I suppose there comes a time in the later stage of every great actor's career when he's called upon to play a lovable curmudgeon in a sweet little comedy/drama. Which is what makes Ernest Thompson's On Golden Pond such a valuable property to have around. Though by no means a great play, it's a play that can provide a great evening of theatre when in the hands of a man like James Earl Jones.
The story is a familiar one that has been played in one form or another since theatre began. Jones is Norman Thayer, an elderly retired professor whose mental and physical capabilities are on a steady decline. This may be his last summer spent in the cabin in Maine where he and his wife (Leslie Uggams doing a lovely job in a large but rather thankless role as the patient, but exasperated mate.) have been vacationing every year of their marriage. Their only child (Linda Powell) is marrying a man (Peter Francis James) with a young son (Alexander Mitchell) and the elder Thayers agree to let the boy stay with them for the summer while the new couple have some quality time together. Upon their return, the daughter sees her father has developed the kind of close relationship with the kid that she never had.
Thompson's play doesn't delve very deeply into the relationship between Norman and his wife, and only lightly suggests the uneasy history he had with his daughter. As a result, this is one of those plays where, instead of watching the characters, you're watching James Earl Jones and Leslie Uggams going through familiar domestic comedy/drama situations. There's the scene where Jones' failing memory drives the telephone operator crazy. There the "fiance stands up to imposing future father-in-law" scene. And of course, after Norman's ailments are played for laughs several times, there's the "this isn't funny anymore" scene.
But just because so much of the play is formulaic, that doesn't mean it's ineffective. With the touching performances of Jones and Uggams at its heart, On Golden Pond is a tender love story with plenty of solid laughs. Bring your parents, bring your kids, bring your Kleenex.
Leonard Foglia's light-handed direction keeps the proceedings from straying into sappiness. And if the other supporting characters are a bit too underwritten to be anything more than scene partners for the stars, Craig Bockhorn shines in a small comic role as the long-time family friend.
This production transferred from The Kennedy Center in Washington DC, which explains why Ray Klausen's set may seem skeletal and incomplete for Broadway. Still, it's functional and attractive. Especially the pondside backdrop lit in purple-ish hues by Brian Nason to resemble sun rays streaking through a Tiffany window.
But it's James Earl Jones who makes this night on Broadway so special. The old cliche' is most appropriate this time -- I'd pay to hear him read the phone book.
Photos by Scott Suchman: Top: James Earl Jones and Leslie Uggams
Bottom: James Earl Jones and Linda Powell
