Theatre Review: "The Drawer Boy" at the Depot Theatre

If you’ve never seen Michael Healey’s play THE DRAWER BOY, now’s your chance.  The play, first produced in 1999, has won just about every award there is in Canadian theatre, including the prestigious Governor General’s Award for Drama.  It’s now the most produced Canadian play in the US.

Angus, the “drawer boy” of the title, was a budding artist and architect in his youth.  Now it’s 1972 and he and his boyhood friend Morgan, the farmer boy, are aging World War II veterans and bachelor farmers.  They take in Miles, a young actor, who wants to learn about farming in order to contribute material to a play.  He inadvertently sets in motion a series of events and revelations that threaten to disrupt the farmers’ long-standing friendship.

This is my fifth time around with this wonderful play that seems to have become a classic.  One of the things I enjoy most about live theatre is seeing a good play done by different companies in different venues.  It’s impossible to compare productions, as each has its own strengths and provides a fresh look at the material. 

Director Chris Clavelli has designed the raised farmhouse kitchen set that takes advantage of every inch of the Depot stage and even allows for a small porch with steps down to the ground.  The kitchen looks very authentic, from the screen door to the china chicken salt and pepper shakers.

Jean Brookman’s costumes are fine as is Gary Burlew’s lighting.  The decision to do the scene changes in blue light rather than blackouts works very well in keeping up the pace.  Samuel P. Silva’s sound is good, particularly the offstage tractor.

Adam Petherbridge does an excellent job as Miles, the young actor who can’t see the people for the drama.  His Hamlet story and cow are great fun.  In Act II he’s able to convey the character’s growing maturity and understanding of the forces he’s set in motion.

David Murray Jaffe gives a many-layered performance as Morgan.  A stoic farmer with a deadpan sense of mischief, he confesses to Miles that farming is “an emotional roller coaster.”  His telling of their story in Act II is very powerful.

John Christopher Jones is convincing as the confused and damaged Angus and his childlike enthusiasms are thoroughly believable.  As he begins to awaken to his forgotten past, we catch glimpses of the boy he was and the man he could have become.

Mr. Clavelli has done a masterful job of staging and directing this complex play, especially considering the rehearsal period of only nine days.  His choice of music adds a great deal.  He and his strong cast are able to communicate the subtleties of these complex characters.

The audience appreciates the humor, and there’s a wonderful stillness in the house during the more serious scenes.  THE DRAWER BOY makes us question the validity of our own memories.  It’s a story of the value of friendship, the comfort of lies and the pain of truth.  In other words, it’s a really good play that deserves to be a classic.

Since decimals are easier to average, on a scale of one to five, the material gets a five and the Depot Theatre production of THE DRAWER BOY gets four point seven for an average of 4.85 boxcars.  For North Country Public Radio I’m Connie Meng.