Of Mice And Men ****

Starting with the ‘Wall Street Crash’ of 1929, the Great Depression hit everybody in the USA and its contagion spread across the globe, echoing Metternich’s observation that “when France sneezes, Europe catches cold”. Its social and economic consequences were devastating, leaving an indelible mark on the American psyche.

The era has inspired countless works of literature, including The Grapes of Wrath and To Kill a Mockingbird. John Steinbeck’s Of Mice And Men is another, an influential novella exploring sundry themes such as the ‘American Dream’, loneliness, racism and marginalisation.

George Milton (Michael Roy Andrew) and Lennie Small (Nigel Miles-Thomas) are itinerant ranch hands, drifting through California. They were forced to flee their previous employment, narrowly escaping a lynch mob after Lennie is accused of sexual assault.

George is a quick-witted and resourceful fixer. As Lennie’s protector and guide, he carries the burden of constant responsibility. Lennie has learning difficulties, but his physique often makes him an attractive proposition for those seeking casual labour. He has a simple love of stroking small animals, especially rabbits and mice; however, his heavy handedness often results in their demise.

Among the figures they encounter are Curley, the volatile son of the ranch owner, and Candy, an ageing farmhand facing an uncertain future.

George and Lennie dream of establishing their own small plot of land, directly reaping the rewards of their hard labour. They lead a hand-to-mouth existence, but with Candy’s assistance, George nears the completion of a deal which will enable such a purchase to become reality.

However, Lennie is embroiled in a physical altercation with Curley and then unintentionally kills his wife. A posse is assembled to track down the pair and they draw near. With his dreams crushed, his best-laid plans having gone awry, George has the most difficult of decisions to make.

The relationship between the pair remains at the heart of this story, conveyed eloquently by Andrew and Miles-Thomas. George’s intelligence enables him to navigate situations and manipulate outcomes. But his long-suffering pastoral care for his friend remains touching. Andrew convincingly portrays a range of emotions, notably at the denouement. Miles-Thomas conveys Lennie’s childlike vulnerability and sheer physical strength with notable stillness, without falling into caricature. The staging is minimalist, allowing the performances and Steinbeck’s storytelling to take centre stage.

An enjoyable and excellent fringe production, embedded with cultural prescience and resonance.