Johnny Belinda
Sun, 5 May 2002, 11:31 amWalter Plinge1 post in thread
Johnny Belinda
Sun, 5 May 2002, 11:31 amThere is no question that the cast and crew of Johnny Belinda have been taken on a remarkable journey of discovery into the world of sound deprivation through their telling of the story of a deaf girl in a remote community in Nova Scotia.
There is also no question that this journey of discovery has been a labour of love for director Anita Bound and her consultant to this production, Fiona Perry, who has been the sign language teacher to Sarah Sambridge and Tim Edwards over the last nine months. They have learned to communicate by signing so naturally that you would think this was second nature to them. Sarah, who plays the part of Belinda, does not utter a sound throughout the entire play, yet through her incredibly expressive facial movements and body language, the audience is never in any doubt as to what she would say if she could speak or her reactions to each situation. Sarah is a very talented actress, normally noted more for her interpretation of comedy, yet in this beautifully sensitive protrayal, she shows that she is capable of touching our hearts in a way that makes us leave the theatre counting our blessings for the senses we so readily take for granted. Tim is an actor with a wide range of parts to his credit, but in this role he plays the part of the compassionate doctor so warmly that we can't fail to fall in love with him a bit ourselves. Belinda, in particular, has a very passionate nature and in a minor point of criticism, I would have been more convinced of their love to see that reflected in their farewell scene, which was played out in a display of tenderness but devoid of longing.
The supporting cast were well chosen, in particular Andrew Warwick as the dour and surly widower and father of Belinda, Black McDonald who comes to appreciate and love his daughter when the key to communicating with her is unlocked by Dr Jack, and Sandra Sando as Belinda's maiden aunt Maggie whose character portrayal provides some welcome humour to some of the tense family scenes. Sandra is another cast member who has been enriched with new skills, as a result of being involved in this production, as she is required to use a spinning wheel. Aundraea Stevens makes a welcome return to KADS to play the part of Stella with conviction and Sean Haining's portrayal of the villain, Lockie, had the audience feeling such contempt for him that his curtain call was met with boos rather than applause.. The scenes in which the village busybodies attempt to manipulate the clergyman by defaming Belinda yet all the while accepting her hospitality in her own home incensed me. The situation also drew a parallel to shameful occurrences in our own society in past generations, where innocent children were removed from their loving mothers. If the scenes were intended to create humour by caricaturing, the effect was unsuccessful because the audience was too absorbed in the plight of the defenceless Belinda by this time.
Anita Bound's sensitive direction is enriched by the wonderful effect of the haunting music soundtrack created and performed by Emilio Furfaro, the live music components the intensely dramatic lighting and sound effects and the realistic set portraying Belinda's family home at the mill house. The attention to detail is so strong that I could sense we were in a different season, not only by the change of actors' clothes but also by the lighting effects on the backdrop of the lake when the rear door was opened. What is created by the combination of all the elements in this production is nothing short of magic. As if this were not enough to make Johnny Belinda an outstanding theatrical experience, the message that it delivers is done with such love and compassion that it is sure to move even the hardest of hearts.
Go see it!
There is also no question that this journey of discovery has been a labour of love for director Anita Bound and her consultant to this production, Fiona Perry, who has been the sign language teacher to Sarah Sambridge and Tim Edwards over the last nine months. They have learned to communicate by signing so naturally that you would think this was second nature to them. Sarah, who plays the part of Belinda, does not utter a sound throughout the entire play, yet through her incredibly expressive facial movements and body language, the audience is never in any doubt as to what she would say if she could speak or her reactions to each situation. Sarah is a very talented actress, normally noted more for her interpretation of comedy, yet in this beautifully sensitive protrayal, she shows that she is capable of touching our hearts in a way that makes us leave the theatre counting our blessings for the senses we so readily take for granted. Tim is an actor with a wide range of parts to his credit, but in this role he plays the part of the compassionate doctor so warmly that we can't fail to fall in love with him a bit ourselves. Belinda, in particular, has a very passionate nature and in a minor point of criticism, I would have been more convinced of their love to see that reflected in their farewell scene, which was played out in a display of tenderness but devoid of longing.
The supporting cast were well chosen, in particular Andrew Warwick as the dour and surly widower and father of Belinda, Black McDonald who comes to appreciate and love his daughter when the key to communicating with her is unlocked by Dr Jack, and Sandra Sando as Belinda's maiden aunt Maggie whose character portrayal provides some welcome humour to some of the tense family scenes. Sandra is another cast member who has been enriched with new skills, as a result of being involved in this production, as she is required to use a spinning wheel. Aundraea Stevens makes a welcome return to KADS to play the part of Stella with conviction and Sean Haining's portrayal of the villain, Lockie, had the audience feeling such contempt for him that his curtain call was met with boos rather than applause.. The scenes in which the village busybodies attempt to manipulate the clergyman by defaming Belinda yet all the while accepting her hospitality in her own home incensed me. The situation also drew a parallel to shameful occurrences in our own society in past generations, where innocent children were removed from their loving mothers. If the scenes were intended to create humour by caricaturing, the effect was unsuccessful because the audience was too absorbed in the plight of the defenceless Belinda by this time.
Anita Bound's sensitive direction is enriched by the wonderful effect of the haunting music soundtrack created and performed by Emilio Furfaro, the live music components the intensely dramatic lighting and sound effects and the realistic set portraying Belinda's family home at the mill house. The attention to detail is so strong that I could sense we were in a different season, not only by the change of actors' clothes but also by the lighting effects on the backdrop of the lake when the rear door was opened. What is created by the combination of all the elements in this production is nothing short of magic. As if this were not enough to make Johnny Belinda an outstanding theatrical experience, the message that it delivers is done with such love and compassion that it is sure to move even the hardest of hearts.
Go see it!