Christopher Sergel’s stage adaptation of The Mouse that Roared, an interesting choice for YCDS’s all-male cast, was pulled off by the cast under the expert direction of Lin Snider with a degree of success that is by now expected. Although a few changes were made to the storyline of the play, such as changing the Duchess Gloriana of Grand Fenwick to the Duke Hester, YCDS pulled it off so naturally that the audience would never know that there are indeed female characters in the play.
Christopher Sergel’s stage adaptation of The Mouse that Roared, an interesting choice for YCDS’s all-male cast, was pulled off by the cast under the expert direction of Lin Snider with a degree of success that is by now expected. Although a few changes were made to the storyline of the play, such as changing the Duchess Gloriana of Grand Fenwick to the Duke Hester, YCDS pulled it off so naturally that the audience would never know that there are indeed female characters in the play.A political satire on America’s foreign policies during the Cold War, The Mouse that Roared is the comical story of the Duchy of Grand Fenwick, a tiny European country whose economy depends on their production of the famous Pinot Grand Fenwick wine. When their stability is threatened by a Californian knock-off of the wine, Fenwick decides to declare war on the United States — with no desire to win but every desire to take advantage of America’s foreign policy, under which Fenwick would receive aid and technology. Fenwick, which is stuck in the 14th century, sends a group of men, led by the seemingly incompetent Tully, with nothing but armor and longbows to invade New York City, an enterprise that shocks everyone with its success when the men capture, by a fluke, two important men and one very important bomb. After being treated as a joke for so long, Fenwick wins the ‘war’ and finds itself the center of worldwide media attention as the owner of what is possibly the most powerful bomb in the world. Fenwick uses the situation to create world peace by promoting worldwide disarmament.
Although the pacing of the play was somewhat slow in the first couple of scenes and some lines were difficult to understand through the actors’ accents, by the middle of the first act the audience was invested in the well-being of this tiny insignificant duchy, amused by its presumptions and connected with the dynamic characters. The actors’ comedic timing was flawless, prompting constant laughter from the audience. However, some of the actors had difficulty controlling their own mirth, even in scenes that required more seriousness.
On the whole, the actors (newcomers and veterans alike) brought depth and believability to their roles – from the baby-faced Duke Hester (Zach Neuman), whose excited manner and voice suited the role of a child ruler, to the oblivious Tully (Gabi Weinberg), whose sincerity and enthusiasm is endearing even when the audience is laughing at him, and to the Secretary of State (Charles Davies), one of the most convincingly dignified actors on stage, whose interactions with the President (Yoni Greenberg) create some of the funniest scenes in the play. Doni Mandel’s return to YCDS as Benter, leader of the Opposition Party, is another one of the highlights of the play; his complete immersion in the role made his character one of the most dynamic on stage.
The set, another Natanel Shafier masterpiece, took full advantage of the space on stage and accommodated Fenwick’s forest, the US President’s bare office, a science lab, and most importantly Fenwick’s royal court in the center of the stage with a glorious background featuring battlements, towers with colorful streamers, and a banner of Fenwick’s flag, which rolled away halfway through the play to reveal a radio station, to the audience’s delight.
The costumes were a visual delight as well, from the detailed outfits at Fenwick’s court to the Fenwickian soldiers’ chain mail and tabards when they march into NYC. The effect is supplemented by clever props such as a signpost with street signs indicating their exact location – Broadway and 116th. This attention to detail was not lost on the audience and certainly contributed to the overall effect of the production.
The incorporation of music, singing, and dancing into the performance infused it with an additional energy that left audience members smiling so much that the abrupt ending of the play was barely minded.
Overall, YCDS’s The Mouse That Roared was another success for the society and quite an enjoyable show, entertaining the audience enough that minor issues were easily overlooked.