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David Copperfield

adapted and directed by Giles Havergal
based on the novel by Charles Dickens

February 1-March 25, 2001
Now extended through March 31, 2001

Steppenwolf Theatre
Tickets available by calling the box office (312) 335-1650, or at http://www.steppenwolf.org

David Copperfield. You've already read the Dickens book, right? So, why see the play?

Put it this way: see the play.

What could have been a rather prosaic addition to the Steppenwolf canon is a delightful, energetic offering, a good, solid, emotionally moving production that deserves to be seen and experienced.

Filled with vigor and animation, it is excellently paced, moving through the novel in a roughly three-hour runtime. The overall look and feel of the production call to mind favorable comparisons with the Royal Shakespeare Company's 1982 hit, The Life and Adventures of Nicholas Nickleby. Where Nickleby presented events more or less in third person, Steppenwolf's David Copperfield presents the tale, as in the novel, from the point of view of the adult David. In frock-coat and trousers, the adult David Copperfield (Jim True-Frost) is our onstage guide, moving through the remembered schoolrooms, the factories, the sea-shores he is narrating; while in similar, but boy's-version, clothes, Young David (Ryan Rentmeester) and other cast members create before us the scenes he recounts. We are therefore in two worlds at once: the immediate world of Young David, and the remembrance of the adult David.

Assisted by a nicely minimalist stage set, the play unfolds at a pace that is smoothly propelling, scenes changing with the fluid rapidity of thought. Through them the younger Copperfield walks, and the older Copperfield observes and comments. (In the interview with Thomas Connors included in the play program, Jim True-Frost himself notes of the adult David, "he becomes a writer, he's telling his own story in flashback, as a novelist.") In a book, the narrator is in effect transparent to the reader; in the play, to actually see David observing his own history is an effect that inspires reflections on our own relation to our pasts, our own past selves, the "20/20 hindsight" of our ups and downs. A moving example is the adult David's poignant expression as he sees - remembers - Steerforth making a confession of his character to Young David, a confession Young David denies with his youthful optimism: the contrast of the boy who did not know, and the adult who now does know, the tragic and possibly preventable outcome of that confession.

As in the novel, and with adult David as our guide, we follow the rise and fall of David Copperfield's fortunes, the sparkle and sinuousness of his relationships. Through despair, through innocence and childish ignorance, we see him ride the river of life's experiences both crushing and joyful, surviving and surmounting them as they - imperceptibly to his young self - build in him wisdom. Several times the adult David claims to rue his "undisciplined heart", but by the end, he seems to have benefited by it: a gamut of obstacles and tragedies is overcome by his unquenchable optimism.

Both stage-setting and direction highlight the aspects of David Copperfield as a semi-autobiographical account of Dickens's own youth: a scattering of vintage books adorns the frontmost apron of the stage throughout the play, and the adult David presents, as part of the narrative of his growth, accounts of the progress of his publications, stories, and books. Commentary on Dickens's own personal history, and how it molded both him, and David Copperfield, is provided in the play program.

The play is staged on the Steppenwolf Mainstage, and the space is comfortable - ample enough to have presence, "small" enough to retain intimacy. The set, a rugged and versatile construction of wooden planks, transforms itself by a few deft additions, dropped from on high or carried out on stage. Behind, a backdrop lowers as a dirty mass of smoky brownish cloud above the sea, suggestive of storm and of industrial Victoriana at its smoke-belching height; as the lights play across it, it becomes peaceful or menacing by turns. Aside from bringing us the flavor of Victorian England, the costuming is an effective visual language that lends much to the experience: the hints of color linking Dora and Agnes, the rainbow spats of the comic Micawber, the unifying dun-colored breeches of the schoolboys and the evolution of Young David's jacket. A short musical score (consciously or unconsciously reminiscent of Nicholas Nickleby) opens and closes the piece with a homey atmosphere.

There's plenty of energy and emotion onstage, and both individually and as an ensemble, the actors work well. Molly Regan comes close to stealing the show, sparkling as David's strong-willed old character of an aunt, Betsy Trotwood. Jay Whittaker, decked out in spidery-legged black trousers, frock coat, and stovepipe hat, is a dark and magnetic presence as the "'umble" Uriah Heep. Jim True-Frost delivers a good, solid performance as adult David, as does Ryan Rentmeester as his youthful counterpart: True-Frost strikes a good balance between narration and the necessary standing by, reacting to what is onstage. Krista Lally and Mariann Mayberry complement one another as the delightfully addle-pated Dora Spenlow, and the wise and true-hearted Agnes Wickfield, respectively. James Houton is a charismatic, rogueish Steerforth; Christian Stolte a convincing Ham, wrought with suppressed passion at the end; and the rest of the cast deliver first-rate performances. Through them all the story is satisfyingly told: through the swift scene changes the mind keeps up perfectly, and the play flows smoothly and dynamically toward its emotional, and then emotionally fulfilling, outcome.

An extra "beat" (in the acting sense) would have improved the shipwreck scene at the end - an extra lightning flash upon the retina, to allow it to fully hammer home its implications - but other than that, the production was virtually seamless, a fine synergy of acting and technical aspects that many productions aspire to and not all achieve. The audience was engrossed; and, delighted, delivered a resounding final ovation.

At the end of the evening you too will have found your time well-spent. David Copperfield is not only a superb theatrical production, but a window into surviving and triumphing over life's tribulations. As they say in the movies - "See it with a friend." Sit back, allow yourself to travel Dickens' inner landscape, and let it enrich your own.

David Copperfield has been extended a week, and will be showing from February 1-March 31, 2001 on the Steppenwolf Mainstage. Tickets range from $35-45 and are available from the box office at (312) 335-1650, or at http://www.steppenwolf.org.

Additional note: Steppenwolf has posted a video clip of the show at http://207.208.148.11/ramgen/realvideo/mbc/copperfield.rm.

Cast:
David Copperfield - Jim True-Frost
Young David - Ryan Rentmeester
Betsy Trotwood - Molly Regan
Mrs. Copperfield/Agnes - Mariann Mayberry
Mr. Murdstone - Christian Kohn
Peggotty - Maureen Gallagher
Dan Peggotty (her brother) - Rick Snyder
Ham (his nephew) - Christian Stolte
Emily (his niece) - Julie Marie Paparella
James Steerforth - James Houton
Mr. Micawber - Troy West
Mrs. Micawber - Rondi Reed
Mr. Wickfield - Robert Breuler
Uriah Heep - Jay Whittaker
Dora Spenlow - Krista Lally
Children - Lacie Goff, Zach Gray, Max Kirsch, Majid Nolley, Dennis Olsen, Miranda Pettengill

Design:
Set Design - Kate Edmunds
Costume Design - Virgil C. Johnson
Lighting Design - Peter Maradudin
Composer - Joe Cerqua

--Katherine Rook Lieber

Katherine Rook Lieber has edited ArtScope.net's Visual and Performing Arts reviews since 1998. Ms. Lieber is Associate Producer for ArtScope.net.