When it comes to the questionable virtue of conformity, there is a marvelously astute quote by author Rita Mae Brown. She observed that: “The reward for conformity is that everyone likes you except yourself.”
Conformity, whether it be liking it or loathing it, is a significant presence in “One Flew Over the Cuckoo’s Nest,” the novel written by Ken Kesey in 1962 and then adapted into a play by Dale Wasserman in 1963. A decade or so later it was adapted into a film, winning Jack Nicholson his first Academy Award. If there was ever an actor born to play a non-conformist, it has to be Nicholson.
Poling
Director Jeff Ready and his actors handle the interplay of conformity and mental illness with a deft and agile touch in the Community Players Theater’s third offering of the season, “One Flew Over the Cuckoo’s Nest,” running through Jan. 12. The play explores the consequences of being a rule-breaker in a world where the ruling tyrant, Nurse Ratchet (Lynda Rettick), demands conformity.
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In the day room of a state mental hospital, we meet “the acutes” and “the chronics.” The acutes’ leader, Dale Harding (Jason Cook), explains they are the ones who are potentially curable. The group includes Harding, Billy Babbit (Caleb King), Scanlon (Samuel James Willis), Cheswick (Rich Tinaglia) and Martini (John Tilford).
The chronics, sadly, are the ones with no hope. They include the lobotomized Ruckley (Danny Steffey) and the seemingly catatonic Chief Bromden (Rich Lau).
They are all under the stern and watchful eye of Ratchet and her toadies, Aide Warren (Branden Pence), Aid Williams (Viktor Wilson-Miller) and Nurse Flinn (Em Vail).
While life in the facility certainly isn’t idyllic, there seems to be a welcome familiarity to it, and a begrudging acceptance of it along with Rachet’s “my way or the highway” mental health treatment philosophy. That is until, of course, one Randle P. McMurphy (Josh Nelson) bursts onto the scene. He’s a small-time criminal who has decided the best way to beat the state work farm is to fake a psychosis. Nurse Rachet very quickly recognizes the danger that this rule-breaking interloper presents to her obedient patients, and, almost immediately, their test of wills battle royale is on, complete with odds and wagering.
It is hard not to be charmed by McMurphy. He convinces the ward doctor (Nathan Brandon Gaik) that having a carnival would be great therapy for the guys. The patient bromance goes off the charts when he sneaks in his good-time girlfriend Candy (Mia Katz) and her tarted up friend Sandra (Eryn Rask) for a party. This is thanks in part to the help of a boozed-up and bribed-up orderly (Dave Krostal), who would sell his mother for $50 bucks and a bottle of scotch.
It’s impossible not to root for McMurphy and the lifeforce he brings to the mental ward, where many of these men have simply given up on themselves. It’s only a matter of time, however, before “follow the rules” Ratchet gets the upper hand, and the price to be paid for being a non-conformist is a devastating one. It is the Chief, however, not the nurse, who will have the final say in which bull goose looney will fly over the cuckoo’s nest.
Josh Nelson gives a standout performance as McMurphy, giving us verve and charisma, grabbing our attention every time he’s on the stage. Lynda Rettick shows us stoicism and the ever-so-slight crack of Rachet’s façade. Jason Cook delivers a stinging monologue of misdirection about Rachet. Then there is newcomer Caleb King, who gives an impressive and heartbreaking performance as Billy. His bio says he’s a history and political science student, but maybe he should consider theater.
The set design by Brandon Pence is realistic and expansive. These actors have room to roam in this box set. Lighting design is by Dan Virtue. Avery Shoen is the costume designer. It takes you by surprise, but there are moments of explosive violence. Shelbee Taylor coordinated the show’s fights, while Ashleigh Rae-Lynn Feger handled the play’s moments of intimacy.
My quibbles are few. I thought the electric generator on stage left could have been more realistic looking. Some of the timing needed to be fine-tuned in the last 15 minutes or so, which I am sure will happen. I reviewed a tech rehearsal, so a few kinks were still being worked out.
It is clear that Director Jeff Ready wants audiences to come away from “Cuckoo’s Nest” finding a positive message in its sobering outcome. Painted boldly on the front of the nurses’ station is a quotation from Mohandas K. Gandhi: “Gently, you can shake the World.”
“One Flew Over the Cuckoo’s Nest” should be considered PG-13 for violence and language.
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John D. Poling is a freelance writer who reviews plays for The Pantagraph.
