Santa Clara University: The Good Doctor

Left to right: Cameron Wells, Kalina Venugopal, Michael Standifer, Nick Medal, Claire Parchem. Photo courtesy Santa Clara University. 

One might not think of the works of Anton Chekhov as being rich material for comedy. However, the Russian author and playwright had a wit that was sadly overshadowed by early dour productions of his work. In the 1970’s, Neil Simon adapted some of Chekhov’s short stories into The Good Doctor, effectively Chekhov-turned-sketch-comedy. Santa Clara University’s current production, helmed by director Aldo Billingslea, makes the Chekhov/Simon duet shine brightly.

Some of the scenes are straightforward: “Surgery” features a vaudeville duo – an incompetent doctor (Drew Descourouez) and a priest with a toothache (Elahdio Aliaga), while in “A Defenseless Creature,” a loud woman (Kalina Venugopal) torments a bank manager and his assistant (Aliaga and Descourouez again – all of the actors play a handful of characters). These are scenarios common to old comedy, but Simon’s framing structure – using a nameless writer (Cameron Wells) to open and close each scene – provides a level of metahumor.

Later scenes have more complex structure and unusual jokes. My personal favorite was the late scene “A Quiet War,” where Nick Medal and Claire Parchem assume the roles of retired high officers who have a formal, strategized argument over what makes the perfect lunch. Despite the characters’ similarities, the actors interpreted them differently: Medal’s Army officer is loud and brash, while Parchem’s Navy is sly and willing to bend the rules of their argument. They might be at each other’s throats, but one can get a sense of their deep friendship.

The SCU production combines the sophistication of Chekhov’s characters and scenarios with the fundamentals of mid-20^th-century comedy. Jerald Enos’ set hints at the more elaborate, realistic sets commonly used for Chekhov’s plays, but all of the larger elements are moved to the back, allowing ample room for Simonesque slapstick. Billingslea’s flexible direction both makes use of the empty space for slapstick and what set elements exist for scenes like “The Drowned Man”.

Featuring a funny, versatile cast and the unique combination of Chekhov/Simon comedy, Santa Clara University’s The Good Doctor makes a great evening. Most likely, you will find that some of the scenes are funnier or more appealing to you than others, but it’s never a dull moment. This testifies to the wide diversity of the material, as well as the breadth and imagination of the SCU production.

Santa Clara University: Pride and Prejudice

Pride and Prejudice, the most well known of Jane Austen’s novels, has received many adaptations and treatments across the years, and has become cemented in the Western mind as one of the greatest romances ever written. However, the content of the novel is deeper than just a romance, reflecting both the social realities of the 19^th century and Austen’s incisive, protofeminist sense of humor. The Santa Clara University production of Pride and Prejudice, co-directed by veteran Fred Tollini, SJ, and senior student Nick Manfredi, highlights the nuances of the novel with sparkling clarity.

One of the difficult parts of adapting a novel to the stage is deciding what to cut and what to retain; this production removed many scenes from the book that, though they worked well on the page, became extraneous when brought to the theatre. The result is a streamlined story that highlights some of Austen’s best language, supported by profound work on the part of the actors, including Maggie Woods’ delightfully vicious Caroline Bingley and Michael Standifer’s charming protrayal of Mr. Bennett.

The relationship between Elizabeth Bennett and Mr. Darcy – one of the most memorable romances of modern literature – is treated in a fascinating way in this performance, where the two are separated as much by the societal norms of the era as they are by their mutual stubbornness to admit they are in love. Though present in the book, it is rare to see these obstacles treated with such nuance. Gavin Mueller conducts himself with bitter dignity as Darcy, while Gabrielle Dougherty plays a headstrong, fearless Elizabeth. Their chemistry, while slow to unfold, is believable and touching.

Also worth noting is the subtle yet powerful technical work. The set uses rotating triangular pillars (periaktoi) to shift from residence to residence without making the changes jarring, while the costumes (a three-way collaboration between resident professor Barbara Murray and students Heidi Kobara and Anne Kobori) stay true to the time while marking the gender divisions characteristic of the novel, using bold colors for men and muted colors for women. Much like the direction, this is done mindfully, with every setpiece and color making a point.

It is rare to see a play – not just at a university but anywhere – that makes its decisions with such purpose that every facet speaks to its higher truth. SCU’s Pride and Prejudice is one of these. At $15 a ticket, the production is more than worth attending–better catch it before it closes on Saturday!