Seattle Review: On Golden Pond

On Golden Pond, which opened last night at The Village Theatre in Issaquah, is often criticized for being overly sentimental. Skeptics often roll their eyes at Ernest Thompson's portrait of elderly couple Norman and Ethel Thayer, and the telling of what is likely their final trip to a beloved vacation home. But when the first forty-five minutes of the play pass without much conflict, one soon begins to realize that sentimentality is the least of On Golden Pond's flaws.

Thompson provides many opportunities for electric stage moments but never follows through. Norman, who has just turned 80, is suffering from memory loss and heart palpitations. Ethel must struggle to keep her husband on track while dealing with the visit of their daughter Chelsea, along with her abrasive beau Bill and his distant son Billy. When Chelsea and Bill decide to vacation in Europe, young Billy is left under the care of Norman and Ethel. Norman and Billy strike up a quick friendship, and our aging hero finds a new spark in a life that he felt was nearly over. Norman and Ethel seem unsure of their future, and seem constantly haunted by the past.

Nearly every opportunity for conflict is quickly dismissed by Thompson. We are repeatedly told of the fragmented relationship between Norman and Chelsea, but the plotline is quickly abandoned after one brief and forced argument. Billy seems to have a lot on his young shoulders but his problems are barely explored. Thompson instead decides to color his play with silly bits of stage business that, while fun at first, become quite repetitious. There aren't any big scenes where we get to the root of a family dealing with past and future losses. Thompson isn't a bad writer, but seems unable or unwilling to go deep inside the heads of his subjects. On Golden Pond ends up being more of a simple character sketch instead of the vibrant evening of theatre that it has such potential to be. It is a safe piece that has so many chances to challenge and provoke us.

In a play where not much happens, subtext is essential. With its many flaws, On Golden Pond requires a strong cast, and a director with an eye for detail.  Jeff Steitzer has cast six capable actors, led by stage legends Clayton and Susan Corzatte, but his soft approach to the material doesn't do them justice. Steitzer never lets the short moments of conflict truly sparkle, and has most of his cast delivering over-the-top portrayals that seem in conflict with Thompson's realistic dialogue.  The actors never gain full ownership of their assigned blocking, and often appear to be "going through the motions".

Steitzer seems to have put most of his focus on Clayton Corzatte, who offers a stunning and heartbreaking portrayal of Norman. His performance has all of the nuances that legendary performances are made of. Corzatte is able to find the tricky balance between comedy and drama. He creates a character that is funny without being obvious, and dramatic without being heavy handed.

The rest of the cast lacks the layering that Corzatte succeeds at. Susan Corzatte, who is a gifted and game actress, seems desperately in need of a strong directorial hand. Steitzer has Mrs. Corzatte acting in an overly animated style that seems quite awkward when viewed next to her subtle husband. The Corzattes have almost magnetic chemistry, but every opportunity at truly exciting moments is squelched by contrasting acting styles. Jeanne Paulson does well with Thompson's most peculiarly written character, but lacks the deep subtext that benefited Jane Fonda so much in the film. She has the most awkward dialogue, and layering would have made her presence more memorable. Jim Gall's Bill has too many ticks and quirky movements for such a realistic outing, and Eric Ray Anderson seems more caught up in mailman Charlie's accent than anything else. Young Michael Moore offers a crisp and capable performance as Billy.

The sounds and sights of nature that Thompson constantly speaks of are never fleshed out in the design. Thompson repeatedly mentions the nearby pond, but we never even get a single ripple to make his metaphorical body of water truly sparkle. By placing the pond in the audience, we never get opportunity for visual representation that Scenic Designer Norm Spencer seems so capable of in his detailed interior design. Greg Sullivan's lighting provides some detail, but never provides the moods it should. Marcia Dixcy Jory's unexpressive costumes offer little depth. Jim Graham's sound design is also too minimal. All the sounds that come from nature are absent, again making this production even more one-dimensional.

A stunning performance and a likeable company make one want to visit this On Golden Pond. But lack of detail and muggy choices allow all the flaws to come out and play. The play's final moments almost break your heart, but they are as uneven as the rest of the evening. Just when you start to be enveloped by this world, a peculiar choice quickly pushes you away. In an audience full of seniors who can clearly relate to Norman and Ethel, one can't help but wish that they were given more opportunity to reflect.

On Golden Pond runs at The Village Theatre through February 26th. For tickets call (425) 392-2202, or visit www.villagetheatre.org

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