Studio 58’s Summerfolk

Theatre: The play with an identity crisis
Nick Pannu, The Peak

Studio 58’s Summerfolk too much of a good thing

Social change doesn’t arise out of the blue. Looking back at a revolution, we can clearly see the events that led up to it like a ripple effect. However, during the period when the revolution is impending, some don’t see it coming. Playwright Maxim Gorky was one of the few to examine these points of view, within the escalating tension among Russian bourgeoisie a decade before the czar was eventually overthrown in 1917. Langara College’s Studio 58 revives the renowned Russian playwright’s masterpiece in an epic that questions the values and aloof attitude of the Russian bourgeoisie during the early 20th century.

The revived play started with familiar, even cliché scenes of the bourgeoisie. An over-indulging, book-reading, liberal wife scolds her husband for his lack of social consciousness. Her husband reprimands her, remarking in a typical sexist manner that “literature is corruptive and not a good influence” on her. The first few scenes were a little misleading about the play’s actual substance, however. The play was not as typical as the earliest scenes would suggest: engrained attitudes were challenged within the inner circle of the bourgeoisie. One of the first issues raised was how a person’s worth should be measured. Should it be defined according to how efficiently one works and the contribution they make to society? Should it be defined based on social status or inherited wealth?

As the play nears its finish, poignant scenes validate democracy and encourage social policy. A business tycoon with no heirs gives his wealth to fund new schools, while a respected doctor unexpectedly delivers a speech scrutinising elitism and endorsing democracy. The play explores each character’s identity crisis in turn. One character feels that she will find solstice if she meets the writer she admires. Another feels that connecting with the older women he loves is the missing piece that will solve his inner turmoil. Other characters continue to search for sanctuary to their confusion, each eventually establishing the hope of some understanding as the play progresses.

As enriching as the substance and dialogue of the play was, a major drawback was its duration. It was too long! The final curtain call came close to 11:00 p.m., after starting at 8:00 p.m. The play uses an elegant extended metaphor of the Swiss Alps’ serenity unexpectedly dismantled by storms and glaciers, which mirrors the drastic changes in Russian society. Yet it was this point being repeated over and over during the course of three hours that deflated my interest. The audience seemed to share my feelings. The ending applause was lacklustre, which is quite rare for a Studio 58 production.

On the other hand, the set was an immediate standout. The immaculately designed cabin and orchard were a perfect summer retreat for the Russian bourgeoisie. Another prominent fixture was the new layout of the theatre. The traditional stage was no longer there. Instead, there was a set in the middle on the floor between arranged seating on both sides of the theatre. Somehow this one change made the scenes seem more candid and genuine as actors spoke their lines. Perhaps it allowed audience members to suspend disbelief more easily as well as allowing cast members to morph into their roles.