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Brief Encounter.

(STUDIO 54; 1,002 SEATS; $127 TOP)

NEW YORK A Roundabout Theater Company and Kneehigh Theater in association with David Pugh, Dafydd Rogers and Cineworld presentation of a play in one act by Emma Rice, adapted from Noel Coward's play "Still Life" and his screenplay "Brief Encounter," with songs by Coward and Stu Barker. Directed by Rice. Sets and costumes, Neff Murray; lighting, Malcolm Rippeth; sound, Simon Baker; projections, Jon Driscoll, Gemma Carrington; original music, Barker; production stage manager, Peter Hanson. Opened Sept. 28, 2010; reviewed Sept. 22. Running time: 1 HOUR, 35 MIN.
Laura              Hannah Yelland
Alec             Tristan Sturrock
Fred/Albert         Joseph Alessi
Beryl            Dorothy Atkinson
Myrtle         Annette McLaughlin
Stanley             Gabriel Ebert
Bill                 Damon Daunno


Musicians: Edward Jay, Adam Pleeth

We've seen any number of stage attractions derived from motion pictures, and some of these have incorporated actual footage--either vintage or shot-to-order--into the proceedings. But Broadway doesn't seem ever to have seen live actors interact with, and actually step directly into, the movie. Kneehigh Theater's production of Noel Coward's "Brief Encounter" might lose some of its impact in its relatively large Main Stem house, especially on the extreme sides and in the mezz; previous runs in London and Brooklyn played venues that were well under 500 seats. Even so, the play should get a warm reception here.

Production uses ingenious theatricality to combine a dollop of nostalgia, a dose of sentiment and a scent of satire into a frothy mix. Adaptor-director Emma Rice uses a small cast and modest trappings to turn out a consistent parade of jolts of playhouse wonderment.

"Brief Encounter"--from Coward's 1945 film, directed by David Lean--follows a pair swept into a passionate but impossible love affair. Rice has gone back further, though, to "Tonight at 8:30," nine one-acts tailor-made by Coward in 1936 for himself and Gertrude Lawrence. "Still Life" told of a middleclass pair who unexpectedly meet, experience a wildly romantic interlude and inevitably part, all in a suburban railway refreshment room.

[ILLUSTRATION OMITTED]

Rice's adaptation veers closer to the one-act than to the film, employing the two lower-class comedy couples of "Still Life" to interlace the action with music-hall turns. Half the songs are from the Coward songbook; the rest use words by Sir Noel set to new music by Stu Barker.

Barker provides wonderful arrangements, making sure to retain and highlight the Rachmaninoff piano concerto that serves as the film's melancholic theme. Even so, strict devotees of the film might feel their favorite has been trivialized by a cascade of songs and laughs.

Cast of seven--each of whom, at times, supplements the hard-working two-man band--is uniformly strong, with Hannah Yelland and Tristan Sturrock in the central roles played on the screen by Celia Johnson and Trevor Howard. Two members of the cast are newcomers; the rest repeat from the 2009 run at St. Ann's Warehouse in Brooklyn, with Sturrock the one holdover from the London production. They are an ingratiating bunch, cheerfully greeting the audience during the come-in and serenading at the back of the house after the curtain call.

Youngsters provide some of the best musical moments, including a rendition of "Mad About the Boy" that has Dorothy Atkinson entwining herself in Gabriel Ebert's bass and climaxing the affair with a bit of pizzicato. Highpoint is "Go Slow, Johnny," from Coward's failed musical "Sail Away," suggestively sung by Damon Daunno as the lovers consummate their affair. British reserve being what it is, she merely removes her stockings but the electricity is palpable.

But it is, first to last, Rice's show. She works hand-in-hand with ingenious designer Nell Murray; much of the staging must have been contrived in tandem.

The not-dissimilar screen-to-stage adaptation of "The 39 Steps" was a considerable success for Roundabout in 2008. But the two shows are not strictly comparable: The Hitchcock piece took a mystery thriller and turned it into an all-out-spoof, while "Brief Encounter" takes an atmospheric film with romantic sweep and heightens those emotions, waves crashing and lovers flying head-over-heels.
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Author:Suskin, Steven
Publication:Variety
Article Type:Theater review
Date:Oct 4, 2010
Words:666
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