Shaw Pageant 2025/Main Barbara by George Bernard Shaw, directed by Peter Hinton-Davis, Royal George Theatre, closes Oct. 5. Tickets right here.
Peter Hinton-Davis is understood to be a director of imaginative and prescient, and he has given the Shaw Pageant an impressive manufacturing of Main Barbara.
This system essay is uncommon as a result of it takes the type of an interview between author Robert A. Gaines and Hinton-Davis. For level of reference, Prof. Gaines is a previous president of the Worldwide Shaw Society.
Hinton-Davis’ Method to the Play
In this system notes, we study in regards to the components that underpin Hinton-Davis’s directorial imaginative and prescient.
Along with his design group, he created a set with a recent really feel that may nonetheless work for a 1905-time body however give the play a recent really feel (however extra about that later).
He included particular points of each Christian symbolism and Shaw’s atheism, and that the play is each a drawing room comedy and a satire.
A significant throughline is Barbara’s journey (and to some extent Cusin’s) from idealism to realism, though the ending continues to be ambiguous, and every viewers member will see one thing totally different within the final result.
And eventually, an overarching theme is Shaw’s outrage on the poverty in Nice Britain that led him to turn into a Fabian Socialist.
Gaine’s essay actually makes for attention-grabbing studying, very mental, very educational, very informative for understanding Hinton-Davis’ method to the play.
What Was Left Out
Curiously, there appears to be one element that this system notes, both wittingly or unwittingly, have ignored, and that’s the sheer emotional impression of the play.
Merely put, Hinton-Davis has crafted an extremely highly effective interpretation that has a richness and depth I’ve by no means skilled earlier than in any of the a number of productions of Main Barbara that I’ve attended.
The Double Casting
Whereas there are different marvelous points to be talked about, the glory of the Hinton-Davis’ imaginative and prescient is the second act that takes place within the Salvation Military shelter.
Solely the three main characters, Barbara Undershaft, a significant within the Salvation Military (Gabriella Sundar Singh), her Greek professor fiancé Adolphus Cusins (André Morin), and her arms producer father Andrew Undershaft (Patrick Galligan), play themselves all through.
What makes this manufacturing so very provocative is the double casting and the ramifications it presents by placing the drawing room within the slums. The opposite actors in Undershaft family additionally turn into the denizens of east finish London.
This isn’t the primary time this concept of double casting has been used.
In 2016, the Infinite Jest Theatre Firm introduced a Main Barbara with double casting in Los Angeles, however in that case, apparently, the actors intentionally hid themselves contained in the second characters and solely by studying this system would the viewers have identified that it was the identical solid.
Not so right here.
Because the acts change, we see Stephen Undershaft (Taurian Teelucksingh) start to undo his jacket to alter his garments to turn into Snobby Worth. Hinton-Davis desires us to pay attention to the double casting, and the contrasts of personalities that underlie the human situation.
The Double Characters
The decided mom Girl Britomart Undershaft, the daughter of an earl (Fiona Byrne) is Rummy Mitchens, an previous girl pretending to be a “saved” prostitute. Her doctrinaire, dogmatic son Stephen is Snobby Worth, a con artist and so-called “saved” mother-beater.
Sarah Undershaft, the youngest daughter (Lindsay Wu), is already engaged at simply 19, and is essentially the most conventional member of the household. She transforms into the younger and caring Military employee Jenny Hill.
Her fiancé Charles Lomax (Sepehr Reybod), your typical upper-class twit present in so many drawing room comedies, turns into the threatening bully Invoice Walker who strikes Jenny Hill for taking his lady away from him.
Morrison, Girl Britomart’s butler (Ron Kennell) performs one other employee and is maybe the one real individual on the shelter. As Peter Shirley, he can’t get work due to his grey hair and has been pushed to close hunger. The the Aristocracy of the working man?
On the skin, the category divide is clearly seen, however traces are likely to blur once you take a look at them from the within. Apart from Morrison and maybe Sarah, the remainder of the drawing room personnel play questionable characters, and positively a mess of themes might be conjured up from that state of affairs.
Shaw’s Main Barbara
After which there may be the idealistic Main Barbara herself.
Appalled when Commissioner Mrs. Baines (Patty Jamieson) accepts Undershaft’s £5000, and £1000 from a whiskey producer which Barbara regards as tainted cash, she removes her Military badge.
On a darkened stage with a highlight solely on her face, (courtesy of designer Bonnie Beecher), a grief-stricken Barbara cries out, “My God why hast thou forsaken me?”
On this heartbreaking second, she is ridiculed by Invoice Walker.
“What worth salvation now?”
As everybody is aware of, Shaw had no time for sentiment. Bear in mind, he wrote the epilogue on the finish of Pygmalion to verify everybody knew that Eliza Doolittle married Freddy, and didn’t find yourself with Henry Higgins as all of us wished her to do.
Equally, Shaw has to maneuver the third act previous Barbara’s anguished disaster of religion by first presenting a intelligent philosophical battle for Barbara’s soul between Undershaft and Cusins, after which by Barbara bringing her idealism onto a extra real looking aircraft, all by way of dialogue that may be a witty Shavian wordplay of concepts.
Hinton-Davis’ Main Barbara: My Takeaway
On this manufacturing nevertheless, regardless of how a lot bravado or ethical readability Barbara exhibits, she is broken items.
The Barbara that exited from act two was it damaged younger lady.
Hinton-Davis lets us know that Barbara can’t go from fierce warrior in act one, to the depths of despair in act two, to discovering a brand new mission in life in act three, by leaping simply over the deep abyss of her disaster of religion.
That trauma can’t be erased that merely.
Shaw would have us consider that Barbara might desert the poor of London beneath the guise that she was doing them hurt. That she is so mission pushed that she will, with no bother in any respect, transfer from saving souls on the Salvation Military to saving the souls of manufacturing unit employees.
Shockingly, this could be extra fulfilling, giving her even a egocentric motivation.
Properly Hinton-Davis actually doesn’t go together with Shaw, although he permits his actors to have enjoyable with the dialogue. The top of the manufacturing is so devastating as a result of he doesn’t allow us to neglect the heartbreak that lies inside. There’s an underlying disappointment in Sundar Singh’s efficiency.
The Set
Gillian Gallow has designed a stark, stylized set resembling the adobe buildings one finds within the Center East, conjuring up the Holy Land with a cross embedded above the roof.
There are two very steep staircases on both aspect of the stage, and the solid must be mountain goats to barter them, however by some means it provides to the battle of their characters. These stairs turn into fairly symbolic because of this.
Then again, portray the set a wealthy blue color provides a sense of serenity that lies beneath the turmoil within the lives of the characters.
There are two chairs dealing with one another on the entrance of the stage the place watchers sit. And sure, there are watchers, Jamieson and Kennell, who come and go. It’s unsettling to see them there. They current an edgy feeling, however then we’re coping with uncomfortable subjects.
Oddly, there’s a curb that folks should step over to get to the entrance of the stage, and seeing the characters do their little hop is most peculiar. Nonetheless, it needed to be put there for a cause. For instance, Undershaft and Cusins do the maneuver earlier than their contretemps. Is it leaving the world of the play to intensify actuality?
Some points of the set are a puzzlement, however then Hinton-Davis all the time consists of components to be contemplated.
The Music
Music performs an vital function all through the manufacturing. On a number of events the complete solid stands collectively like a massed choir singing stirring hymns, with Jamison because the lead singer.
Composer Allen Cole has written equally stirring unique music that’s carried out all through. The music provides a really critical undertone to the play which provides to the emotional impression.
The Actors
That the actors in Main Barbara are a proficient group, there might be little doubt given the actual calls for of this manufacturing.
Extra to the purpose, they’ve shaped a real ensemble, whether or not singing of their choir or performing their roles within the drawing room or within the Salvation Military shelter. You may really feel the chemistry between them.
That united bond provides power to Hinton-Davis’ imaginative and prescient that there’s extra to Main Barbara then Shavian wit and knowledge.
Endgame
The unsentimental Shaw wouldn’t be happy by the impact that this Hinton-Davis manufacturing of Main Barbara had on me.
I used to be profoundly moved by what I felt was a robust if downbeat ending.
Beneath the veneer of enthusiasm, Barbara will proceed, however she is going to by no means be the identical once more.
Are you trying to promote an occasion? Have a information tip? Have to know one of the best occasions occurring this weekend? Ship us a observe.
#LUDWIGVAN
Get the each day arts information straight to your inbox.
Join the Ludwig Van Toronto e-Blast! — native classical music and opera information straight to your inbox HERE.
Paula Citron is a Toronto-based freelance arts journalist and broadcaster who hosts her personal web site, paulacitron.ca. For over 25 years, she was senior dance author for The Globe and Mail, affiliate editor of Opera Canada journal, arts reviewer for Classical 96.3 FM, and dance previews contributor to Toronto Life journal. She has been a visitor lecturer for varied cultural teams and universities, significantly on the function of the critic/reviewer, and has been a panellist on COC podcasts. Earlier than assuming a full-time journalism profession, Ms. Citron was a member of the drama division of the Claude Watson Faculty for the Arts.
