Review - "Of Mice and Men", at the Pasadena Playhouse, May 14, 2008

John Steinbeck's 1935 seminal novel and play about shattered dreams still resonates with audiences more than 70 years later. Set against the backdrop of California's migrant worker programs in the 1930's, some of the characters in "Of Mice and Men" may have Anglo names but most of the actors on the stage at The Pasadena Playhouse have Hispanic accents and heritages, save a few, who retain their ethnicity as originally written by one of America's only two Nobel Laureate's in Literature and Theatre (Eugene O'Neill being the other)

Thanks to the inspired vision of Artistic Director Sheldon Epps, and the creative chops of director Paul Lazarus, a fresh new approach to the powerful subject matter of the drama becomes a reality. They say timing in show business is everything; the time for relevancy and understanding the complex issues that surrounded the migrant harvest worker program then is still an issue in the here and now.

The usual complaint from the younger generation ( ages 18 to 35) concerning the world of live theatre is that's it's not relevant for them. Bah, Humbug! The arts have always led the way in drawing attention to compelling social issues and causes in need of redress. Just check the works of Voltaire, Zola, Moliere or Charles Dickens, all of whom had relevancy in their time, and all of whom had their work made into plays; contributing to changes in the social fabric of their times.

Steinbeck's now classic tale of California's itinerant farm workers is set in the San Joaquin Valley during the 1930's. It's the story of George and Lennie who, if judged by today's standards, would probably be labeled as marginal losers. The best way to describe their relationship is that of a caretaker, or parent (George) and his dependent, child (Lennie) a gentle, mentally-challenged giant of a man who has a fatal attraction to soft hair.

George is always looking out for Lennie; protecting him against the world and from himself. He is also aware of Lennie's shortcomings and when the farm dog has a litter of puppies, George warns Lennie to stay away from them. But Lennie's desires get the better of him and he sneaks in to see the pups, and ends up killing one of them.

Tensions mount when ranch hand Curley, newly married to a local girl, imagines every man is making passes at his bored wife. George and especially Lennie become Curley's targets when Curley's wife is seen hanging around the ranch house. Curley's wife is hungry for emotional satisfaction from anyone who will pay attention to her. It's a character flaw that ultimately ends in tragedy

There is so much to recommend in this production. There are so many creative and clever touches by this talented cast. For starters, the portraying of the migrant farm workers, not as displaced "Okies" from the dust bowl of the 1930s, but as hard working human beings is a fresh and welcome take. Lazarus deftly frames his production along the lines of California's Bracero Program then in vogue during the 40's and 50's. It's an inspired idea, and of course, is very historically accurate.

David Norona as George, the world-weary realist and protector of Lennie, delivers a finely crafted performance brimming with ambivalence; doubt, optimism, and compassion. Al Espinosa, brilliantly portrays the gentle, child-like giant Lennie. His every move, gesture and hand positioning is right on the money. From the leonine head and wonderfully expressive eyes and face, Espinosa captures the heart and soul of Lennie, to say nothing of the audience.

Joshua Bitton's Curley, the paranoid husband who imagines everyone making passes at his wife, is an accident waiting to happen, and happen it does. Thomas Kopache, as Candy the old worker who sacrificed his hand for the farm, evokes sympathy when it comes to the fate of his long time pet. Alex Mendoza as Slim, Gino Montesinos as Carlson, Sol Castillo as Whit, Josh Clark as The Boss, and Curtis C. as Crooks, the black stablehand who is ostracized from the rest and sleeps in the barn, are solid performances. The role of Curley's wife is played by Madison Dunaway, who plays her as more of a lost soul trying to escape her suffocating life with Curley than as a femme fatale as portrayed in the 1937 movie.

When the movie was released in 1937, a young Betty Field portrayed Curley's wife with such conviction, she incurred the wrath of America's movie-going female population who refused to accept that she was just an actor playing a role. As a result, she was never quite able to shed the memory of that character as far as movie fans were concerned and her career sort of sputtered into lesser character roles. It was a case of doing one's role too convincingly.

I have seen this play performed many times, and the characters were always played as Anglos, not local people of color, except for the character of Crooks. By having the characters played by Hispanic actors, who from time to time, sprinkle their dialogue with Spanish words and expressions, enriches the performance and doesn't alter the dramatic intention of Steinbeck's master work a wit. It plays ! And on more than one level, too. And it comes at a time when this story needs to be seen by new generations.

If young people are looking for relevance in today's society, they need look no further that this thought-provoking play now on the stage of The Pasadena Playhouse. It's a wonderful production. It runs until June 8th. Don't miss it. Contact the box office at 626-356-7529.