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Meg Roe Laughs
Wednesday, October 29, 2014



 
Meg Roe



Last night, my Rosemary and I went to the Arts Club Theatre Company opening night presentation of George Bernard Shaw’s St. Joan, directed by Kim Collier. It was held at the Stanley Industrial Alliance Theatre. I went prepared for a sombre evening. Somehow it wasn't.

Often memory fails me. I see it as a red carpet behind me that is rolled up as the section in front is rolled out. I have little memory of the two St. Joan films I have seen in my distant past. One was the 1957 film St. Joan with Jean Seberg  directed by Otto Preminger with screenplay by Graham Greene, John Gielgud as the Earl of Warwick, Felix Aylmer as the Inquisitor and Richard Widmark (I wish I could remember that performance!) as the Dauphin, Charles VII. The other was director Victor Fleming’s 1948 Joan of Arc with Ingrid Bergman. Only the Preminger version was based on George Bernard Shaw’s 1924 play.  

In both of those films the two St. Joan protagonists had infamy/fame as accompany baggage which clouded for many the initial perception of the films. Of the latter film, the one with Ingrid Bergman, noted and now retired theatrical critic Christopher Dafoe (there he was (!), on opening night with his son Christopher, former arts critic for the Globe & Mail and now a busy lawyer) told me that in a recent viewing he thought it was more awful than before. On anything about the Arts Club/Kim Collier St. Joan he kept his cards close to his chest  which he accompanied with a delightful and most pleasant smile.

I could cite the excellent performances by Dean Paul Gibson as the Earl of Warwick, of Scott Bellis as the English leaning French cleric, Bishop Cauchon (Costume Designer Christine Reimer, plagued with her actors weating bad theatrical armour, designed a beautiful red bishop's outfit that was spectacular)
and Tom McBeath as the Enquisitor. I do.

I was particularly surprised that in the whole play nobody stood out as an out and out villain. It seemed that events simply happened in a sort of momentum of history. In his preface to the play GBS (he was that many years before John F. Kennedy was JFK) wrote:

There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by general consent, and that is all [there is] about it. It is what men do at their best, with good intentions, and what normal men and women find that they must and will do in spite of their intentions, that really concern us.

His best known biographer Michael Holroyd wrote:

St. Joan is a tragedy without villains and it is Shaw’s only tragedy.”

Interesting to me is the fact that while the Dauphin was crowned on 17 July, 1429, King of France (Charles VII) at Reims (thanks to Joan), on 16 December, 1429, Henry VI of England, was crowned King of France at Notre Dame in Paris. It also seems that Henry VI may have been present to some of the sittings of Joan’s trial.

Aside from all the fascinating stories behind Shaw’s play I managed to have a short chat with Christopher Gaze, Artistic Director of Bard on the Beach, who having been Shakespeare’s Henry V many times, happens to know more than a little about the Hundred Year’s War (It was Henry V who won at Agincourt before the advent of Joan when things began to sour for the les goddams English). He asked me about the play and I told him, “Your man and that second act were the best.” I did not have to explain that “his man” was Dean Paul Gibson. Gaze called the part of the second act (our mutual favourite) in which you have the Earl of Warwick (Gibson), Bishop Cauchon (Bellis) and Chaplain DeStogumber discussing Joan at a banquet table “the tent scene.” It is here where Shaw mentions subjects with linked together in importance in our 21st century, Christianity, “Mohammedanism”, Protestantism and nationalism. The second part of Act II is where things begin to go against Roe's Joan.

Since I am not a theatre critic I cannot begin to write opinions here that are beyond my basic expertise of clicking shutters. But since I am not a theatre critic I can venture into other areas without having to delve in that journalistic rule of when, where and how.

Sometime in the 80s I listened in my car to a recording of Bach’s Brandenburg Concerto No. 2 (the one with that most impossible part for a clarino trumpet). I had to stop the car to see what was wrong with my tape deck. The concerto directed by Pablo Casals was much too fast. Nothing was wrong. It was just a startlingly new approach to the music by Casals. I soon got used to it. Now most other recordings or the many live performances have attended have all seemed agonizingly slow.

With the performance of Jean Seberg as Joan somewhere in my hidden neurons I was completely taken off guard by Meg Roe’s take on Joan in the first act. She laughed, she giggled and she did more laughing and more giggling. I was taken aback. Was this in Shaw’s script (perhaps in pencil, laugh, giggle, laugh)? Was this a crazed conspiracy between the one female actor Roe (there were two female singers in the play, Christine Quintana and Shannon Chan-Kent) and the female director Kim Collier?

I thought about this and immediately went back to the memory of the relationship that actress Molly Parker had with director Lynne Stopkewich in Kissed, 1996, and Suspicious River, 2000, films, intense films, that were made possible, I believe, only because of that special relationship that only two women can have as I wrote here?

Gaze told me that Collier instructed Dean Paul Gibson to speak with a marked English accent (I liked that!). Did Collier tell Roe to laugh and giggle?

After the shock of that first act reinforced by the several occasions in which Rowe (not a tall woman) stood next to Captain Robert de Baudricourt played by Bob Frazer, a tall man, which made the result one that almost made me giggle, I realized I was watching something akin to Casal’s Brandenburg. This was a performance that was going to grow on me with time. This was another Roe Whose Afraid of Virginia Woolfe? ,The Penelopiad , Toronto, Mississippi kind of performance.

By the third act Roe came back to familiar territory and was the actress I have been used to savouring. Roe was devastating as the suffering Joan about to be burned at the stake.

In the middle of the night after I had returned home it dawned on me that as a frequent theatre goer I can assert here that if there is any play in which Meg Roe is in the cast that is enough justification to go and see it. And one must trust, as I now trust, her judgment on how she will interpret her part. It comes from someone who exceeds the high standards that our city imposes on its actors.

There is a word for this in Spanish. We call such people fenómenos. I have used it to describe the dancing of Evelyn Hart. We have Evelyn Hart. We have Meg Roe. We are so lucky. 

Indeed Jean Seberg as St. Joan smiles and laughs, too


Addendum: Sometimes my Rosemary has trouble hearing an actor who speaks away from where we might be sitting. The Stanley has had a problem here for us for some time. I am happy to report that she tried the special sound enhancing earphones, available (at the coat check), and that they were a success.   



     

Previous Posts
David Pay's PEP Rally For New Music

A Small Window Of Opportunity

Pray Gather Me, Anemone!

Cuernos De Chivo (AK-47s) & Richard the Lionheart ...

On The Instantaneous

The Virgin Floozy In The Tub

I remember the shapes and sizes of the water taps

Monopsony - My Ennui & Weltschmerz

What Is New Music? Why I Listen To It

That Floozy In The Tub



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4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17