I Remember Mama: For the sake of authenticity, the use of live and dead animals on stage by Phoenix Players was not appreciated.
The memories that remain a lifetime are not always of world-shattering events. They can be of something as simple as having a chocolate soda with a special person or as unpleasant as an encounter with a bullying aunt.
In John Van Druten’s 1944 drama I Remember Mama, based on a fictionalized memoir by Kathryn Forbes, these are just two of the incidents that Katrin recalls. Seen through the mirror of childhood, Katrin Hanson, the eldest daughter, looks back over the years, picking out the moments that defined her mother’s strength and warmth.
The episodic nature of the story line suggests that I Remember Mama could have been more effective as a movie (1948) or a television show (1950s) than as a stage play in 2011.
In this ambitious project by the Phoenix Players, director Jo-Ann McCabe works with a cast of 23 to bring those memories to life. In trying to create the appropriate ambience, McCabe opts for a leisurely pace—periodically to the point of dragging—and authenticity. This is apparently why she has chosen to have a live cat on stage and to have one character wearing a fox fur.
In the interests of complete disclosure, I have to point out that I feel very strongly about animals being used as props. There is no reason that a soft toy could not have been used instead of a live cat. Toby, who wagged his tail (a sign of anger in a cat), struggled and cried at the performance I saw was clearly uncomfortable on stage.
Also anathema to this animal lover was the outfitting of one character in a fox fur. Yes, this was a sign of luxury and fashionable at the time, but luxury can be demonstrated less offensively than through draping the entire skin of a dead animal—possibly caught in a jagged, jawed trap—around anyone’s shoulders.
Another problem was the difficulty that some of the characters had with maintaining Norwegian accents. While there is justification for including them as Katrin was meant to be looking back on how her parents and aunts and uncle sounded, it does not help the audience to suspend disbelief if an accent comes and goes.
Despite these problems, particularly the slowness of this episodic show (in part the fault of the script) and the sometimes singsong delivery and repetitive movements and expressions, there were some strong performances. André Dimitrijevic is convincing as Uncle Chris, Megan Damini is perky as Katrin’s younger sister Christine and Vanessa Cook brings considerable warmth to the central role of the mother.
As Katrin, Sheila Galbraith has the difficult task of playing herself as a child and as the adult narrator. She copes well with childlike facial expressions and tone of voice but has more difficult with body movements.
The Phoenix Players’ production played at the Gladstone Theatre from November 24 to 26, 2011.
I Remember Mama
at The Gladstone Theatre
By John Van Druten
Director and set designer: Jo-Ann McCabe
Lighting: Alex Milne
Sound: David Speck
Phoenix Players
Cast:
Katrin…………………………………………………..Sheila Galbraith
Marta…………………………………………………..Vanessa Cook
Lars…………………………………………………….John Cook
Dagmar…………………………………………………Jennie Burns
Christine………………………………………………..Megan Damini
Nels……………………………………………………..Will Lafrance
Mr. Hyde……………………………………………….Art King
Aunt Trina………………………………………………Kimberly Bateman
Aunt Jenny………………………………………………Lorraine Hopkins
Aunt Sigrid………………………………………………Karen Germundson
Uncle Chris………………………………………………André Dimitrijevic
Dr. Johnson……………………………………………….Joel Rahn
Mr. Thorkelson…………………………………………..Tim Picotte
Florence Dana Moorehead……………………………….Arlene Watson
Jessie Brown……………………………………………..Ellen Clare O’Gallagher
Arnie……………………………………………………..Dakota Roos Adams
with Annemarie Zeyl, Janice Blampied, Judy Beltzner, Bill Rankin, Maura Larue, Meghan Burns, Marlie Spearman, Katherine Davidson and Toby