Of Human Bondage

B

The second production of Soulpepper on 42nd Street, the month-long showcase of Canadian theater now at Signature Center is Vern Thiessen’s adaptation of W. Somerset Maugham’s 1915 novel. Although three films have been made from the novel, this is the first stage version. I haven’t read the novel and don’t remember the film version I saw long ago, so I can’t comment on the relative fidelity to the source. However, as an independent work, it held my interest for its creative storytelling, innovate staging and fine cast. Gregory Prest plays the protagonist, Philip Carey, the clubfooted orphan who reluctantly gives up becoming an artist for the more practical choice of a career in medicine. His progress in life is repeatedly threatened by his obsessive desire for Mildred Rogers (Michelle Monteith), a manipulative waitress he meets, who treats him horribly again and again. [This is the role that made Bette Davis a movie star.] As her abusive treatment continued, I could barely stifle the image of Lucy forever pulling the football away from Charlie Brown. After many misadventures, mostly caused directly or indirectly by Mildred, Philip eventually is liberated from his obsession and finds direction and contentment. Press and Monteith are both very good. The other ten hardworking  cast members play multiple roles adroitly, play incidental music on various instruments and move the set elements around for each scene. Lorenzo Savoini's set features a bright red square in the center of the stage floor, a brick back wall and cleverly multipurpose stage furniture repositioned as needed. Erika Connor’s period costumes are attractive. The direction by Albert Schultz, Soulpepper’s artistic director, provides many creative touches. To describe them would eliminate the surprise, so I won’t say more. The pace is a bit slow in the first act, but picks up after intermission. Overall, it was a worthwhile evening. Running time: two hours 40 minutes including intermission.