone who is a fan of Shakespeare, an admirer of talented theatrical work, and ready for an evening of unalloyed enjoyment.
In saying this, I am confident that I am part of a huge majority.
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