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ntario is famed for three
things: the World Series —
winning Blue Jays, North
America's best health in-
surance plan (OHIP) and — the
Stratford Festival.
This year with . baseball's
abrupt cesura and OHIP's trou-
bled status, the Stratford Festi-
val has come to the fore with a
stunning series of plays that has
filled the Festival's three theaters
with record throngs.
This reviewer remembers
clearly the beginning of the Strat-
ford Festival in 1952 under a
huge tent and the presence of
Alec Guiness as the first guest
performer. Four decades ago it
was difficult to envisage what
Stratford has become today —
the premier repertory stage com-
pany in North America.
The appointment this year of
Richard Monette, a "graduate" of
the repertory group, as the artis-
tic director seems to have injected
new element into the Festival's
dramatic complexion.
Mr. Monette's dynamism has
been translated into the selection
of plays this year, bold experi-
ments in choreography and the
introduction of innovative cos-
tuming and imaginative restruc-
turing of some of the plays
themselves.
Shakespeare, is still, of course,
the mainstay at Stratford. Ham-
let, Twelfth Night, Othello and
Comedy of Errors have rarely
been performed with such gusto
and elegance. Mr. Monette's cre-
ative hand can be seen, among
other things, in his selection of
three black actors to play major
roles in the Shakespearean
works.
Alison Sealy-Smith as Olivia,
Yanna McIntosh as Maria in
Twelfth Night and Ron O'Neal as
Othello turned in more than cred-
ible performances. Mr. O'Neal's
role as Othello was made all the
easier by the electrifying perfor-
mance of the perennial Stratford
favorite, Scott Wentworth as
Iago.
All theater-goers have their fa-
vorites, but this year (as in past
years) they have been captivat-
ed by Colm Feore's Cyrano, the
hero of Edmond de Rostand's
19th century swashbuckler. This
reviewer has seen Cyrano at the
prestige Comdi Franaise in Paris
but Mr. Feore's version of the
lovesick poet with the Pinocchio
nose was far superior.
Superior to recent American
versions of Long Day's Journey
Into Night (according to the New
York Times theater critic) is

Stratford's reconstruction of
O'Neil's masterpiece. On occa-
sion, the O'Neil play can trigger
instant melancholy but the Strat-
ford production this year starring
Martha Henry, Peter Donaldson,
William Hutt and Tom McCa-
mus transformed the weighty
themes of this classic American
drama into something elevating
and inspiring.
The French playwright
Moliere was more interested in
entertaining than inspiring his
17th-century audiences and the
works chosen by director Mon-
ette to illustrate this are two one-
act plays, The School for
Husbands and The Imaginary

Cuckold.
These delicious plays which ex-
ploit philandering, misunder-

The Stratford
Festival has come to
the fore with a
stunning series of
plays that has filled
the three theaters
with record throngs.

standings among married couples
and eccentric prudes are the per-
fect foil for Brian Bedford, one of
Stratford's all-time luminaries.
His range of facial contortions
and exquisite timing make these
300-year-old plays comedic de-
lights.
The other comedic foray by the
Festival this season is Gilbert &
Sullivan's Pirates Of Penzance.
Director Monette has breathed
new life into this somewhat tired
vehicle for British humor by us-
ing Colm Feore in the lead and
by reconfiguring the plot: The pi-
rate story is being filmed by a
1920s Hollywood studio with an
Eric von Stroheim clone as the
tyrannical director. This permits
a kind of mockery of a play which
itself mocks imperial British idio-
syncrasies.
The festival, which runs to the
middle of October, is also featur-
ing an original Canadian play
this year, The Ring, by Quebec
playwright Jean-Marc Dalpe. A
saga about an ambitious boxer
and his over-the-hill uncle, Mr
Dalpe's play carries resonances
of Hemingway and Steinbeck but
within a sturdy Canadian con-
text. ❑