THE GOOD DOCTOR
Written by Neil Simon and based
on short stories by Anton Chekhov. Directed by James Scott. Set design by Sam
Wilde. Co-produced by Honest Puck and Limbo Theatre. Perform Australia Theatre.
August 28 – August 31 2019
Reviewed by Peter Wilkins
Limbo Theatre is a relatively new
and welcome addition to Canberra’s theatre scene. The company that cut its
teeth on an excellent local production of Dario Fo’s satirical farce Accidental Death of an Anarchist once
again demonstrates the talented company’s comedic talents with Neil Simon’s
Pulitzer Prize winning homage to Anton Chekhov, The Good Doctor. (Chekhov was a country doctor whose stature as a
dramatist elevated the modern teachings of the great Konstantin Stanislavski
and the Moscow Art Theatre at the turn of the nineteenth century in Russia).
Inspired by a collection of Chekhov’s short stories, Simon weaves nine of the
stories into a two hour play in which Chekhov acts as the narrator, introducing
the characters and scenarios of seven of the short stories in Limbo Theatre’s
production.
I couldn’t help but wonder
whether Simon is referring to himself as the immensely prolific Chekov
announces his impulsive, obsessive need to write. Damon Baudin is ideally cast
as the slightly built and nervy Russian playwright. He commands an interesting
presence upon the stage and draws his audience into each of his stories with an
array of complex and instantly recognizable character types. The Sneeze is an awkwardly embarrassing account of a young clerk
who sneezes over his superior’s neck and desperately seeks to apologize for his
sneeze. Izaac Beach is excellent as the bumbling, fawning clerk, confounded in
his attempts to apologize to his superior in the Department of Trees and Bushes
(Hayden Splitt). Class and status play their part in eliciting laughter at
another soul’s sorry misfortune. Heidi Silberman effectively arouses our ire as
she methodically appears to cheat her children’s spineless governess, played
with gauche subservience by Immi Irvine, out of her rightful salary. A
grimacing and writhing Nick Steain turns in a melodramatic performance as an
unfortunate sexton with an agonizing toothache at the mercy of an enthusiastic
trainee (Anneka van der Velde)
Not one to suffer fools gladly,
Chekov makes short shrift of a supercilious seducer (Hayden Splitt). Female wile played with seductive cunning by
van der Velde is fertile fodder for skilfully contrived come-uppance. With The Seducer I couldn’t help feeling that
director, James Scott, who also plays the hapless husband and other roles with
great aplomb during the evening, lacked the lighter touch in his direction. The Seducer needed to dart in and out
through light and shade rather than lumber with repetitive intent.
Chekov calls his short one act plays
jests and his masterpieces such as The
Seagull, Three Sisters and The Cherry Orchard comedies, more often
referred to as tragi-comedies. The Good
Doctor and its seven short adaptations of Chekov’s short stories in Limbo
Theatre’s heavier handed treatment highlight social injustice, human
vulnerability, class distinction and the absurdity of the human condition. This
is not a negative appraisal of this production or the interpretation played out
by director and cast. The production is not without its moments of poignancy
and pathos. There is still ample scope for laughter in Simon’s cleverly crafted
play and the cast’s relished playing of the comical moments. The audience
lapped up a night’s fun entertainment, generally at the expense of some poor
soul’s misfortune or embarrassment as in the case of Izaac Beach’s shaking
knees before the prospect of the young Anton’s sexual education in The Arrangement.
Chekov’s characters may be silly,
laughable even, but they are human and the playwright and good country doctor
who crafted his dramas for Stanislavski’s acting method never lost sight of
tolerance, compassion and understanding. Simon sweetens the pain with a five
million rouble windfall for the more unfortunate victims of life’s bitter pill.
It’s a touch of comedic empathy that guarantees a happy ending with an
unexpected twist of irony.
And for the audience a happy
ending to an enjoyable night at the theatre.
