There’s something exhilarating about the
"cellphone" speech that preceeds David Travis’
staging of George Orwell’s Animal Farm.
It’s delivered by a sinewy Aaron Mostkoff Unger
as he manipulates a marionette rat on the stage
of the Connelly Theater in the East Village.
Strangely actor and puppet combine so that one
feels compelled to check their bag one last
time, lest this rodent scurry into the house and
nip at offending patrons.
This melding of performer and puppet
continues throughout this "two hour musical with
puppets" as Orwell’s cautionary tale about
abuses by government unfolds. A baby stroller
covered with nappy white fur and outfitted with
several lamb masks becomes the flock of easily
duped sheep who reside at Manor Farm , which
after a revolution by the creatures who live
there becomes known as Animal Farm. Horse heads
on sticks carried high above actors’ heads can
make one believe that equines are filling the
stage. The slight foam rubber masks that cover
three of the performers’ heads make the ovine
members of this farm simultaneously adorable and
repugnant.
These creations (by Emily DeCola and Eric
Wright) are combined with the costumes worn by
the performers, a gingham dress worn by Jenny
Mercein as she plays a frivolous horse known as
Mollie or the suspenders and open-collared shirt
worn by Darius Stone’s Huey Long-esque Napoleon.
When the designers’ work is combined, the sense
of Orwell’s characters as emblems of our times
both compels and disgusts – a reaction that, one
supposes, is precisely what Orwell intended when
he created this classic work of
historically-based fiction.
This ingenuity in visuals, however, does not
alone account for the power of Travis’ staging.
There’s Peter Hall’s script which effectively
telescopes the action of the novel into a brisk
two-hours. Travis has also assembled a
first-rate ensemble which brings these creatures
to life. Beyond the three performers already
mentioned, standouts in the company include
Francis Kelly, who provides a charismatic
portrayal of Old Major, the pig who dreams of a
day when animals will throw off their yokes and
create a perfect society; thus, inspiring the
animals’ uprising; Kelly McAllister’s touching
performance as Boxer, a horse who follows the
farm’s new regime blindly; and Ben Masur’s oily
spin-doctor-like delivery as Squealer, a member
of the ruling class.
Animal Farm has a subtitle of "a musical
(with puppets)" and it is in the first half of
the subtitle that the production slips, but only
slightly. Richard Peaslee (music) and Adrian
Mitchell (lyrics) have provided a stirring
anthem that the animals use as they begin to
create their new society, which will, in theory,
be independent of humans. Peaslee’s music also
underscores much of the action dramatically and
effectively. When, however, the two attempt to
create standard songs as if for a "book"
musical, their work only slows the progress of
the piece, rather than enhancing or illuminating
character.
It’s a small point when compared to the
ingeneous designs at work here (including the
shadow puppets that allow for the action to move
away from the barnyard). I mean when was the
last time you felt intimidated by an actor
wielding a rat marionette?
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As part of the Orwell Project, Animal Farm
continues at the Connelly Theater, 220 East
4th Street, through March 14, running in
repertory with 1984. Tickets are $19/$12
for students and seniors. On Wednesdays in
February, you may "pay what you wish." for
performance schedule and tickets. For
performance schedule and tickets, call Smarttix
at 212-868-4444 or visit www.theorwellproject.org.
-- Andy
Propst
