Decades have passed since “One Flew Over the Cuckoo’s Nest” was introduced to local theatergoers.
Local theaters have taken their shot at Dale Wasserman’s powerful stage adaptation of Ken Kesey’s novel about a rebellious inmate’s attempts to buck the system at a state mental hospital. The latest such venture now is on view at the Costa Mesa Civic Playhouse.
In the Costa Mesa production, deftly directed by Tessa Jacobs, the goofy action spills out into the audience early on as hospital aides ride hard on a “walker” (Ryan Knight) who wanders the aisles befuddled. His wordless character sets the uncomfortable mood.
The fun begins when central character McMurphy, a laggard asylum inmate, arrives. David Cherry employs his bulky presence to gain control and the patients’ admiration. This sets him on a collision course with Nurse Ratched, played with steely authority by Kelly Hero.
Cherry captures the rebellious nature of his character, more so than the serious side, with which he encounters transitional difficulty. Hero’s performance is deliberately one-dimensional, marking her as a dangerous and determined adversary.
Tops among the diverse ranks of patients is Ron Grigsby, in peak form as the intellectual giant and psychological midget Dale Harding. Also profoundly effective is Jaycob Hunter’s stammering and ultimately tragic mama’s boy, Billy Bibbitt.
R. Anthony Martinez impresses as the towering Indian believed to be deaf and mute. Nick Pappas, John Montano and Michael Ornelas render their quirky characters effectively, while Rick Hardgrove captures attention as the catatonic Ruckley.
As the diminished doctor, Jim Perham underplays nicely. Sarah Green revels as McMurphy’s “hot chick” girlfriend while Kaye Rodney lends fine support in the party scene. Travis Stolp and David Anton keep things under control as the ward aides.
Sound and lighting effects, by Joel Howden and Travis Hunter, respectively, are particularly vital to the production, especially the clanging door that punctuates each scenic transition.
While there are few surprises in any production of “Cuckoo’s Nest,” the Civic Playhouse’s rendition registers highly in its depiction of a power struggle in which one side holds all the weapons.
