Catch Theatre@York’s production of Restoration and enjoy its unique blend of period drama and social commentary
Aileen Ormoc
Staff Writer
@excalweb
DISCLAIMER: This theatre review only covers Act I of Restoration.
What do frilly costumes and outlandish wigs have to do with the 21st century? According to David Storch, the director of Theatre@York’s production of Restoration, everything; think Occupy Movement.
Originally written by Edward Bond in 1981, the play was created in response to the election of Margaret Thatcher, the British prime minister of the era. The original play took place in 18th-century England, a time defined by class divisions: the upper class, the middle class, and the lower class. Class was dependent on ancestry, wealth, and occupation. Education was not a guaranteed right; it was a privilege, an obvious source of frustration for the working class.
The rise of social movements like Occupy Wall Street have shed light on issues of class warfare, income disparity, and an appropriation of wealth over the good of humanity. Storch sought to parallel the struggles met in Occupy with the struggles taking place during Thatcher’s reign.
“It’s about how the 99 per cent people of the Occupy movement are being stepped on by the one per cent,” cast member Astrea Campbell-Cobb explains.
Storch’s interpretation stays true to the original play with a modern twist. The main plot is centred on Bob Hedges (Jeff Roel), a young servant and his devotion to his master, Lord Are (Michael Ayres). In a tragic turn of events, Lord Are’s wife Ann (Lina Di Maria), is murdered at the hands of her own husband in a failed attempt to trick her husband into believing she was a ghost. As a last resort, Lord Are convinces his servant Bob that it was him who carried out the murder to avoid imprisonment. It is a classic example of the upper class taking advantage of the working class.
The depiction of gender inequality in 18th-century England is quite disturbing. Ann’s father forces her into marriage with Lord Are for an exchange of land and money. Ann is enraged by the thought of marrying someone as arrogant as Lord Are, but in the end, she is left no choice. Between almost all characters, there is a power struggle between man and woman.
The overt racism in Restoration is clear from the start. Set in the 18th century, it is an accurate depiction of the times. Rose Hedges (Joella Crichton), the newly-wed wife of Bob Hedges, is the only black character in the play. She is forced to tolerate snide remarks about white and black cows and practising voodoo. As an interracial couple, Bob’s mother Mrs. Hedges (Rong Fu) is taken aback by her son’s choice in marriage. In one scene, Mrs. Hedges notices that her eating utensils are missing and automatically assumes Rose must have taken them.
Labour issues are another one of the core issues explored in the play. One of the servants, Frank (Kyle Bailey), constantly makes comparisons to his glorious life in London, England as compared to the life he lives now. He complains of the hard labour he is forced to do and is adamant that this would not be the case if he were still in London. Frank even goes on to sing a ballad that starts off with “For 50,000 years I lived well…”
Staying true to its musical roots, new contemporary sounds are added to the list of music. The music by York alumnus Samuel Sholdice takes inspiration from contemporary artists like Mumford and Sons, Lana Del Ray, and Wolfmother. The sound was a fusion of high-energy pop ballads, acoustic melodies, and the occasional soft-rock.
“The songs are about being heard and acknowledged as a group of people as one solid voice,” says cast member Julie Nolke.
Comedy is not what comes to mind, but Storch explores the seriousness of social injustices and inserts moments of comic relief at the same time. His ability to interchange the use of 18th-century English and modern-day English is impeccable. The use of comedy helped to lighten the mood on such serious issues—the production is thought-provoking, informative, and best of all, funny.
Restoration runs March 18-24 at 7:30 pm in the Joseph G. Green Studio Theatre in the Centre for Film and Theatre—$17 for regular tickets, $12 for student tickets.
