Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Nicholas Hormann

A Noise Within’s “A Tale of Two Cities”: character, not melodrama

Frederick Stuart makes a particularly complex Sydney Carton in A Noise Within’s “A Tale of Two Cities” [photo: Craig Schwartz]


Any time someone translates a novel to the stage, there is risk involved. The depth of interior monologue, the detail of setting and character, the convolutions of plot and emotion, even the poetry of language used to provide all of this, are all limited by the confines of the stage and the time frame expected of a standard play.

Never is this more true than when dramatizing the works of Charles Dickens. A man who loved theater, his works are in many ways quite theatrical, but they are also often intricate, interior and long. One either carves much of the detailed verbiage away, as has been done several ways for, say, “Oliver Twist,” or one extends the play into two parts, as the Royal Shakespeare Company did for “Nicholas Nickleby”. Michael Poulton’s adaptation of “A Tale of Two Cities” now open at A Noise Within in Pasadena chooses the former, but in the process creates a focus on the meat of Dickens’ story: that of the dangers of both oligarchy and chaos.

For those who did not read the novel in high school (or after) the play follows the fortunes of Charles Darnay, a French aristocrat who renounces his noble family for a life of work in Britain just as the French Revolution sparks. In Britain he must fight accusations of being a spy, and in the process becomes close to three people who will define his life.

One is Dr. Manette, long a prisoner in the Bastille, whom he assists in traveling safely from France to England. Another is Manette’s daughter Lucie, whom Darnay marries. The third is the profligate Sydney Carton, his virtual look-alike, whose friendship with Darnay, and wistful love for Lucie provide lifelines for a man who, though young, sees himself as already worthless and beyond redemption. Then Darnay’s servant begs him to return to revolutionary France at the height of the Reign of Terror to save his life.

As adapted by Poulton, this becomes both a character study, and an examination of the explosion and vengeance resulting from an oligarchy pushing inequality too far. As a result, it avoids the more Victorian villainization of the rebels, turns the story to focus on personal struggles and definitions of justice, and manages to ennoble the wayward Carton without whitewashing his behaviors or his depression. As directed by Julia Rodriguez-Elliott and Geoff Elliott, this episodic and complex tale is given a sense of seamlessness which allows the main themes to rise.

Tavis Doucette makes an earnest and straightforward Darnay. Emily Goss provides a sense of innocence, bravery and devotion as Lucie, while Nicholas Hormann delivers a calm practicality as her father Dr. Manette. Also important is Michael Stone Forrest, who gives the English banker Mr. Lorry a sense of presence and a force of personality which ties together much of the most tense period in the storyline. Trisha Miller, as Lucie’s devoted governess, radiates the strength and indignation of the British servant class. Abby Craden make the villain, Madame Defarge, most convincing, but in a way which underscores this French peasant’s reasons for her searing hatred of Darnay’s family.

Still, the center of the tale in this rendition is Frederick Stuart’s Sydney Carton. Stuart makes Carton’s dissolution more a symptom of depression and oppression by opportunistic employers than simply a sin in and of itself. The other characters’ sympathy for him proves more justifiable, and his willingness to lean toward nobility and sacrifice far more logical. It’s a powerful performance.

Also integral to the production’s success are Jenny Foldenauer’s costumes which, with the exception of a couple of barrister wigs, proves authentic and unexaggerated. Fred Kinney’s modular set pieces, coupled with Kristin Campbell’s projections create drama out of crates and partitions in very effective ways, allowing swift changes of scene in the process. Robert Oriol’s original songs bring the emotional backdrop of the era’s tensions.

“A Tale of Two Cities”, as a story, is a classic in every sense of the word. At ANW it is done justice in many ways. Though some purists may miss a concentration on the inner monologues which make Dickensian characters so interesting and yet so hard to portray, this version when performed this well proves that a tale of upheaval and ethics plays well to a modern audience. Indeed, given the current state of the world, a discussion of oppression, revenge, and ethical choices takes on greater significance.

What: “A Tale of Two Cities” When: through November 19, 7 p.m. October 29, and November 19, 7:30 p.m. October 19 and November 9, 8 p.m. September 29 and 30, November 4 and 10, with 2 p.m. matinees September 30, October 29, November 4 and 19 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25 Info: (626) 356-3100 or http://www.anoisewithin.org

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Delightful “Ah, Wilderness” Lights up A Noise Within

Deborah Strang and Nicholas Hormann lead the cast of Eugene O’Neill’s “Ah Wilderness” at A Noise Within

When one thinks of Eugene O’Neill, one thinks of wrenchingly serious plays, but “Ah, Wilderness” gives him a chance to explore the comparative innocence of a life he wished he could have lived. In the new production at A Noise Within, the play becomes a charming celebration of the nature of adolescence with characters recognizable over time and ethical distance in a way which makes the entire play approachable and embraceable.

In this warmhearted view of a middle class, small town family’s 4th of July in 1906, we follow 17-year-old idealist Richard Miller as he butts heads with his practical father, college-boy elder brother, overly nourishing mother, and the rest of his extended family. He yearns for the daughter of an overly straight-laced man, reads the Rubaiyat of Omar Khayyam, espouses socialism, and generally disrupts the calm of his family circle. In the ANW production, this comparatively lighthearted tale has been laced with popular music of the period – a move which instantly reinforces both the setting and the lighthearted nature of the thing.

Emily Goss and Matt Gall at a peaceful moment in ANW’s “Ah Wilderness”

Nicholas Hormann sets up the feel of the entire piece as Nat Miller, the easygoing patriarch of Richard’s family and publisher of the town newspaper. That very casual but upright “man of the world” quality sets the tone for the family and the entire play. Deborah Strang fusses and nurtures as Richard’s warm, worrying mother. Against these settled people’s maturity flails Matt Gall as the passionate Richard, whose journey into rebellion (and then back into the fold) becomes the focal point of the play. Gall gives Richard both the aura of conviction and the simplicity of lovesick youth in a combination which works well to tie all the pieces of this tale together.

Ian Littleworth, as Richard’s Yale-going elder brother, reflects the pompousness of the newly independent young man, while Katie Hume and Samuel Genghis Christian provide Richard’s younger siblings – the very observant, somewhat sardonic younger sister and the even younger littlest brother. Indeed, there is an aura of youth and innocence throughout this family circle, which balanced by the subtle struggles of the house’s other two occupants.

As Nat’s “old maid” sister, Lily, Kitty Swink finds a combination of determination and pathos, especially in Lily’s relationship with her former love interest, the flawed Sid, whose battle with addiction – though kept lighthearted in Alan Blumenfeld’s rendition – still provides a haunting connection to the darker side of small town life. Among a sizable cast, Emily Goss gives a youthful bravado to Richard’s clandestine love interest, while Emily Kosloski has a lovely time with the “fallen woman” Richard encounters while in defiant despair.

Director Steven Robman has given these folks a timbre and a pacing which keeps the story light on its feet. Scenic Designer Frederica Nascimento utilizes very mobile set pieces to create the swift changes needed to keep that pacing on target. Most of Garry D. Lennon’s costumes evoke era and class with an easy grace. It all works together to make a delightfully intelligent and largely uplifting whole.

“Ah, Wilderness” is not a rollicking comedy, but rather will evoke the laughter of recognition, and a chance to see a rare side of O’Neill: a balance to his more usual, far more grim works. For those who have never seen it, the ANW production will be a treat. For those who have, this production will confirm why it is worth seeing again. If only coming of age always involved this much charm. “Ah, Wilderness” plays in repertory with ANW productions of Shakespeare’s “King Lear” and the soon-to-open musical “Man of La Mancha”.

What: “Ah, Wilderness” When: through May 20, 7 p.m. March 19, April 9, and May 14; 7:30 p.m. April 20; 8 p.m. April 15 and 21, May 19 and 20; 2 p.m. matinees March 19, April 9 and 15, May 14 and 20 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: starting at $25 Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org

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