Review: Richardson Theatre Centre’s See How They Run is a breathless, wildly entertaining workout for your funny bone.

See How They Run

By: Philip King
Directed by: Lorna Woodford
Produced by: Richardson Theatre Centre

Audience Rating: PG
Running Time: 2 hours, including one 15-minute intermission
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable Volume, Some Loud Arguing
Audio/Visuals to prepare for: Nothing of Significance

Reviewed by Troy D. Murray

There is a unique thrill in stepping into a theatre with absolute zero context regarding a show's plot or the playwright's background. Going in without any prior expectations offers a refreshing clean slate, allowing me to approach the performance with an open mind as both a reviewer and an avid theatregoer while falling head over heels in love with the fine arts all over again.

Orchestrating the frantic rhythm of this farce requires precise leadership, and Lorna Woodford (Director) alongside Elizabeth Niksich (Stage Manager) deliver masterfully. Together, they coordinate the ensemble with remarkable sharpness, ensuring that every rapid-fire entrance and exit flows seamlessly, even as actors are leaping and sprinting across the stage at top speeds. Woodford and Niksich lean brilliantly into the traditional farcical style, giving the cast full permission to explore the extreme ends of their vocal range and dynamic physical performance.

The production's technical craftsmanship enhances the madness at every turn. Richardson Theatre Centre consistently crafts stellar set designs, as demonstrated by Kyle Chinn (Set Designer) and Lorna Woodford (Set Designer), who tremendously maximize every single inch of space available. Their detailed 1940s English vicarage features antiquated decor, delicate porcelain figurines, and a charming custom oil painting of the primary couple that roots the setting in authentic period detail. Kenneth Hall (Lighting Designer) provides a beautifully polished atmosphere, seamlessly shifting the illumination from the cozy, well-lit interior to the eerie, shadowy vineyard outside come nightfall. Meanwhile, Rusty Harding (Sound Designer) maintains a crisp, comfortable auditory balance throughout all the shouting and commotion. Special credit also goes to Kristin Moore (Resident Costume Designer) for period-accurate wardrobe that brilliantly accommodates actors of all builds, particularly the striking, tailored army uniforms worn by the taller cast members.

Special praise must also be given to Elise Stuart (Combat Choreographer) for her stellar work behind the scenes. The physical sequence between Jonathan Luce (Corporal Clive Winton) and Natasha Braun-Bueno (Penelope Toop) is a wonderful sight to see, perfectly executing and honoring the intense demands of a high-energy farce like this.

Elevating the production even further is this stupendously talented company, who turn a classic comedic farce into a showcase of impeccably timed delivery and deeply centered emotional control. The entire cast demonstrates astonishing expressive range, transforming standard slapstick into an unforgettable evening of high-energy theatre.

Bringing both an approachable warmth and a commanding authority, Anthony Magee (Sergeant Towers) shines in his role of authority. Though his character presence could easily leave audiences wanting even more time with him, Magee's Act II contributions are side-splittingly funny and lead the story toward a thoroughly memorable conclusion. No stranger to the Richardson stage, Blair Mitchell (The Reverend Arthur Humphrey) brings an endearing quality to the clueless character archetype with wonderful comic finesse. His Act II performance is an absolute treat as he anxiously yet enthusiastically maneuvers through the chaotic web of confusion surrounding him. Meanwhile, Dennis Ryazanov (The Intruder) fully commits to the physical demands of farce, pairing his rigorous comedic timing with a convincingly grounded Russian accent.

A true veteran of the Richardson stage, Budd Mahan (The Bishop of Lax) never fails to impress. Mahan commands the room with effortless charisma, delivering a wildly hilarious performance that stands out as a focal point of the evening. Stealing scenes left and right, Amy Knoles (Miss Skillon) is wildly rambunctious, obnoxious, and high-tempered in every way, and I loved every second of it. Her drunk sequences are a sight to behold, as few performers can throw themselves across a stage with such fearless physical commitment.

Nika Weiss (Ida) is as striking as she is formidable. She endows the maid with a fierce sense of independence despite her role to serve, seamlessly balancing her sharp personality with the vulnerable longing of a hopeless romantic yearning for someone to notice her; Weiss delivers a performance that remains truly hard to forget. Equally compelling, Stephen Kupovics (The Reverend Lionel Toop) offers a masterclass of an act. Beyond his superb dialect work, Kupovics' ability to dash in and out of doorways with incredible velocity and refined poise is astonishing; he moves with such suave dexterity that he could give Daniel Craig's James Bond a run for his money.

Jonathan Luce (Corporal Clive Winton) is as talented as he is tall. Luce is endearing, credible, and physically versatile whether grounded or scrambling across the room. He brings an irresistible charm to his role as the seductive soldier type. His feisty, charismatic wit takes the audience by storm the moment the chaos begins to unravel. Leading the madness, Natasha Braun-Bueno (Penelope Toop) commands the stage with an enchanting presence, a rich vocal vibrato, and a deliciously conniving streak. Her chemistry with Weiss, Luce, and Kupovics feels beautifully developed, and her disdainful glares toward Knoles are an ongoing highlight. Her portrayal as the leading lady can best be summarized as blissfully all over the place in the most delightful way imaginable.

Theatregoers should run as fast as their feet can carry them to Richardson Theatre Centre before this incredible show closes on Sunday, August 30th. The production delivers a masterclass in non-stop farcical mayhem, and I would gladly sprint right back to catch the entire chase all over again. Tickets can be purchased at https://richardsontheatrecentre.net/.

Now you know, so go see the show!

Troy