Downstage
March 31-April 28 | Reviewed by Melody Nixon

The Graduate is defined as a “classic cult comedy”, and the play we are presented with at Downstage is just that – a humorous cultural memento of a past American generation. It provides many a laugh and some wonderful performances, from Mrs. Robinson (Catherine Wilkin) and a befuddled Mrs. Braddock (Geraldine Brophy) to the incensed Mr. Robinson (Peter Hambleton). But at times this production fails to move beyond the archival nature of the script to make direct contact with the audience. There are moments of one-dimensional screenplay, rather than live, engaging theatre.

The enormous success of the film must overshadow any Graduate stage production, not only for the luxury of the film’s set and cast, but for the comparisons that are bound to be made. Indeed in Terry Johnson’s stage adaptation there are many similarities to the film in dialogue and setting. The diving suit from the film’s most tragicomic scene is transposed to the opening scene of the play, where we see protagonist Benjamin Braddock (Julian Wilson) looming out of his darkened bedroom. Catherine Wilkin approaches Ben’s first kiss in the manner of Mrs. Robinson in the film, and her naked revelations still take the form of “I want you to know I’m available, Benjamin.” These similarities do tend to distract us from being immersed in the action on stage.

Away from the shadow of the film however, there are stand alone issues in script and production that hamper our enjoyment. Dialogue wise, the production takes time to gather speed and momentum. Initially the North American accents jar, and seem forced and uncomfortable. There is little build up to the scene of seduction between Mrs. Robinson and Ben. In a farcical manner Ben leaps upon her and engages in various vapid sex scenes which lead too quickly to arguing. We are not allowed to wallow and absorb this all important point in the story – instead, it feels like something to be gotten out of the way before the real action may occur.

However this said, the production succeeds in many aspects. Wilkin is a suitably sly, blasé and captivating Mrs. Robinson, her enjoyment of the role coming through in her performance. Laurel Devenie is a confident and sweetly naïve Elaine, and leads us believably to the scene of her transformation into determined rebellion.

Geraldine Brophy and Peter Hambleton are exciting supports. As Mrs. Braddock, Brophy has perfected an expression of bewildered confinement. Timed with an emotive Simon and Garfunkel soundtrack (alla film), her exits make for consistently humorous scene ends. Though Hambleton’s portrayal of the hotel concierge could have benefited from a layer of sarcasm and suspicion, his role as the alternately enraged and vulnerable Mr. Robinson does much to inspire our sympathy.

There are some similarities between Julian Wilson’s portrayal of Ben in this production and that of his Benjamin Cohen in Circa’s 2006 The Underpants. Wilson has captured the frenetic anxiety of both Bens with ease. But whereas Benjamin Cohen’s constant hysteria was endurable – in fact delightful – as a supporting role, The Graduate’s Ben needs more variation and depth. On opening night at least, Wilson came across as a little too neurotic and overwrought, with none of the subtle reflection and pause required for us to empathise with Ben Braddock’s plight.

Visually, set by Nicole Cosgrove and Philip Dexter is craftily designed, adding a fitting depth of colour and pattern. A large, gaudy bed symbolically becomes the focal point of all scenes, changing the setting from bedroom to strip club and back. Lighting is especially attentive to the changing mood and atmosphere. Costume design seems consistent, with some superb numbers adorned by Mrs. Braddock, though the flappy retro-ish coat Benjamin wears seems unlikely for the young son of a wealthy businessman.

Overall, Downstage’s The Graduate is entertaining for its humour and cultural context. Its exploration of rebellious kids meeting conservative oldies, the light it sheds on the subjugated role of women at the time, and its charged environment of personal and almost-collective sexual liberation, summon a vivid picture of 1960s USA. That is perhaps reason enough to see the show, however in this production I am left with a feeling of filling-in-the-blanks, of urging the characters to connect with script and with story in ways that they do not manage on stage.

See also:
» The Graduate (Reviewed by Simon Sweetman
» The Graduate for the ‘Noughties’: does the story that “defined a generation” have anything left to tell us?