This summer Rosebud Theatre presents The Fever by Wallace Shawn directed by Bronwyn Steinberg and starring Heather Pattengale in a show that dives into the complex thoughts and feelings of one woman as she explores questions of privilege and personal responsibility.
Here to give their thoughts about the play are two of my favourite characters: Monty and Theo.
***
THEO: So, what did you think?
MONTY: The roasted Cajun chicken with chipotle BBQ sauce was outstanding. I went back three times.
THEO: I know Chef Mo’s buffet is always delicious, but I want to know what you thought of the play we saw. The Fever.
MONTY: Oh, the play. By Wallace Shawn. The “inconceivable” guy from The Princess Bride.
THEO: That’s right.
MONTY: He co-wrote and starred in the movie My Dinner with Andre.
THEO: He did. Although I don’t know what that has to do with this play.
MONTY: I was just thinking he’d probably love Chef Mo’s buffet.
THEO: Well, who doesn’t love Chef Mo’s buffet?
MONTY: They should do a sequel. My Buffet with Andre.
THEO: Monty, you’re getting off-topic.
MONTY: I’m sorry Theo, my mind does wander. And we did have a terrific and satisfying meal and saw a wonderful production. I loved the play. You know, I got the play out of the library last year and read it. I think it was just after I’d read The Princess Bride. I’d seen The Princess Bride movie but never read the book. So, I read the book. The book and the screenplay are by William Goldman who won an Oscar for writing Butch Cassidy and the Sundance Kid.
THEO: Monty you’re getting off topic again. Let’s talk about the The Fever. We can chat about William Goldman another time. So, first I agree it was a good show. And a real challenge to bring to the stage. It’s all about this woman who has lived a life of privilege and luxury, and she finds herself on a trip to an unnamed country where an oppressive government is killing and torturing its citizens.
MONTY: Which is a real wake-up call for her because she starts to question her position in the world and begins to wonder what her moral obligations are towards other people who haven’t had her advantages.
THEO: You really need an exceptional talent to bring this type of one-person show to life and I’m happy to say that Heather Pattengale does a terrific job of lifting the words from the page and breathing life into the story.
MONTY: Yes, I agree. It’s not a multiple-character monologue. Everything is first person. The great challenge with this sort of material is making the script feel like these are real memories the character is experiencing. It’s an internal monologue that is shared with the audience. I love this type of theatre when it’s done well. And this was well done.
THEO: What did you think of the staging?
MONTY: In the copy of the play I read there’s really no stage directions or setting described. So, I wasn’t really sure what to expect and I’m happy to say that things have been kept simple. So, there’s a lounge chair and table on one side of the stage and a bathroom area which includes a toilet on the other side of the stage and the middle of the stage is left open. Heather moves between these three locations which represent the hotel where she’s staying or her apartment back home and that adds some variety to the staging and is an easy way to establish location.
THEO: Plus, there’s a painted backdrop that feels like the view from a window of a shantytown that reminds us that the play is looking at the divide between people that have and people that have not.
MONTY: And the play basically talks about her life and how she comes to have a deeper understanding about how much of who we are and what we can accomplish is an accident of birth.
THEO: The lighting and sound design helped to establish mood and emotion and was used sparingly at key moments which I think makes it more effective. Of course, all of this was brought together by Bronwyn Steinberg who directed the show.
MONTY: She’s very talented.
THEO: She is. And a good director is going to guide an actor in such a way that the emotion is genuine and clear so that the audience can relate to the story. Bronwyn and Heather make a good team and it’s hard to know who contributes what to a performance if you’re not in the rehearsal hall but for an audience that doesn’t matter. What matters is that when you experience the show you understand the emotional journey and how experiences the character is going through cause the character to come to a revelation or deeper understanding of themselves and the world.
MONTY: I agree. And let’s not forget Bronwyn just won a Betty Mitchell award for Outstanding Direction of a play for the Lunchbox Theatre Production of The Dark Lady.
THEO: And Heather won a Betty Mitchell award for Outstanding Supporting Performance in a drama for the Theatre Calgary production of Selma Burke that they did in association with Alberta Theatre Projects.
MONTY: It’s always nice to get recognition for the work.
THEO: So, what do you say? Thumbs up?
MONTY: Yes, thumbs up.
THEO: And don’t forget this summer Rosebud Theatre is also running Little Women – The Broadway Musical. I’ve heard good things.
MONTY: Little Women?
THEO: Yes.
MONTY: How little?
THEO: The women aren’t little they’re just young women.
MONTY: Oh, I see. Well, the title is rather misleading then, don’t you think? I was sort of hoping it might be a story about the little people. You know like Darby O’Gill and the Little People. They’re called little people because they’re leprechauns and leprechauns are little so I thought Little Women would be a play about Little Women Leprechauns.
THEO: No, they’re not leprechauns. They’re sisters. It’s based on the novel by Louisa May Alcott. The title is just referencing them as young women. It’s a very popular story.
MONTY: She should have called it I Am Woman – Hear Me Roar. Then there’d be no confusion.
THEO: After the Helen Reddy song. I Am Woman.
MONTY: That would be a showstopper.
THEO: Well since Little Women was published in 1868 and Helen Reddy didn’t release the song, I Am Woman until 1971 I don’t think Louisa May Alcott would have been familiar with the song or Helen Reddy.
MONTY: Unless Louisa May Alcott is a Time Lord.
THEO: Well, you have me there my dear Monty. But again, the fact she didn’t call it I Am Woman and instead called it Little Women probably means she doesn’t have a Tardis. It’s the Broadway musical and it’s running in the Opera House all summer.
MONTY: And best of all it includes Chef Mo’s delicious – delectable – delightful – buffet!
THEO: True. And running in the Studio all summer is The Fever by Wallace Shawn which doesn’t include the buffet, but you can add the buffet for an additional charge.
MONTY: You know all this talk about Chef Mo’s buffet has me hungry again.
THEO: Me too. I could really go for some Thai shrimp in coconut sauce.
MONTY: Or how about some dessert? There’s nothing better than a slice of pecan pie, some butter tarts, and a big bowl of peach cobbler with vanilla ice cream.
THEO: I couldn’t agree more. Now, say good night Monty.
MONTY: Good night Monty.
***
Audiences can catch The Fever by Wallace Shawn until August 31st Wednesday to Saturday at 4:30 pm on the Studio Stage. Tickets for the show are $36 for adults and $25 for children and youth. Recommended for ages 15 and up. Chef Mo’s buffet is not included in the price of the show however reservations for the buffet can be made at an additional cost and are subject to availability in the dining room.
Little Women – The Broadway Musical is running until August 31st with matinee performances Wednesday to Saturday at 1:30 pm with buffet seating anytime after 11:00 am. Evening performances are Friday and Saturday at 8:00 pm with buffet seating anytime after 5:30pm. Tickets are $96 for adults $71 for youth (13-18) and $68 for children (4-12). Recommended for ages 8 and up.
To book tickets or for more information about The Fever, Chef Mo’s Buffet, or Little Women – The Broadway Musical visit the Rosebud Theatre Website.
