Review: ON GOLDEN POND at Don Bluth Front Row Theatre

Vincent Canby, the New York Times’s preeminent film and theatre critic from 1969-2000, irreverently described Ernest Thompson’s ON GOLDEN POND as “processed American cheese, smooth, infinitely spreadable and bland.” Inasmuch as that is a fairly accurate account of the work, the play has retained a long shelf life, in large part due to the success of the eponymous film for which Thompson wrote the screenplay and for which he won the Oscar for Best Adapted Screenplay in 1981. Add to that a series of memorable performances by superstars and you have a winner!

ON GOLDEN POND is now off the shelf at Don Bluth Front Row Theatre in Scottsdale for a run that extends through September 2nd.

In an otherwise pleasant production, seasoned with flashes of humor and sentimentality, the play thrives around the solid performances of Joe Musil as Norman Thayer, Jr. and Barbara McBain as his wife Ethel. The two veterans of Valley theatre enjoy a palpable chemistry that infuses the play with special moments of tenderness and sharp-witted banter.

Set against the backdrop of a serene lake in Maine, populated by their beloved loons, the aging couple while away their summers, picking strawberries and contemplating the passage of time. Their quaintly adorned lakeside cottage is the arena in which they grapple with mortality and reconciliation.

Preparations are underway for Norman's 80th birthday when their daughter Chelsea (Andrea Hough) arrives with Bill Ray (Matthew R. Harris), her cheerful and savvy fiancé, and his teenage son Billy (a very outgoing Christopher Sean Devous).

Chelsea’s is a rare but seemingly obligatory visit, this time to celebrate Norman’s milestone. The occasion, however, is complicated and burdened by old wounds and unresolved conflicts that beg for resolution.

The father and daughter reunion is beset by underlying tensions that would be all the more palpable if the chemistry between Norman and Chelsea was as convincing as that between Norman and Ethel.

As it is, Ms. Hough’s turn as Chelsea feels more like acting than being the role. As far as stage time is concerned, Chelsea’s is a relatively smaller role but a vitally important one as it puts Norman’s humanity to the test. As much as the play hints at Chelsea’s own vulnerabilities and need for her father’s love and acceptance, Hough’s portrayal comes across as one-dimensional, failing to fully capture the complexity and depth of her character. That leaves the crucial interaction with Musil wanting more depth.

Musil and McBain are the stars of this show, wrapping their characters in layers of nuance and mutual affection.

Musil distinguishes himself in his portrayal of Norman by balancing his character’s prickly and wise guy exterior with his underlying vulnerability to both emotion and aging. Despite his apparent flaws and nettlesomeness, Musil’s Norman is a patriarch who is both relatable and sympathetic.

If Norman is the axis around which all else turns, Ethel is the force of gravity that keeps him stable. In this regard, McBain shines bright as the counterpoint to Norman’s temperament. As the supportive and loving wife, she brings warmth and charm to her role, showcasing the talent that has delighted Valley audiences for years.

Thus, in the hands of both actors, Norman’s sharp-witted and curmudgeonly manner (tainted by characteristically bigoted references) is matched perfectly by Ethel’s vibrance, warmth, and patience. The two succeed admirably in creating a believable and touching dynamic.

The supporting cast makes for a well-rounded ensemble, highlighted by an engaging performance by. Malcolm Hooper as Charlie Martin, the local delivery-by-boat mailman (with an infectious laugh) who has had a life-long crush on Chelsea. Matthew Harris injects a nice bit of much-needed wit and charm into the nexus of family relationships. As the boy who opens Norman’s heart to possibility, Devous comes across as an overly precocious lad who finds his anchor in a Norman who, during a summer’s stay, is more a parent to the boy than he was to his daughter.

Diedra Celeste Miranda’s direction of this production is marked by some pretty smart blocking and pacing for an in-the-round production. Nevertheless, the script burdens the play with scenes that drag and for which the direction provides no remedy. Just grin and bear it. There are sweet and poignant moments enough to offset them.

The staging effectively conveys the tranquil ambience of Golden Pond, with scenic design by the Company’s multi-talented Co-Artistic Director Cheryl Schaar. Her attention to detail in the set and props (accentuated by Robert Murdock and Bret Reese’s lighting effects) enhances the mood of the production. The breadth of one wall is a window onto the placid waters of Golden Pond; the other walls and nooks are appointed with the memorabilia of a life well lived. The design works well enough to make the show a more immersive experience.

The bottom line: For whatever shortcomings there may be in this stage classic, the fact is that the story, marked by Musil and McBain’s compelling and poignant performances, is an endearing venture into themes that resonate with all of us ~ fidelity to family, aging, mortality, and redemption. Enjoy it while you can.

Don Bluth Front Row Theatre ~ 8989 E. Via Linda, Ste. 118, Scottsdale, AZ ~ https://www.donbluthfrontrowtheatre.com/ ~ 480-314-0841

Photo credit to Stephanie Cartwright:

Cover: Barbara McBain and Joe Musil

Full cast, L to R: Seated ~ Musil, Hooper, McBain; Standing ~ Devous, Hough, Harris

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