Evangeline Revisited

 

A Review by Cindy Lapeña

When Evangeline premiered in 2013, a new world-class musical was born and PEI stage was THE place to be. It’s 2015 and the Charlottetown Festival has brought back Evangeline with a few changes, and I must admit that I quite liked what I saw.

Except for two major actors whose roles have been reprised and a couple of members of the ensemble, this year’s cast of Evangeline is totally new. Whereas, Josée Boudreau played understudy in 2013, she carried the role of Evangeline Bellefontaine marvelously with her powerful soprano and forceful character. Jay Davis, whom I first saw in Bittergirl, played an admirable Gabriel Lajeunesse opposite Boudreau’s Evangeline. His wonderful voice, at times gritty but always very masculine and powerful, dominated the ensemble. I’m hoping it was a matter of balancing the wireless microphones, but he literally drowned out Boudreau in at least one of their duets. At times, it felt as though the songs were not really composed for him. All the Broadway-style belting is overpowering, and I would have appreciated a great deal more sensitivity, texture, control, and subtlety in the interpretation of some of the songs besides full-volume delivery. Réjean Cournoyer as the invented character, Captain Hampson played the perfect villain as he did the first time around, just as Laurie Murdoch as Colonel Winslow revealed the conscience behind the whole idea of the Expulsion of Acadiens, reprising the role that humanized a reprehensible historical event.

The backdrops made use of video technology, as they did in the premier showing, but rather than using the bright paintings of Claude Picard, a generally darker atmosphere pervaded the new sets designed by Cory Sincennes. I loved most the water scenes, with the actual waves moving in the projected backdrop, which added to the feeling of realism. The images projected on the backdrop were more carefully chosen so that they blended much better with the scenes. There was greater use of the revolving stage, which enhanced the movement across space and time, and eliminated the more realistic sets used in the premier. The basic set of rough-hewn lumber beams crisscrossed over the movable wings, was repeated in the stylized boardwalk that became decks, ladders, shelters, ships and boats. I would have liked to see that same feeling of roughness and simplicity in the crucifix used in the final scene. I’m glad water scenes were kept, because those were some of my favourites, especially with Gabriel and Evangeline rowing through the swamps, although Boudreau’s boat was not moving too smoothly, which occasionally jarred the illusion. It was a tad distracting, as well, to see movement under the sets when characters who were not part of the scene remained partly hidden, something that can so easily be solved by perfect stillness to maintain the illusion that they are not even there. Another tiny technical issue: the notice of Expulsion was tacked to a beam, but thumbtacks were not invented until 1903. I would have expected the soldier who posted the notice to use a nail and hammer. I would also think that he would have done this less surreptitiously as it symbolized the beginning of the tragedy that was the Expulsion.

I did not care very much for more than one ensemble dance number to end with the same parallel arms raised uniformly stiff above their heads; I felt that was somewhat awkward and neither very aesthetically nor symbolically significant. I seem to remember a little more dancing in the premier as well.

There were moments in the gala performance when I felt that the cast had not completely gelled together, and that some of the actors were still feeling their roles and not quite their characters. As well, I missed the completely smooth transition from one scene to another throughout that I have come to expect from the Centre’s performances.

That said, I would watch Evangeline again and again and again, because, as a theatre person, I know that no two performances will be exactly the same, and the gala performance was but one show. It is still, and always will be, a powerful story with beautiful music and lyrics. This new version of Evangeline has so much going for it and I am sure that, when everything falls into place, the brilliance of writer and composer Ted Dykstra and the vision of director Bob Baker will shine through.

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This review is also available on onrpei.ca

The premier performance of Evangeline was also reviewed by this writer. Read the review here.

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