THE GRAPES OF WRATH. To 7 October.

Mold

THE GRAPES OF WRATH
by John Steinbeck adapted by Tim Baker

Clwyd Theatr Cymru (Anthony Hopkins Theatre) To 7 October 2006
Mon-Sat 7.30pm Mat Sat 2.30pm
Audio-described 7 Oct 2.30pm
Runs 3hr One interval

TICKETS: 0845 330 3565
www.clwyd-theatr-cymru.co.uk
Review: Timothy Ramsden 30 September

Poor men and women Go West in a fine, mighty epic.
Since Chicago’s Steppenwolf Theatre brought it to London, Frank Gelati’s stage adaptation of Steinbeck’s novel has held the ground. Now Mold director Tim Baker directs his own version. The familiar events are there, as impoverished Oklahoma farming family the Joads setting off in their jalopy to cross ’30s Depression America for work in California.

But Baker strengthens Steinbeck’s political spine with choric episodes emphasising the importance of “our people”. The travellers aren’t perfect; Tom, out of prison, tends to violent responses against injustice. Pregnant daughter Rose of Sharon is abandoned by her husband. And there’s internal American racism as Californians insult incoming “Okies”.

But the enemy’s out there. Arid land drives the Joads from Oklahoma, floods terminate cotton-picking work out West. Yet it’s the owners of the earth who make life desperate, destroying the Joad’s farm when rent’s unpaid, driving down wages among the masses who’ll work for anything. The ‘market’ of supply and demand, and the bosses’ use of easily-corrupted local law-enforcement to remove potential labour organisers, are clearly shown.

Exceptions are few: a brief interlude shows pity among common folk, a diner-owner and truckers, for the very poor, while a government-run camp lets people live with the dignity soap and hot-water provides. This haven is under constant threat from local bosses who prefer a workforce too enfeebled to protest. A Joad child’s simple request for non-existent soap after leaving this camp poignantly makes the point about raised expectations.

The action’s many transitions are finely-handled, Max Jones’ bare-space set with its many temporary elements helping events along, while Tina MacHugh’s beautifully angled and atmospheric lighting sculpts realities out of the overcrowded yet lonesome West.

Among a fine cast Gwyn Vaughan Jones and Lynn Hunter are mainstays, showing patriarchal tradition evaporating when there’s no bread to win, while female resilience underpins survival. This is encapsulated in the closing image, where Catrin Aaron’s young Rose, having earlier complained about having no milk to drink during pregnancy, breastfeeds a dying man after her child’s stillborn.

Baker’s exemplary direction is spacious yet flowing. Surely this adaptation will not disappear after its currently-scheduled run.

Cast:
Catrin Aaron, John Biggins, John Cording, Bradley Freegars, Lynn Hunter, Maldwyn John, Gwyn Vaughan Jones, Rhys Parry Jones, Garry Lake, Lee Mengo, Jane Milligan, Dyfrig Morris, Simon Nehan, Wendy Parkin, Lucy Rivers, Cler Stephens
Children:
Molly Austen, Ashley Cartwright, Eleanor Custance, Abigail Davies-Moore, Sophie Downes, Shay Griffiths, Matthew Grosart, Steffan Gwyn, Jacob Harding, Mathilda Hardstone, Eben James, Megan Jenkins, Helen Lloyd, Alex Penfold, Ben Penfold, Holly Phillips, Kieran Roberts, Daniel Vernon

Director: Tim Baker
Designer: Max Jones
Lighting: Tina MacHugh
Sound: Matthew Williams
Composer/Musical Director: Dyfan Jones
Choreographer: Rachel Catherall
Dialect coach: Sally Hague
Fight director: Kevin McCurdy

2006-10-02 12:28:55