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One Flew Over The Cuckoo's Nest When a director receives a script, they take different routes in order to bring that piece to life. Some directors go verbatim with what is written on paper, using the original stage directions, etc. Another type of director will simply ignore what is written and create his or her own interpretation of the piece, while another might go fifty-fifty on the above two formats on directing and use that as the skeleton on which to direct a production. Other directors are the type who let the actors bring their own ideas, conceptions, etc. of the characters to the table to create together with the director. Quad C's production of One Flew Over The Cuckoo's Nest is, quite frankly, one of the best productions I have seen so far this year, in a season already brimming with outstanding productions from various theaters around the metroplex! Director Brad Baker has brought to life this bleak, somber, yet comical play that deals with battling mental problems and the anti-establishment with his transcendent direction. As you approach the Box Theater, the set already spills into the hallway. As you enter the theater, there are already patients walking around on the set,talking to themselves or to each other. It is both disturbing and uncomfortable, but creates the mood for what lies ahead. Baker knows that there is a lot of exposition in that first act, so he keeps his cast charging through it, and it works like clock work. There are overlapping of lines, arguments that are done in realism, and constant movement throughout the evening, but the blocking and movement is done with purpose and reason. The audience surrounds the exposed set on three sides, thus no proscenium, and this works for the artistic and visual magic that Baker has created for Wasserman's somewhat dated play. Baker's blocking has the cast all over the massive set, using every square inch. The picture windows for various scenes is marvelous. The many exquisite blocking techniques include one in which the patients are having a heated discussion downstage center, and behind them in the nurses' glass booth or "cage," the hospital staff is also having a heated discussion of their own. It looks and feels real and natural, but theatrically gorgeous. Another example is after a moving scene between two patients who are by the windows; as late evening light bathes the two actors, they exit down the hallway, while above them is the evil Nurse Ratched in stark and frightening lighting. It is so chilling that I even gasped in the dark. It is obvious that Baker has demanded that the cast bring a lot to the table in order to bring their characters to life. Each and every single cast member is outstanding and totally committed to his/her characterizations and performance. This cast is filled to the brim with outstanding talent; it's hard to single some out because there are so many! Wiley Flowers gives an extraordinary performance as the central character, Randle P. McMurphy. Flowers portrays McMurphy with an aura of "redneck good ol' boy." He may have a gambling problem and the mentality of someone who has a constant erection for the ladies, he also has within him a compassionate and caring heart and truly does like his fellow pals in this asylum. All of these qualities come shining through in Flowers acting craft. Since he is the principal character that carries the show, Flowers handles this task with blazing professionalism, charismatic stage presence and energy. Flowers (and others in the production) adlib a bit throughout the evening. While some may frown on this technique, to me this actually helps the piece keep its pace as well as adding freshness to the comedic and dramatic aspects of the play. Flowers' connection with the entire cast is remarkable and he shares the spotlight evenly with all of them, always connecting and keeping them within the scene. What Flowers does in his final scene is both horrifying and powerful to watch; it stays with you way past the curtain call. Denton Davies gives his Billy Bibbit such heart-breaking innocence, you really do care for him as the evening progresses. Billy is a guy who attempted suicide, but who also has deep, emotional scars from his mother - which Nurse Ratched uses to her advantage. Davies does not go all hammy or over the top with the character's stuttering, but instead uses it to underline his performance. Particularly moving is how his stuttering gets worse when he becomes scared or angry, and at the mere mention of his mother. Davies has a complicated arc written into his character, and this actor brings it to its horrible conclusion with heart ripping believability. His final scene in act two is moving and tearful to watch unfold. Mary Catherine Eilts as Nurse Ratched is a female Darth Vader dressed in a nurse's white uniform instead of a black robes with a voice like Martha Stewart. She sounds sweet and somewhat caring, but you can still sense that underneath lies the ice cold darkness of Ratched's authority and useless heart. Eilts is both frightening and wonderful all at the same time. Brian Barnes is Dale Harding, a man who voluntarily checked himself into this mental hospital. Barnes has some solid scene work with MacMurphy (Flowers) and Chief Bromden (Garrett Moran), especially the final scene. Barnes shows deep felt compassion and empathy for these two men and their final outcomes; it is both honest and strong. Casey Riney as the blonde tart Candy Starr is all sexual sass with a dose of trailer park trash thrown in for good measure. This gal is a tiny sprite compared to the tall Flowers - and both use this to hilarious effect. Riney is a hoot to watch! Garrett Moran has a difficult task with the role of Chief Bromden, that of only acting with his face and body. Moran succeeds hands down. While we do hear him in voiceovers, it is up to his face and body language to tell us everything else in the other scenes. He is heartfelt and gives his character deep pain and loneliness. Mason York is both humorous and touching as Martini, a patient who has an odd accent, but also has an invisible buddy named, George with him. His dramatic moments in act two's final scene are also quite touching as well. Jason Oliver as Aide Williams shows on the slight fear and discomfort his character feels about working in the stale world of human emotional decay. This actor may not have a lot of lines, but his non-verbal acting makes him stand out. For example, in act two, one of the patients looks at him the wrong way, Oliver steps away from him with caution and shows fear mixed with contempt. Its a small moment, but a priceless one. And then there is Ben Carroll as the profanity spewing Ruckly. This actor uses his complete body to contort into the disfigured man who has had a lobotomy. He made me feel both uncomfortable and sympathetic for this man who longer talks. But watch and listen to what Carroll does in a dramatic scene in act two; it is sad and deeply felt. Those in the supporting roles ALL give exceptional and most impressive performances: Shawn Patrick as the whipped Dr. Spivey, Crissy Ludlum as Candy's drunken gal pal Sandra, Ryan Burke as the box-carrying Scanlon, David A. Gant as the angered Aide Warren, Bobby Selah as the always laughing and talkative Cheswick, Eric Gray as the pot toking night guard Aide Turkle, and Rachel McMahan as the scared and much picked upon Nurse Flinn. Finally, a special mention to the unsung heroes of the evening, the non-speaking ensemble, who truly do add so much mood and truly give it their all in their work. These include Richard Sharkey as Col. Matterson (who, from a wheelchair, is able to make you feel guilty for looking at him with pity), Alex Moreno as Mr. Nakamura (who walks with a walker and is spastic), Justin H. Brooks as Mr. Fredricks, Nick Wheatley as Mr. Sefelt and Katy Drake as Dr. Drake. So with all this praise to the direction and cast, what about the set, light, and other production elements? Here's where the production goes even a step further that results in proving they can match any equity or non equity house in the metroplex. Craig "Yo" Erickson's scenic and lighting design are just phenomenal! The set has two massive windows, where you can actually see bushes, and even the iron gate that surrounds the hospital. Up on stage right is the nurses glass booth, but above that on another level is a long, glass encased viewing booth for the various doctors to sit, look and study the behavior below them. The attention to detail is remarkable. The props that clutter the nurses booth and the closet, the electrical boxes that control everything in the hospital, even the main electrical box that becomes a major metaphor has great second act effects. Finally, the floor is dull, white tile to complete the empty and colorless world these men live in. As that was not enough, Erickson's lighting design matches his sublime set. The lighting for Chief Bromden's inner thoughts and voiceovers is an array of eye popping colors that are dazzling and swirling, a la 1960s psychedelic hallucinations, fitting the mood perfectly. The lighting for day, night, or for special dramatic moments add another layer of emotional impact to the evening. Sandra Snyder's costumes are natural and serve the production well. I thought the rabbit fur jacket for Candy was a great addition of subtext for the character! Andrew Duckworth's sound design is just magnificent. The various sounds and noises used for Bromden's voiceovers are scary and eerie to hear. I just love the way the sound effects go into a loud crescendo, then simply cut off - now add the lighting design to switch from nightmare to daytime for a fascinating combination. Also Duckworth's the shock therapy sounds are horrifying to hear; they become so loud that you feel the vibrations. There were really only two small problems that I had with the production. I felt the blood on the uniforms for act two was a little too fake and bright to resemble blood. Also, when there was actual pushing or fighting (i.e., stage combat), the actors seemed apprehensive and timid in their physical actions. Instead of attacking or really physically moving or pushing with full gusto and commitment, the actions instead came off false and modest, as though they were too careful as not to hurt each other. While I do understand and respect this, it does hurt a little the dramatic impact of the acting happening on stage. Maybe with a couple of more performances under their belts disappeared. Quad C Theater is a college theater department, but has constantly produced regional premieres that are met with resounding critical praise, such as their recent production of Side Man. This theater is not a college drama department in my opinion, but a theater company that produces some of the highest quality theater around. Quad C's mounting of One Flew Over The Cuckoo's Nest, with its direction, design production team, and cast is pure professionalism in its artistic and production values. One Flew Over the Cuckoo's Nest by the Quad C Theatre at Collin County Community College, in the Black Box Theatre, 2800 E. Spring Creek Parkway, Plano 75074. Performances are April 25-27 and May 1-4 at 8 p.m. with matinees on April 28, May 4 and 5 at 2:15 p.m. Caution: This show involves adult language and aggressive family situations. For tickets, season subscriptions and other information call the Quad C Theatre Box Office at (972)
881-5809. A TDD information line for deaf patrons is available at (972) 881- 5950. One Flew Over The
Cuckoo's Nest Director................................Brad Baker The Cast Mr. Fredericks..........................Justin H. Brooks |
