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by Sidney Kingsley, directed by Neil Munro

Shaw Festival, Festival Theatre, Niagara-on-the-Lake

May 23-September 21, 2002

"The Avenger’s Tragedy"

The Shaw Festival has another hit on its hands with “Detective Story”.  Director Neil Munro has proven himself a master in directing large naturalistic plays.  Like “Counsellor-at-Law” in 1992, Sidney Kingsley’s 1949 look at the goings-on in a New York City police station, whose demands might have overwhelmed many another, suit him perfectly.  It is a showcase for the talents of 33 of the Festival’s actors playing 34 roles in this cross-section of life in the city.  From the midst of a lively parade of complainants, crooks and detectives a suspenseful tragedy emerges that will have you on the edge of your seat.

Unlike what many may expect from the title, “Detective Story” is not a murder mystery in the manner of Agatha Christie.  Instead it is a story about a detective, Jim McLeod (Peter Krantz), whose passionate hatred of criminals has led him disparage the safeguards of law and procedure  to the point of  harassing and abusing suspects he thinks will escape justice.  Unlike his colleagues he is too personally involved in his work.  He sees in every criminal’s face the face of his father who so abused his mother she died in a mental asylum.  He is particular vicious toward Kurt Schneider (Lorne Kennedy), a “doctor” accused of performing botched abortions that have claimed two lives.  Schneider’s lawyer Sims (Neil Barclay) has in turn accused McLeod of brutality against his client.  Both Sims and crime reporter Joe Feinson (William Vickers) warn McLeod that if he doesn’t lay off Schneider ugly secrets of his own will come to light.  But when McLeod has the chance to be alone with Schneider, he cannot control his anger and beats him up so badly Schneider is admitted to hospital.  His superior Lieutenant Monoghan (Jim Mezon) begins his own investigation and uncovers secrets that shatter McLeod’s black-and-white view of the world and lead to tragedy.

Peter Krantz gives a powerful performance as McLeod.  Only gradually do we see quite how unbending McLeod is and how dangerous this flaw will be.  Krantz brings out the full tragedy of a character who can’t change his absolutist views even when he comes to see how they have ruined his life.  Jim Mezon clearly show that Monaghan investigates McLeod out of concern for him and without malice.  Jane Perry as McLeod’s wife Mary, is not up to Krantz’s level in portraying conflicting emotions.  She is far too calm in what should be an emotional complex scene when Mary decides walk out of her marriage.  Simon Bradbury does well at making Mary’s former boyfriend Tami Giacoppetti not so slimy that we can’t imagine Mary falling for him.  Kennedy, Barclay and Vickers all give fine performances, with Kennedy particularly intense a man poised between hatred and cynicism.       

The details of this central story emerge piecemeal interleaved as it is with several other dramas being played out at the station, some serially, some simultaneously.  There’s Mrs. Farragut, the precinct’s local loony (the hilariously serious Jennifer Phipps),  who claims to have electronic vision that can see people through walls such as the men next door she thinks are building an atomic bomb.  There’s a Shoplifter (Sarah Orenstein in a fine comic turn), onstage through most of the action, being booked for stealing a fake alligator purse.  Two cat-burglars Lewis (Dylan Trowbridge as a comic innocent) and Charlie  and (George Dawson an intense, edgy performance) are brought in, the younger Lewis spilling the beans on the older Charlie.   First-time offender Arthur Kindred (Jeff Meadows in a strong debut with the Shaw), cited for bravery in World War II, has stolen $450.00 from his employer Mr. Pritchett (Al Kozlik) but is defended by his girlfriend’s sister Susan (Fiona Byrne, excellent as usual).  We see how disturbed McLeod is when he pursues Arthur even when Pritchett drops charges.   

To contrast with the obsessive McLeod, we are introduced to the irascible but gentle booking officer Detective Dakis (Norman Browning), the married playboy Detective Callahan (Mike Wasko) and above all McLeod older, longtime partner Detective Brody (Robert Benson).  Benson plays Brody as McLeod’s foil.  He demonstrates with great persuasiveness that the pursuit of justice must include mercy or one is in danger of losing one’s humanity.   

Neil Munro’s skill in choreographing so complex a piece is astounding.  There are two rooms visible--the general open office and the lieutenant’s room--with sometimes three or more actions occurring simultaneously, intercut conversations and additional goings and comings.  Yet, Munro maintains a clear focus on what is important, what ancillary, throughout so that we see how the various side-plots feed into or contrast with the main plot.  He conducts the work as if it were a symphony with expert pacing, fine gradations of dynamics and mood.   

At the same time that the show seems like a intricate slice-of-life, Munro brings out the resonance of the play’s more universal themes beneath the surface detail.  To this end he has designer Cameron Porteous create a non-naturalistic set for this highly naturalistic drama.  Except for chairs and other objects, all vertical surfaces are made of wire mesh so that we can see through them to a sketched outline of the office on the black backdrop.  Aided by Alan Brodie’s lighting, key to shifting our focus from group to group,  Munro and Porteous seem to endow us with the “electronic”  vision of the paranoid Mrs. Farragut, who can see human beings through walls since they are electric dynamos spinning off energy. McLeod refers to his job as cleaning up “human garbage” and Munro has seen to it that the stage is littered with trash that the inefficient janitor can never clean up. 

Munro has also seen the tragic structure that lies beneath the sometimes comic surface realism.  McLeod because of events in his past sets himself up as a merciless avenger of crime despite the warning “Humble yourself” from his Tiresias, the reporter Feinson.  When McLeod discovers that his own life is tainted, he crumbles.  The political ramifications of the action are also clear.  To categorize people as heroes or evil-doers according to absolute rules requires an absolute knowledge that no man possesses.  While Kingsley may have had the rise of McCarthyism in mind, many speeches take on uncanny relevance to current events now that our neighbour to the south has turned absolute avenger.

This is the kind of show that has made the Shaw Festival world-famous.  To see such a large flawless ensemble under such meticulous, insightful direction is truly a wonder.  Don’t miss it.

©Christopher Hoile

Note: This review is a Stage Door exclusive.

Photo: George Dawson, Robert benson, Leo Vernik, Helen Taylor, Norman Browning, Dylan Trowbridge and Guy Bannerman. ©2002 David Cooper.