Make time for a Brief Encounter

I'm going to join the chorus of theater reviewers heaping praise on ACT's re-envisioning production of Noël Coward's Brief Encounter. The beyond-clever imagining of this late 1930s piece is matched only by the superb acting and musical talents of its ensemble cast.

True, there are two characters central to the play, their particular brief encounter—but by the end of the show, the secondary story lines demand equal if not more emotional investment by the audience. And the absolutely superb and versatile acting chops of the other-wise-might-be-called-supporting players make this truly a team production. While Hannah Yelland and Milo Twomey more than ably embody the ill-timed lovers Laura and Alec, Annette McLaughlin and Beverly Rudd all but steal the show, albeit subtly, as their increasingly comical and disparate characters cross the stage—revealing such theatrical skill that if done overtly it would be considered bragging. As it is, they are merely marvelous.

The play is so very English, which often adds to the humor for the local audience ("You know, I'm madly in love with you." "Oh yes, quite."). The rest of Coward's humor is at times equally dry but exceptionally amusing and characteristic of his eponymous wit.

Director and Adapter Emma Rice has concocted a masterpiece from the original 1335 play Still Life, the 1945 screenplay Brief Encounter and additional songs by Noël Coward. In fact, she has crafted an unusual sort of musical—a show that is full of music, and songs you might be surprised you recognize, but not a "musical" in the typical sense of the word. All of the actors sing and even play instruments, and the interlude songs comment on the action, but the characters do not sing the songs, nor do they sing the plot. Period persons play for the audience and set the mood before the magenta curtain rises, and continue to pepper themselves across the stage, house, and even the lounge during intermission, to entertain and carry the sensation forward.

Emma Rice also throws in a little multimedia splash that will set your jaw dropping. And the less said about that the better. I cringe whenever I hear about "multimedia" pieces, but her vision does not distract from the story nor performance, but rather jars the audience out of the ordinary, and out expectation, and into the world being created before them. The subtle use of puppets is consistent with this new reality and is simultaneously unexpected and entirely appropriate.

While Emma Rice does deserve accolades for her creation, it could not come to such fruition without this talented cast. All of them melodic, at at times balletic.

As I happened to take this performance on an Out with ACT night, I also got to enjoy the reception afterward. Much love to the cast for engaging on "Gay Night," and for being as captivating off stage as on. Kevin, my usual Statler, was on a flight to Ireland with his bf, so I invited a date to share our seats (whom I met at an Out with ACT event last year). However, with my open wallet at intermission and the open bar at the reception, he was a bit "over-served" and shortly was all over the barely-legal and entirely hetero piano player like gravy on a biscuit. Annette and I found this amusing for a time, until we had to explain to him that's not what was meant by "pianist."

So to wrap this up: check your calendars and make a date for a Brief Encounter as soon as possible. Go. Now.

And in short, as I have said before and applies to this experience: Who ever said that the greatest loves are the ones that last?

.

.
Side note: the cast loved that it was "Gay Night." Randy used my copy in the marketing materials and was introducing me as "The Number One Gay." After a while I decided to be flattered by that.



Adam Pleeth, Stuart McLoughlin, Annette McLaughlin,
Director Emma Rice, Beverley Rudd, Milo Twomey and Joe Alessi

And of course, I had to take this photo of Beverly and me just for the caption:



Bev, Mo.
Flickr set.

BTW, winos take note: BevMo has just started their 5¢ sale.