‘The Graduate’ @ WaterTower Theatre
Photos courtesy of WaterTower Theatre
—Carol M. Rice
Most people of a certain age are familiar with the infamous Mrs. Robinson, the seductive “older woman” found in The Graduate. Whether they know of her via the classic Mike Nichols film of 1967, the novella by Charles Webb, or the Simon & Garfunkel song, she’s become a symbol of the modern femme fatale, yet with a darker, sadder side than the tough-talking “dames” of the earlier film noir era.
Terry Johnson’s 2000 adaptation—both of the novel by Charles Webb and the motion picture screenplay by Calder Willingham and Buck Henry—brought this offbeat story to the stage. And WaterTower Theatre’s superb production, presented by AMLI and by special arrangement with StudioCanal, allows us an in-depth look into the world of this unhappily married alcoholic and her brief sexual relationship with 21-year-old Benjamin Braddock, who ultimately falls in love with her daughter Elaine.
Carmen Lamar Gonzalez plays Mrs. Robinson with perfect world-weary calm. She is attractive and sensual, and she knows and appreciates the power she holds over men, especially a young, inexperienced one like Benjamin. Gonzalez skillfully portrays how Mrs. R navigates Ben’s initial conquest and sexual education, which makes her turning against him even more powerful.
As Ben, Spencer Sloan made me think of a cross between Dennis Quaid and Dustin Hoffman. This is not to say Sloan imitates Hoffman’s performance in the film version in any way, as he truly makes the role his own. He beautifully portrays the quintessential dissatisfied young man of mid-1960s films and novels, and his relationships with the other characters are spot on. Sloan shows us Ben’s disdain of his old-fashioned parents, his hesitancy (and later enthusiasm) in embarking on an affair with an older woman, his remorse when confronted by Mr. Robinson, his infatuation with Elaine…. Sloan’s onstage chemistry with each of these characters is exceptional.
At the start of the play, Randy Pearlman plays Mr. Robinson with a smarmy vibe, as the “friend of the family” who later evolves into a furious husband feeling betrayed by Ben’s affair with his wife. The many different emotional levels of Pearlman’s performance are excellent.
As Ben’s parents, Anthony Magee and Antoinette Dereska are brilliantly clueless and annoying. Their portrayals—of people completely out of touch with the evolving world of the 1960s (and their sullen offspring)—are exactly what they need to be.
As the sweet yet somewhat confused Elaine Robinson, Samantha Arthur is an absolute delight. It’s no wonder Ben wants to marry her! Her contagious giggle and beautiful smile contrast sharply with her emotional outbursts, and she gives a solid, layered, thoroughly entertaining performance.
The ensemble (consisting of Aida Best, Jill Baker, John Marshall, Andrew Nehme Nicolas, Haley Peters, and Cody Alexander Tabor) does a nice job filling out the stage during the rare times they’re needed, but they honestly spend more time on scene changes than anything.
C. Scenic (Paul Warmus) is credited with the elaborate set design, which works well overall (there’s an army helping with the changeovers), but all the hooks and pieces of Velcro are distracting, and some of the locations (especially those encompassing the whole stage) seem too skimpily furnished. Ruby Pullum oversees the props and set dressing, and I did like the multi-use furnishings that appear throughout, as well as the 1960s props. The Cheerios box, for example, was perfect.
Carly Hinson’s period-accurate costume design is fabulous (especially Mrs. Braddock’s green dress). Yet my guest and I questioned why Ben is so often in stocking feet—is this a directorial or a costume choice? Michael B. Moore’s wigs add to the ‘60’s authenticity.
The creative lighting design by Jojo Jones is striking and sets the tone well for not only the scenes, but also for scene changes, and Ryan Joyner’s sound design —especially the music choices—makes for just the right mood.
Director Lauren Mikeal Weber has cast the show well and brings out the best from her actors. The one major issue I have is the handling of cigarettes throughout the show. Gonzalez holds hers like a pencil, which MIGHT work if she had a cigarette holder, a la Breakfast at Tiffany’s, but it took me completely out of the scenes she was smoking in. I have no idea why anyone would hold a cigarette that way unless they’d never seen a person smoke before. This definitely should have been addressed, as cigarettes are necessary to the time period of the show.
The Graduate does include some partial nudity, and intimacy director Jamie Pringle handles it tastefully and realistically. There’s nothing worse than obviously choreographed intimacy, and Pringle thankfully avoids this.
Despite the few minor annoyances I mentioned, WaterTower Theatre has a great show on their hands in The Graduate. The actors are all perfectly cast and give outstanding performances, the design elements are strong, and the direction is solid. I highly recommend it, whether you know who Mrs. Robinson is or not.
WHEN: January 20-February 8, 2026
WHERE: Addison Theatre Center, 15650 Addison Road, Addison TX
WEB: watertowertheatre.org
