SPOTLIGHT on “YOU NEVER CAN TELL”
A delightful tale of love, confusion & possibilities
A United Players production
On stage at Jericho Arts Centre,
June 6 to 29, 2008
The Story * The Staging * The Costumes * The Stars
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THE STORY – “YOU NEVER CAN TELL”
You Never Can Tell is a sophisticated comedy about love and its unpredictable possibilities. Set in an English seacoast town in the late 1800s, the action is played out over the course of a luncheon and a fancy dress party. The liberated Mrs. Lanfrey Clandon and her three unconventional children have returned to England to holiday after an absence of eighteen years. Gloria is the beautiful older daughter who is in the process of emerging as the modern woman; Dolly and Philip are the giddy, somewhat naughty, but absolutely delightful, younger twins. Add to the mix an impoverished, lovesick dentist, the missing father Crampton, Mrs. Clandon’s old solicitor friend, and an all-knowing waiter who dispenses his wisdom throughout with the phrase “You never can tell!” When the waiter’s lawyer son makes his appearance, the line up of unforgettable characters is complete, ready to bring wit, romance and laughter to the stage.
The plot centres on a chance encounter with the missing father that results in confused identities and untimely coincidence. All the while Gloria and the befuddled dentist are falling in love, and Mrs. Clandon has to confront the ex-husband she has tried for eighteen years to forget.
THE PLAYWRIGHT
One of the most famous British playwrights of the 20th century, George Bernard Shaw wrote more than 60 plays. An ardent socialist, nearly all of his writings deal sternly with prevailing social problems, but are leavened by a vein of comedy to make their social themes more engaging. He examined education, marriage, religion, government, health care, and class privilege and especially censured the exploitation of the working class. Shaw is the only person to have been awarded both the Nobel Prize for Literature (1925) and an Oscar (1938) for the play and film of Pygmalion.
THE STAGING – NOTES FROM DIRECTOR, BERNARD CUFFLING
“You Never Can Tell is all about love,” begins director Bernard Cuffling. “It is one of the Shaw’s most popular plays and understandably so. He deals with love and passion in a mocking but always kind way. He creates the most radiant and vivid characters, from the ‘topsy-turvy’ young lovers Valentine and Gloria, to the ‘bear’ of Crampton who becomes a ‘lamb’.
“Shaw is such a great observer of human nature,” Cuffling notes, “and, although he is making social commentary in his plays, he does it with such marvelous wit, insight and great amusement. Moreover, there are no weak characters in this play – all are three dimensional, fun and juicy.”
It wasn’t until Cuffling turned actor and performed in Arms and the Man that he learned to really appreciate the genius of Shaw. “With more than 60 plays to his credit, Shaw is one of the greatest users of the English language and his dialogue in You Never Can Tell is no exception. This play was written over one hundred years ago and is still identifiable with our society; we still deal with issues of dysfunctional families, women’s freedom, the generation gap, and the complexities of love relationships.”
Cuffling once performed in a production of the play in Chemainus and feels this helped him direct with a more insightful understanding of the words and the characters. “Although the emotions in the play ring true today, I keep reminding the actors that the social context is that of 1895. Mrs. Clandon had taken her children out of an abusive relationship and brought them up as free thinkers for that era. It posed the argument of how to bring up your children – if you allow them freedom of expression, they can develop their true personalities.”
“As for love, Shaw was not personally a romantic lover, yet Valentine and Gloria’s passion is absolutely amazing,” he continues. “Valentine had been the perfect Don Juan until he falls for Gloria and suddenly he can’t express himself; his feelings are beyond words. Gloria, on the other hand, still expects love to be shown with the Victorian formality of flowers, candy and opened doors. Today we still find that when we fall in love, reason gives way to emotion.”
“Shaw has a few comic characters who are real, who are played straight,” Cuffling notes, “while some, like the twins, are bizarre and played as absolute farce. In rehearsal we started off pushing the broad comedy and then pulled back when it became improbable.” Of course, Shaw always made the women the great characters in his plays, and he gave much of the social comment to the servant class. “William, the waiter, should have been seen and not heard in those days. However, it is William in his menial role who can see everything and who becomes the unobtrusive philosopher dispensing good advice. It is a very clever device.”
Cuffling is particularly delighted with the pleasing company of actors in this production. “There is hard-working Andrée Karas as the sparkling and modern Mrs. Clandon; Richard Strachan who brings an inherent kindness to the cranky, monstrous ex-husband/father, Crampton; and the talented young actors Noel Johansen and Claire Lindsay who play the young lovers swept up in inexpressible passion.
Cuffling is also enamored with the intimate playing space at Jericho Arts Centre. For You Never Can Tell, there will be an open thrust stage where the actors can move down into the audience, as well as a raised playing area. “I once spent five months working with Alan Ayckbourn, at that time in the only theatre-in-the-round; he taught me that the main advantage of this layout is that the actors are free. They become very natural and can move about as they would in real life. As an audience member, we see either the action or the reaction to each moment.”
The staging will use projections and simple props to take us from the interior of a Victorian house to an ornate hotel and its terrace, while beautiful period costumes from the 1890s will help define the colourful characters. “It will be a theatrical treat¸” Bernard concludes, “and I sincerely hope you enjoy this ‘charming’ comedy as much as I do."
THE VICTORIAN COSTUMES
Insights into the era from designer Sandi McDonald
The last two decades of the 19th century saw interesting changes in style and silhouette. Ladies’ gowns in the 1880s featured a bustle at the back, a flat front and slender fitting sleeves. Heavy corsetry gave the silhouette rigidity and styles became quite tailored. Gradually, the slender sleeves began developing a slight leg o'mutton outline, which continued to grow in size until they reached very large proportions by the mid-90s. As the sleeves enlarged, the skirt lost the bustle and widened and flared, while keeping the waist tight and hand-span narrow. Hairstyles were simple and hats were small-brimmed with elaborate decoration of ribbons, flowers & feathers. The male attire also began to change to the styles that are familiar today. The frockcoat was still being worn; however, the "lounge suit" and sports jacket became increasingly popular, generally worn with stiff turned-down collared shirts finished off with long and narrow or bow ties. Tail coats with winged collars and white bow ties continued to be worn for formal occasions, though the tuxedo with which we are now familiar, began to make its appearance. Top hats were still worn; however straw boaters and bowler (derby) hats came into vogue.
THE COMPANY
You Never Can Tell features a rare stage appearance by Artistic Director Andrée Karas as Mrs. Clandon, with John Burnside as William the waiter, and Richard Strachan as gruff old Crampton. They are ably supported by Missy Cross as Dolly, Paul Ferancik as Butler, Lara Isaacson as Maid, Noel Johansen as Valentine, Tariq Leslie as Bohun, Claire Lindsay as Gloria, Matthew MacCaull as Philip, and Dick Pugh as McComas. Costume design is by Sandi McDonald and Catherine Carr, set design by John R. Taylor, lighting design by Carmen Hung, sound design by James O'Callaghan and stage management by Scott Owens.
John Burnside (William, the waiter)
Returning to United Players for the fifth time, John’s previous roles have been as Firs in The Cherry Orchard, Barnabus Goche in The Herbal Bed, Petrin in Wild Honey, and as the Reverend in Mrs. Warren’s Profession. It is also John’s pleasure to work again with Bernard Cuffling – previously they worked together at Chemainus Theatre.
Andrée Karas (Mrs. Clandon)
Andrée is artistic director and president of United Players and has been a part of live theatre in the Lower Mainland as producer, director and actress for over 40 years. Some favourite roles have been in Learned Ladies, The Marquise, Wild Honey, The Cherry Orchard, Arcadia and The Constant Wife.
Richard Strachan (Mr. Crampton)
Richard’s past plays with United Players include: Democracy, The Lady’s not for Burning, Regency Revels, The Cherry Orchard and The Marquise. He has also performed with North Shore groups, the Shakespeare, Restoration and Chekov projects in Christchurch Cathedral and with Antony Holland on Gabriola Island. He has been involved with theatre from an early age and has enjoyed acting in many different countries. Richard is also chair of the Jericho Arts Centre Committee.
Noel Johansen (Valentine)
Noel is making his debut with United Players. Recent theatre work includes Saint Joan (Theatre Calgary), Amadeus (ATP) and Sleuth (Vertigo Theatre, Calgary). Other theatre includes Einstein in the Broadway Tour of Picasso At the Lapin Agile, The National Shakespeare Tour of Macbeth and As You Like It; Romantic Comedy and Alfie in Los Angeles; What the Butler Saw, Walking off Roof (Signature Theater) and The Game of Love and Chance (Arc Light) in New York. Film and TV includes upcoming CBC’s mini-series Everest, Under the Mistletoe, L Word, Smallville, Stargate Atlantis and The DA.
Claire Lindsay (Gloria Clandon)
Claire last appeared with United Players in The Ladies of the Camellias. A graduate of the CCPA, she has been acting professionally throughout the province for the last seven years. Historical interpretation has included Barkerville Historic Town and Storyeum. Some favourite shows are This Is A Play (On the Fence), Split (Unspoken Voices), and Debbie Does Dallas (Pickled Productions).
