Seattle Repertory Theater's Of Mice and Men: Well Intentioned Plans

It is easy to understand why theater companies return to the works of John Steinbeck as often as they do. Coming to prominence in the midst of the 1930s depression, he has written quintessential stories about the little guy; lower class people whose dreams are prosaic, come from humble means and who possess huge hearts. Most people are familiar with the last two books of his "Dustbowl Trilogy," Grapes of Wrath and Of Mice and Men, both of which could frequently be seen produced by theater companies looking for a reliable way to connect with an audience.

The production of Of Mice and Men currently taking place at Seattle Repertory Theater does a decent job of connecting with its audience, though it is not without its flaws in the presentation. Certainly, director Jerry Manning is to be commended if only for amassing such an impressive array of local talent and then providing them a platform in which to excel, but sometimes it feels as if certain aspects of the production wrested themselves from his control and ran away.

A good example of this sort of mixed blessing could be found in the set design by Jennifer Zeyl, which is gorgeous in its specificity, scope and function. It is a postcard of the California farming landscape, complete with a functioning fire pit, an old tree and a body of water. It also imposes upon the rest of the stage, which might be the desired effect, but considering that over 90 percent of the show takes place either in the migrant worker's barracks or in the barn, the set's impressive nature blurred the line between background and playing spaces a little too aggressively.

This duality is evident in various places; it is a strange mixture of moments that are captured beautifully which are then followed by moments that either fall flat or feel forced. At times, the central relationship between George (Troy Fischnaller) and Lennie (Charles Leggett) is so real it's painful, at other times George treats Lennie as if he were some recent nuisance that landed on his lap while the text intimates that theirs is a long-standing relationship. Some performances feel too modern, whether it's in the face pulling or in the delivery of a line; others feel properly authentic for the story's time and place. Seanjohn Walsh's Curley walks a fine line between being a pugnacious asshole with a Napoleon complex and being a caricature of that same person.

The moments that work, though... The scene right after intermission that takes place in Crooks' (Teagle F. Bougere) room above the stable, where he is visited by Lennie, Candy (Seán G. Griffin) and, eventually, Curley's Wife (Elise Hunt) is a thing to behold. It represents everything that Manning gets right about this production; the elusive nature of the shared dream these men have; how they wish for it so fervently it almost becomes real; the loneliness of being a worker, a minority, a woman in this environment. When these moments arrive, they can have the power to move the audience, in spite of the more questionable moments.

This is a strong ensemble centered around the equally strong performances of Fischnaller and Leggett. Charles Leggett once again makes the stage his own, as he's done for years on the theatrical stages throughout this town; his Lennie is the kind of performance that leaves an impression long after the show is done.

As the story approaches its familiar tableau, the stage is left to these two men, these small men hiding from the consequences of their actions. How much one identifies with either of these men depends on how much one is willing to immerse themselves in the story. Manning and company do their damnedest to help with that immersion and are successful, but not overwhelmingly so.

Tuesday - Sunday at 7:30 p.m., Matinees at 2:00 p.m. through 4/10 // Seattle Repertory's Bagley Wright Theater, 155 Mercer Street // $12 - $45, tickets available here