The Grapes of Wrath has quite a heritage. John Steinbeck's classic depicts the "Oakies'" struggle in Los Gatos, California from May to October, 1938. The book won a Nobel Prize in 1962. John Ford's Oscarwinning film of 1940 was followed by the play in 1988 and a teleplay in 1991. Playwright Galati's script captures the essence of Steinbeck's hardbitten story.
Starting with the anticipation of a California nirvana to a cruel taste of despair as reality sets in, The Grapes of Wrath is a difficult play to watch, and a fantastic play to act.
Scenic designer Sean Fanning creates perfect backdrops a faded, dirty collection of signs attached to rundown shacks, well executed by the scenic artists. The river, with water and mist generator creating rain, is a nice touch. The wing walls also have a faded, depressing look. Amylee Amos and Ashley Rossetti have created a believable, serviceable truck to carry the clan from Oklahoma to California. The set pieces and props give further authenticity to the production. Maureen Hanratty's lighting is properly dismal. Her lighting effects, along with Bonnie Brechenridge's sound effects, create a convincing storm.
Kelley Convery's costumes work well. Martin Katz' combat staging feels authentic, as does Margaret Larham's choreography. All the various production elements help express the latter part of the Depression. Much credit has to go to Dialect Coach Paul St. Peter, who gives the cast an authentic voice.
Even with a cast of 23, many playing multiple parts, this is an intimate story. The Don Powell Theater, an excellent venue, requires strong projection. Significant dialogue does not get past the sixth row, which becomes extremely apparent in the scene of the stillbirth and, even more significantly, in the final scene. I'd venture most of the audience completely missed what was really happening and the combination gallantry and tragedy of it. This is further diminished by the final song. I also feel the play's edge has been willfully blunted in this interpretation.
That said, San Diego State's School of Theater, Television, and Film has provided its audiences with a play that is technically excellent with equally excellent performances. Many of the student-actors are ready to grace the stages of San Diego and even New York. All the leads are absolutely right on. In the small role of Granma, Cory Milano provides a delightful comedic relief, as does James Paraiso as Grampa.
