AROUND THE WORLD IN 80 DAYS IS A TRIP WORTH TAKING WITH GLOBE THEATRE
Multi-tasking cast of three keeps pace, character of play alive, Jeff DeDekker says
Time flies when you’re having fun and that was the case Thursday night with the opening of Around the World in 80 Days, the latest Globe Theatre production.
Directed by Ruth Smillie, Globe Theatre’s CEO and artistic director, the production had everything a theatre fan could ask for — an interesting story, comedic moments, interesting staging and a top-flight cast.
Written by Toby Hulse and based on the Jules Verne novel published in 1873, the story focuses on Phileas Fogg, who accepts a wager from members of his London gentlemen’s club that he must circumnavigate the world in just 80 days.
The grandiose venture is complicated by Fix, a Scotland Yard detective, who is convinced Fogg is a bank robber who must be apprehended. Starting in London and heading east through India, Hong Kong, Japan, San Francisco and New York, the frantic journey is full of danger, surprises and even a little romance.
While other adaptations have used full casts to tell the tale, this production has just three actors who are responsible for 22 different characters. Stephen Gartner, in his fourth Globe Theatre production, handles the role of Fogg and five other characters. Jeff Irving, a Reginan who has been a regular at the Shaw Festival at Niagara-on-the-Lake, Ont., plays six roles, including Passepartout, Fogg ’s faithful servant. Newcomer Crystal Chaitan has a full plate with 10 characters, including Fix.
Set in 1872, the thought of travelling around the world in 80 days isn’t as ludicrous as it initially sounds. With the progress made during The Great Victorian Age with advancing technology such as railways, the world was
shrinking and the venture was a distinct possibility.
The cast was wonderful. Gartner, who was a vital member of the Mary Poppins cast in 2015, captures Fogg wonderfully. A true English gentleman who is always cool, calm and collected, Gartner gets to reveal a human side of Fogg as the production moves along, although the dominant characteristics remain.
“You’re a man of heart after all,” says Passepartout after getting a glimpse at Fogg’s emotional side.
“Indeed, if I have the time,” replies Fogg.
Irving’s character — the bumbling, wide-eyed servant — gives him the opportunity to steal the evening and that’s exactly what he does. The production puts Passepartout in many comedic situations and Irving milks each and every one of them for the best laughs he can get. I’d suggest that if the patrons were surveyed as they exited the theatre, Irving would get the most votes as the fan favourite.
And then there was Chaitan who impressively switched between male roles in addition to bringing Princess Auoda to life. Like Irving, Chaitan’s comedic timing was bang on and she was a treasure to watch.
The production made use of a number of running jokes that tied the play together. Perhaps the most comical was Passepartout’s desire to travel by hot air balloon. Whenever he mentioned this mode of travel, Fogg quickly shot the idea down.
“It’s romantic nonsense, it’s too unpredictable, too slow and subject to the vagaries of the wind,” said Fogg.
Roger Schultz, the set and costume designer, also played a major role in the successful opening night. It was amazing to watch the theatre in the round transformed as the characters worked their way around the world with stops in dramatically different locales. Using miniatures to simulate train and boat travel was a brilliant touch.
Schultz kept his best surprise until the end, and given its importance to the story, I can’t bring myself to share it and spoil the moment.
The costumes were wonderful and it’s amazing how much one single prop, whether it be a scarf, a hat or a beard, can quickly transform an actor from one character to another and still be believable.
Joining Smillie and Schultz on the creative team are Louise Guinand, lighting designer; Gilles Zolty, composer/sound designer; Ryland Alexander, fight director; Pamela Haig Bartley, assistant director; Anne Taylor, stage manager; and, Erin Valentine, apprentice stage manager.
The production is scheduled to run through Feb. 4.
Roger Schultz, the set and costume designer, also played a major role in the successful opening night.