Audience members not familiar with the novel on which Theatre Orangeville’s latest production is based may find themselves seeking out the national best seller after taking in the live adaptation.
Brought to the stage by author/playwright Trevor Cole and director David Nairn, Norman Bray in the Performance of His Life relays the story of an egotistical, past-his-prime thespian with a penchant for brandy (though any booze will suffice, really).
Norman, now in his mid-50s, has lost his wife as well as his most recent TV gig, and the bank is threatening foreclosure on his home.
With his self delusions finally caching up with him, Norman is left with two hard-to-swallow choices: lose everything or get his act together by obtaining a real job and saving his home and the few tenuous relationships that he has left.
Stephen Sparks is spectacular as Norman, particularly excelling in portrayals of the character’s superfluous vanity, an impressive talent that also made Sparks a hit two years ago in Theatre Orangeville’s A Snow White Christmas.
Sparks’ delivery of several amusingly arrogant soliloquies is flawless. His portrayal adeptly enables his character to walk the line between endearing and asinine.
The narcissism of Norman knows no bounds and he seems totally ignorant of the ruinous effect it has had on his life and his relationships with others.
Yet thanks to deft writing from Cole and incredible acting from Sparks, the audience – much like characters Amy and Karina – does not revel in his failures, instead hoping it’s not too late for Norman to turn his life around.
(Interestingly, the play’s main character is based on Cole’s father, Bill Cole, a longtime Kitchener resident and famous stage and TV star from the 1950s to 1980s who passed away almost a decade ago.)
Heidi Lynch, who dazzled Theatre Orangeville audiences a year ago in the title role of Queen Milli of Galt, offers another fine performance as Norman’s stepdaughter Amy, as well as his tenant Karina, among other minor roles.
Lynch’s likability and versatility are on full display in her portrayal of Amy and Karina, who are worlds apart not only in their speech, but also their demeanor and their approach to dealing with Norman’s outlandish behaviour.
Jesse Griffiths, too, plays a number of roles, primarily Norman’s stepson David and Karina’s abrasive husband Diego, both of whom wear their hearts on their sleeves. Regardless of the character, Griffiths’ delivery is great and though he offers more of a supporting role, he pulls off several memorable scenes.
Among the more fascinating components of this world premiere presentation is the intricate set design by Beckie Morris, whose work seldom disappoints. The set is composed almost entirely of corrugated cardboard – working furniture and all.
The construction is flawless and inordinately detailed and the material’s neutral colour not only highlights the impeccable arrangement, but it’s also the perfect compliment to such a character-driven production. It really must be seen to be believed.
Norman Bray in the Performance of His Life features some strong language, dark comedy and heavy, dramatic material. That’s what makes it such a success.
However, the production does have some weaknesses. For example, Norman’s dialogue, while purposely over-the-top to relay the depth of his narcissism, from time to time comes across as too far-fetched and caricature-like.
Also, the play’s conclusion may not appease those who yearn for denouement, as the story fails to resolve one of its most interesting subplots involving Karina.
Yet despite its few flaws, the play is a powerful reminder that it is never too late for self improvement. It’s also a remarkable examination of the human condition; whether we want to admit it or not, there’s a little bit of Norman Bray in all of us.
At one point, the lead character recounts a debate about the merits of live theatre roles versus those immortalized through TV and movies.
But as Norman finally discovers, it’s our real-life “performances” – both good and bad – that truly define us, regardless of the “audience.” And try as we might, very few of us are able to ever forget our bad performances.
Norman Bray in the Performance of His Life plays five shows a week at Theatre Orangeville until April 26. For tickets call 519-942-3423 or 1-800-424-1295 or visit www.theatreorangeville.ca.
