By Andrea Johnson
Highland City’s Community Center plays host to Kingswood Players’ hilarious production of She Stoops to Conquer; Mistakes of the Night by Oliver Goldsmith. This classic comedy withstands the test of time for many reasons, and this company (led by Director and Executive Producer Miranda Maurin) has exploited each of them thoroughly before digging around in the attic for a few more. Originally published in 1773, the English classic stabs at the romantic comedies of the time through a romp of farcical fun.
She Stoops to Conquer tells the story of Mr. and Mrs. Hardcastle (Eli Bradford and Missy Sliger), a very proper (read: absurd) English couple in their quest to marry off their children, Tony Lumpkin (Isaiah Cook) and Kate Hardcastle (Berlyn Johns). Adding to the “family” dynamic is the “cousin” of Mrs. Hardcastle, her ward Constance Neville (Alyssa Tanner). Mrs. Hardcastle is hell-bent on getting her son and Constance together, exclusively over a matter of an inheritance of jewels that, subsequent to a successful marriage, becomes the property of the Hardcastle family. This arrangement would be great, except Constance loves George Hastings (Nathan Shallenberger) and Tony loves—well, not Constance. Mr. Hardcastle does a little (read: a lot) of meddling on his own, inviting the handsome Charles Marlow (Alex Vaughn), the son of his dear friend Ellen Marlow (Veronica Augustine), over to court his daughter, Kate. Unfortunately, neither Kate nor Tony have any interest in going along with their parents’ schemes, so each sets in motion divergent plans designed to undermine the betrothal campaigns. However, Kate changes her mind when she actually meets Charles, which would be great if her father’s opinion on him hadn’t soured in the meantime. Nothing ever happens the way it is planned, does it?
The best farce is all about full commitment to the insanity and the whole company was all in, including the troupe of servants (Carter Maurin, Lucy Maurin, Talon Maurin, and Daphne Holman). While Bradford and Sliger push the farce envelope to its breaking point, Cook simply shatters it. As the untamable Tony Lumpkin, Cook lives every moment at the extreme, even dancing on tables, concocting terribly executed devices to cause his dear mother and step-father all the grief he can generate, and feigning affection for Constance. As Constance, Tanner employs a gamut of emotional breadth. Coy and charming one minute, tacitly fighting Tony with nails out the next, Tanner’s Constance keeps her wits about her (mostly) in her quest to gain both her jeweled inheritance and her beloved George.
Shallenberger as George Hastings got one note from me: He’s the sane one. Don’t get me wrong, George is part of the madness and full in on the farce, but there has to be a point of sanity to reference, and Shallenberger anchored the company with strength and humor. Well, except that one time where his best friend, Charles Marlow, messed everything up for him, but I digress. Vaughn and Johns as Charles and Kate are delightful. Charles has a particular difficulty talking to women, but only if they are well-bred, and Vaughn plays the dichotomy between the stuttering fool and the arrogant elitist well. Johns is lovely, polished, and has terrific energy. She needs it. The entire cast (and the entire show) is overflowing with repartee, physicality, and noise.
I appreciated the costuming choices to match the couples as it provided a great point of reference in all the confusion. The lighting was a little distracting as some of the lighting sources came from the floor; however, in the space, it is really the only option. The small space allowed for the actors’ voices to carry well and we had no difficulty hearing them, although there were times when the pace or the volume overwhelmed the diction. Given that the language is high English for the most part, it was unfortunate when some of the dialogue was lost. This was intermittent, however, and the overall vocal treatment was excellent. There were also a few times where the physical interaction energy approached too much. Farce, especially physical entanglements, can really push the boundaries of safety and humor, and there were a few times where the actor dynamism went past those bounds. I chalk it up to opening night anxiety. All of the actors seem very comfortable on the stage and I trust they will be able to find the edge without going over it as they settle into the run.
This show is not really appropriate for very young children, just because the dialogue will be over their heads. The physical humor would be appreciated, but the times in between might drag on for younger audience members. The theater recommends 10 and older, and I would agree. This would be a wonderful date night. I also recommend getting a seat up front or on the aisles as the stage is not very elevated and the chairs are on a flat floor, so when the actors sit, it can be hard to see them from the back row. Farce is one of my favorite genres and I enjoyed this production immensely. Physical and verbal sparring kept up a delightfully frantic pace throughout the show and made a night out a perfect escape.
If you are looking for a grand escape with a lot of laughter, She Stoops to Conquer wins the day.
Kingswood Players presents She Stoops to Conquer by Oliver Goldsmith
Highland Community Center
5378 W. 10400 N. Highland, UT 84003
March 30, April 1, 5-6, 2019, 7:00 PM
Tickets: $8 / group rates available: kingswoodplayers.theatre@gmail.com
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