The Guardsman Reviews

Persephone stages 'delicious' light drama

By Tom Eremondi
of The StarPhoenix, February 25, 2008

How do you follow the success of Beauty and The Beast - a play enhanced by the splendour of opening a grand new facility?

For Persephone theatre the answer is this: Find a delicious little light drama, recruit the perfect cast and use your new stage to take the audience back in time.

It all seemed so effortless as Persephone presented The Guardsman, its third production of the season in its gorgeous new building.

Director Julia Jamison admits the late Tibor Feheregyhazi encouraged the play with a twinkle in his eye. She assumed it was because The Guardsman was written by a fellow Hungarian, Ferenc Molnar. As she rehearsed the play, she realized what made Tibor smile. This period piece, written nearly 100 years ago, is still relevant, especially to patrons who appreciate the arts.

This show is much more about the game of love than the game of hockey, but Melski doesn't spare the barbs when it comes to showing the beastly behaviour of overly-serious hockey parents. Most of it is in a humorous vein, but the point is made.

The Guardsman is the story of an acting couple who are (at least in their own minds) the talk of the town in Vienna, Austria. They have known each other for some time but were only married six months ago.

Despite that, it's obvious the honeymoon is over. As the play opens, the two bicker like a couple who've been together for what fells like 40 years. The Husband is most upset by this, felling like a spurned lover. It's revealed that he's just one of his wife's several lovers.

He explains to the critic, a mutual friend of the couple, a plan he's about to enact. He'll disguise himself as a Russian soldier from the Imperial Guard and attempt to woo his wife to test her fidelity. The critic eagerly encourages him to do so, likely being more interested in the plot's entertainment aspects.

Of course, the scheme goes further than the actor designed, forcing him to confront his wife with his suspicions.

It sounds serious, and there are some dramatic moments, especially in the tension created between the couple. At the same time, the theatrical setting allows Jamison to bring out the campiness of the script.

Her cast is also perfect, especially Terry Belleville as the actor. He commands the stage with his own self-love and quick willingness to stop conversations so he can deliver a grand soliloquy. He also has a great connection with the audience, notably when his plot is being derailed.

Michelle Toss is Belleville's ideal foil. Her body language is superb; her actions deflect the actor's melodramatic outburst and not-so-subtle machinations. It's as if she is silently saying, "Yes, dear, whatever you say."

Ann McGrath has greats moments as the lady in waiting who prefers to think of herself as the actress' "mama." She even treats the actor like a son-in-law. Mama also delivers some of the play's more memorable lines, especially during the opera scene

Mo Bock, author of the play that was Persephone's second production this season, Quarry, offers a notable performance. He encourages the plot, much to his own bemusement.

Jamie Lee Shebelski as the maid, Liesl, proves the adage that there are no small roles. Her mouse-like movements across the stage and wide-eyed reactions to the events taking place were hilarious.

I marveled at Ami Farrow's impressionist set, complemented by Mar von Eschen's lighting. There is one scene change in the three-act play and Farrow's ingenuity allowed us to see something that never could have happened in the old theatre. The rest of the audience obviously enjoyed it - you could sense their wonderment at the miraculous transformation happened a few feet away.

The Guardsman, which runs until March 2, deserves the packed house it had on Saturday.