It's odd and pleasing to realize what a superb and influential composer Stephen Sondheim has become. When this musical debuted, most thought him a great lyricist (he had already written the lyrics for West Side Story and Gypsy) but not an impressive writer of music. In A Funny Thing Happened on the Way to the Forum, only "Comedy Tonight," the famed number that opens and closes the musical, has a memorable melody. But it demonstrates that inevitable wedding of words, music and unique style that has come to define Sondheim's leading stature in the genre. And, of course, "Comedy Tonight" has been appropriated by all sorts of entertainments and is one of those songs that insistently inhabits the mind and won't go away. I don't know whether it's a classic or a virus.
With all its witty reflections of the timeless Roman farces of Plautus and its timely social and political satire, and despite its undeniably crowd-pleasing raunchy fun, Forum is not a great show that will please in every revival, no matter the differing levels of skill. This is one of those shows I'd like to see labeled "Not For Amateurs." A show that works this hard to be funny needs genuinely funny actors who know how to make it work. In fact, no matter how skilled the director may be at comedy, I'd say that Forum pretty much requires masterful comedians in at least three of its leading roles. Fortunately, this production has at least four of them plus some lovely women more than adroit at sending up their sexiness, and three all-purpose slapstick chameleons who neatly compete with the lead comics for laughter and applause. Add a choreographer who's won many international awards as both performer and creator of comic dances and musical numbers, and we've got a musical that barely needs the music.
The music is decently served, however. After director Des McAnuff offers a deadpan introduction of the "famed German classical guest-conductor" Wolfgang somebody, music director Franklin Brasz (whose big white wig flew away on a whistled cue) conducted the opening night's performance with sharp-paced zest. The designs are bright and amusing but not really memorable. But Wayne Cilento's choreography is world-class clever and entertaining. And he and McAnuff stage the musical numbers and all the slapstick, trying out every gag they can think of and following a clear master plan that More is More.
Bruce Dow, a Stratford favorite for his winning singing and comic performances, has a picnic with the lead role of Pseudolus, the comic slave who is foil to just about everyone in the plot. He opens the show and dominates most of the numbers, but plays the put-upon schemer and fall-guy with considerable charm and even modesty. Brian Tree, an actor known for his strong, dominant voice, here plays the ancient Erronius, who wanders in and out always looking for his lost children stolen by pirates long ago, and unfailingly wins laughs with a quietly endless series of variations on the art of doddering.
Dan Chameroy, as the blowhard warrior Miles Gloriosus, manages to make a tall, handsome example of muscular heroic stances and thrilling vocal pronouncements into a hilarious tribute to self-love. He's so awful that he's adorable. And, as the timid, terrified old slave Hysterium, Stephen Ouimette, one of Canada's most versatile and gifted classical actors, somehow quietly and with seeming understatement -- even when he hopelessly pretends to be a young female virgin, has the audience howling with laughter most of the time he's onstage.
Delightful throughout, the "Proteans" -- Jordan Bell, Stephen Cota, and Julius Sermonia -- in many guises dance and clown and do acrobatic stunts to portray whatever Pseudolus says they are.
If you note the Commedia-style descriptive names of these characters, you'll appreciate some of the beautiful, funny courtesans' monikers: Tintinabula, Panacea, Vibrata and Gymnasia. After acting and singing a notably lovely Maria in West Side Story, Chilina Kennedy consolidates her Stratford debut with an equally lovely but very funny virgin Philia in Forum, effortlessly moving from tragic strength to slapstick cluelessness in lead roles on some days from matinee to evening. And Deann DeGruijter, as the married grande dame properly named Domina, scares the fearless younger Miles Gloriosus by haughtily but passionately flirting with him.
Though it's silly and goes on a bit too long, this is an expertly played romp that leaves everyone amused.
