In its second Off Broadway go-round (Lincoln Center in 2002) Terrence McNally’s book and Stephen Flaherty’s music with Lynn Ahrens’ lyrics of A Man of No Importance directed and designed by John Doyle, is currently at CSC until 18 of December. The production is Doyle’s unaffecting and warm goodbye as Artistic Director of CSC. The uplifting, poignant musical appropriately reminds us of the vitality of theater, whether it be in an office space or a majestic 1500 seat house on 42nd street. Unlike the titular film A Man of No Importance is based on (1994, starring Albert Finney, written by Barry Devlin, produced by Little Bird) live theater is interactive. The audience spurs on the actors in a kinetic, telepathic bond that is incredibly enjoyable once opening night jitters are put to rest.
This most probably is what keeps protagonist Alfie, a DIY theater director of Dublin’s St. Imelda’s Church players inspired and engaged, though their performances are reportedly terrible. And it is why he is wickedly devastated when Father Kenny (Nathaniel Stampley) closes down their production of Salome, because it is inappropriate and untoward for a community church theater show, though the story is right out of scripture. Actually, by the end of the production we learn that the butcher, Mr. Carney (Thom Sesma), who is one of their amateur troupe, complained to Father Kenny that Salome was tantamount to pornography because he had a small role and that pissed him off.
Alfie (portrayed by the likable and heartfelt Jim Parsons) apart from his love and spirit guidance by Oscar Wilde, who encourages him to read poems while at his job as a conductor on a Dublin bus, is a closeted, sensitive gay man. He lives with his domineering sister Lily (the always superb Mare Winningham) in their small apartment, where he keeps a raft of books and tests out his gourmet international recipes on her unadorned, “Irish stew palette.”
The year is 1964 before the cultural revolution, “free love,” mini skirts, The Beatles phenomenon and a relaxation of Catholicism’s strictures that didn’t really happen until decades later. Then, the Republic of Ireland was repressed and oppressed by doctrine that made it look more like the radical, right-wing conservative anti-LGBTQ, anti-abortion, red state swamp areas of the American South in 2022. Because of such cultural dispossession, Alfie lives in a fantasy world of art, theater and poetry. He remains inspired by his spiritual advisor, fellow Irishman Oscar Wilde, as he tries to improve the lives of those around him, whether at his job as a conductor, at home with his sister, or at the church, directing his St. Imelda Players.
When Father Kenny closes down their amateur troupe, Alfie is quite bereft, until the St. Imelda Players decide to perform a play of the events that have brought them to where they are at the finish line in the present (1964) with no winning trophy. But instead of directing them, Alfie will be the star of their play.
Cleverly, McNally, Flaherty and Ahrens adjusted and adapted the film as a flashback sandwiched by the present. The church players become the Greek chorus who engineer the events of the play, streamlining them into the action that happened at St. Imelda’s before Father Kenny shuttered their company. They sing songs that embody the emotional feeling and turning points of those events. These songs include the conflict between and among the characters, personal confessions and revelations, and the positive message that they gain from what they’ve learned together. They introduce Alfie as their star, then perform the tuneful, ironic opening number, “A Man of No Importance,” in celebration of their beloved friend and director who is their hero, integral to all of their lives. We learn by the conclusion of their musical, that to them, he is a man of great significance.
Doyle has staged the musical with an approach to DIY theater, reflective of what the St. Imelda Players might effect. The props are cleverly selected, i.e. a drum is used as the bus steering wheel. The actors use minimal furniture to create the environs where the events occur. Chairs suggest the bus that conductor Alfie is on with the driver, the affable and lively Robbie Fay (A.J. Shively, whose “The Streets of Dublin” rocks it). The players become the bus passengers with a new passenger Adele, the lovely voiced Shereen Ahmed catching the attention of Alfie as he quotes from a poem by his spirit mentor Oscar Wilde. By the end of their ride, The St. Imelda Players complete singing the titular “A Man of No Importance.”
As the players give us a tour of Alfie’s life in Dublin, we drop in on him with sister Lily, who is happy to discover that Alfie has found interest in a woman. She sings”Burden of Life” as an answer to her prayers so that perhaps now Alfie can settle down, and she can be free of taking care of him. Mare Winningham is humorous and vibrant as she takes on the role of Lily. A Catholic woman, she and the others in the troupe miss all the cues that her brother just might not be into women. When this finally comes out later, she reassures him in the song “Tell Me Why” that even though he is gay, she loves him anyway and he should have told her.
Alfie’s interest in Adele is not because her beauty entices him romantically. He thinks she is perfect for the role of Salome. Though she avers and refuses the part initially, Alfie is persuasive and she finally relents. It is his hope to have the handsome Robbie play the part of John the Baptist, perfectly cast to act with Adele. Robbie puts him off and instead invites him to come to the pub (the wonderful “The Streets of Dublin”). Alfie accompanies Robbie and makes a fool of himself singing “Love’s Never Lost” in front of Robbie’s friends. Embarrassed, Alfie leaves, further disturbed at Breton Beret’s (Da’Von T. Moody) interest in him. Additionally, he’s confounded by the “love that dare not speak its name,” a love that he feels for his “Bosie,” as he imagines Robbie to be. (Bosie refers to Lord Alfred Douglas, Wilde’s lover.)
Alfie can only admit this inner conflict as he looks at himself in a mirror encouraged by Oscar Wilde (Thom Sesma). He sings the lyrical “Man in the Mirror” as a way to work through his emotions to achieve self-acceptance. Parsons approaches Alfie’s inner conflict with yearning and honesty, confessing in a dream-state to the persecuted and vilified Oscar Wilde, a man who understands the torment he goes through.
Spurred by her discussion with Mr. Carney about Alfie’s weirdness (“Books”), Carney’s insistence that Salome is pornography, and his pressure to marry, which Lily puts off using Alfie as an excuse, Lily makes an attempt as a matchmaker. She invites Adele home for a meal that Alfie has cooked. Afterward, Alfie walks Adele home and as a friend, he gets her to admit she has “someone.” Her tears suggest that there is a reason her boyfriend is not with her. To reassure her Alfie calms her with another beautiful ballad, “Love Who You Love.” As she leaves, Alfie bumps into Breton Beret who propositions him. Alfie wisely restrains himself. His intuition is correct but his unresolved conflict between his shame at being gay and his longing to find someone to be with is a devastation in a Catholic country where being a homosexual is a mortal sin requiring repentance and conversion. Interestingly, he imagines Oscar Wilde encourages him by suggesting that the only way to remove temptation is by giving in to it.
In Doyle’s production the musical is streamlined to eliminate an intermission and keep it as one continuous series of events that move with swiftness, as players would effect their version of what happened, without including every detail. There are fewer players and most of them are incredible musicians that round out the small band tucked away in a second floor balcony against the back wall of the CSC playing area, where the audience abuts on three sides. Thanks to Bruce Coughlin (orchestrations), Caleb Hoyer (music director) Strange Cranium (electronic music design) the music arrangements, Doyle’s staging and the players’ vocal work is gorgeous, and seamlessly, perfectly wrought in configuring the St. Imelda’s Players’ production. Indeed, they are much better than they’ve jokingly been described.
After the turning point (“Love Who You Love” carries the theme) the players reveal that Adele can’t continue with her lines as Salome because the words convict her soul. She can’t act a role where she’s supposed to be innocent and virginal, because in real life, she’s a fallen woman, who had intercourse out of wedlock and now is pregnant. Full of guilt and remorse her punishment is self-torment and humiliation. She must emotionally suffer the rest of her life because abortion is out of the question and the father won’t marry her to make the baby legitimate. The church and the oppressive paternalistic folkways of the culture vilify her with unworthiness and condemnation.
Catholicism hangs over the heads of the characters like a dirge of annihilation and judgment. Adele will have to go home to receive help from her parents to raise the child. Meanwhile, Mr. Carney also uses religious folkways to shut down the play. To add insult to injury, Robbie feels condemned by Alfie when Alfie unwittingly interrupts Robbie and Mrs. Patrick (Jessica Tyler Wright) making love in the bus garage. Feeling the weight of the sin of adultery, Robbie insults Alfie and judges Alfie’s life is without love, an accusation that torments Alfie because he loves Robbie.
Alfie can never reveal this love to him because it would drive Robbie away. Though Alfie has attempted to confess to Father Kenny (“Confession”) he can’t bring himself to reveal his great sin and thus is damned with guilt. As a result of the conflict of loving someone who would never love him, and being accused by that same person as being unloving, Alfie throws caution to the winds. He engages with Breton Beret who has been waiting for the opportunity to make himself look like a real man by beating up a “poof.”
Clearly, the film (1994) was made at a time when the Catholic church was dealing with its own sexual sins which finally came to the fore in the world wide expose of pederasty in the church around 2002. However, the film/musical sets the events back in the 1960s before any of the cultural revolutions took place. Nevertheless, to understand the full force of Catholicism condemnation of homosexuality, check the numbers of gay men who were abused as Alfie is abused by the likes of Breton Beret, or look at the numbers of Catholic gay men committing suicide because they couldn’t reconcile their feelings with their religion. Also, read up on the Republic of Ireland’s approach toward girls who got pregnant out of wedlock in the book Philomena (also a fabulous film with Judi Dench). Or read the stories of the Magdalene Laundries, captured in the film The Magdalene Sisters. The brutality of the paternalistic Catholic folkways winked at male adultery like Robbie’s and swept it under the rug as “boys will be boys.” As for gays or women with babies born out of wedlock, the humiliation, shame and condemnation was a cruelty that destroyed lives.
In the book of the musical McNally is not heavy handed with Catholicism in its iteration at St. Imelda’s community church. The musical has a light touch and religion appears to take a back seat, if we are not aware of the entrenched history of the church and its devastation on its believers. Rather, it is understated with Robbie’s anger at being discovered by Alfie, and Adele’s tears when the father of her child abandons her after he takes what he wants. Alfie gets the worst of it because he is discovered as a homosexual by the police who come to save him from being beaten to death by Beret. But the rub is he can’t press charges for assault because public opinion against “poofs” is more reprehensible than a physical assault. In fact it is intimated that Beret gets backroom laughs and cheers for beating up a homosexual who fell for his enticement.
McNally, Flaherty and Ahren configure the church’s worst folkways to be the sub rosa driving force for all of the humiliation, self-condemnation and torment that makes the conclusion so incredibly vital to A Man of No Importance. Thanks to Doyle, the performers and the creative team’s talents, the conclusion is uplifting and poignant for us today with a message of love and acceptance that is never old. It is the true spirit of Christmas in this “Happy Holidays” season, and in the United States needs to be proclaimed from the rooftops. In its quiet and unassuming way, A Man of No Importance is a trophy winner.
Kudos to Ann Hould-Ward (costume design), Adam Honore (lighting design) and Sun Hee Kil (sound design) and the entire cast and creative team who bring Doyle’s vision to life. The excellent must-see A Man of No Importance is at CSC until 18 December. For tickets and times go to their website: https://www.classicstage.org/current-season/a-man-of-no-importance
Life is a whistle stop away from dissolution and death in the soulful, atmospheric, other-worldly Girl From The North Country by Conor McPherson (Shining City, The Seafarer) with music and lyrics by Bob Dylan. The production had an extended run off Broadway at The Public Theatre. With a few cast changes and a bit of slimming down, the McPherson/Dylan collaboration is an enlightened one as Dylan’s songs have found an amazing home threaded from decade to decade with McPherson’s canny naturalistic and spiritual characterizations
Dr. Walker (the fine Robert Joy) provides the frame of reference (like the narrator in Thorton Wilder’s Our Town) revealing the depression-era setting and introducing the lead characters. Interestingly, all of the characters by the end of the production must confront the state of their lives during the dire times during 1934 in Duluth, Minnesota. McPherson’s expert sense of story-telling and familiarity with the Depression-era literature of the time has enabled him to cobble together the John Steinbeck-like (Of Mice and Men, Grapes of Wrath) characters and storylines. These have been reinforced and inspired by Bob Dylan’s music from various decades. Together, theirs is a marvelous depiction of unity in desperation, longing in torment and hope in uncertainty. Finally, the musical’s theme of timelessness wafts like a beaming streak of gold throughout this must-see production.
A number of the actors double as musicians and Dylan’s song selection ranges in a combination of pop, country, folk and blues. All the songs are recognizable and illustrative of the mood and tone of this stirring piece about characters who yearn for a brighter tomorrow but know that the result will be a more challenging ever-presence of sorrows. Nevertheless, the characters snatch from the mouth of woe bits of humor, song and dance which create shining moments that move them to give solace to one another to help get them to the next day.
Chief among these every-day-heroes is boarding house owner, the stalwart, self-immolating Nick Laine (the fine Jay O. Sanders) who keeps a brood of homeless, down-and-outers together for a time, until they must all move on because Nick is broke and losing his home to the banks. The reference to Steinbeck’s Joad family in The Grapes of Wrath after they lose their house and prepare to leave for the “promised-land” of California is unmistakable.
Nick must negotiate his wife Elizabeth (the incredible Mare Winningham in a sterling performance). Elizabeth has dementia and ironically serves as Nick’s conscience, seamlessly moving in and out of sentience selecting a time when she can most effectively jab at Nick’s soul about his sister whose death he negligently caused and his mistress Mrs. Neilsen (the excellent Jeannette Bay Ardelle).
Mrs. Neilsen and Nick receive a respite from misery in each other’s arms as she rents a room and helps out with Elizabeth during the time she stays in Nick’s boarding house. Mrs. Neilsen lures Nick with her deceased husband’s scheduled inheritance which she dangles in front of him as bait to fulfill their dream of running away together. Ardelle easily slides into Dylan’s songs with full-throated abandon that is rich and lustrous.
Winningham’s Elizabeth is willful, prescient and edgily funny. She brings down the house with her rendition of “How Does It Feel,” as a foreboding reminder that fate comes for all of us and especially Nick and the various borders who are skulking away from life and the law in this temporary haven from both. She nails Mr. Perry for his sexually predatory abuse of her when she was a child. And she questions Nick why he would pimp off their adopted daughter Marianne Laine ( the wonderful Kimber Elayne Sprawl) to old Mr. Perry in a quid pro quo exchange of Marianne for the payments on their mortgage. Elizabeth to a large extent discourages the deal to Nick, Mr. Perry and her daughter, and though she will miss her, she doesn’t discourage Marianne from running off with boxer Joe Scott (Austin Scott) who blows in one desolate night looking for shelter at Nick’s place with his companion Reverend Marlowe (Matt McGrath).
Thankfully, Nick’s boarding house provides “a welcome for lost souls.” There, Nick feeds them, they celebrate Thanksgiving, they dance. However, Mrs. Burke (the fine Luba Mason), Mr. Burke ( the superb Marc Kudisch), and Elias Burke (the wonderful Todd Almond) hide secrets. So do the slippery Reverend Marlowe and accomplished boxer Joe Scott. Each of the characters is “on the run!” They carry the baggage of their fears, failures and hidden torments to Nick’s guesthouse where eventually their inner hell is exposed to the light and we feel and understand their suffering with empathy in a kind of redemptive soul evolution and hope.
Perhaps the most poignant of fears concerns the Burkes, whose strong, powerfully built son Elias manifests the mind of a three-year-old. Like the character Lennie in Steinbeck’s Of Mice and Men, he understands little of his world around him and stumbles into heartbreaking trouble.
The poignance of his demise is uplifted when Todd Almond as Elias magnificently sings “Duquesne Whistle.” As a spirit he has gone to the afterlife. No more materialistic pain and suffering shackles his mind and heart in darkness. Dressed in a white suit, free of his mental challenges, he and the chorus celebrate that other dimension McPherson beautifully presents (a theme in many of his works). It is a full-on, gospel “coming home” ceremony. Elias (like his name-variant prophet Elijah), “makes it to the other side” of the Light in a wonderful capstone to Almond’s complex and nuanced portrayal.
Thanksgiving as an ironic celebration of a country that has not stood by any of them, initially is filled with song that follows fast with grim realities. At this juncture after the toasts come the tragic truths that explode all of their yearnings that are pipe dreams (in a reference to Eugene O’Neill’s The Iceman Cometh). Though Marianne escapes with Joe Scott who airily convinces her he will protect her and her child in Chicago, it is one more grabbing at a brass ring on the merry-go-round of life that has stopped spinning and has lost its glory in a break down that will never be repaired.
Nick’s hopes shatter as his daughter Marianne runs off, leaving Mr. Perry without a wife and Nick without house payments. And the final blow is delivered by son Gene (Colton Ryan) whose alcoholism allows him to tell his father at the celebration that he lost the railroad job his father moved heaven and earth for him to get. Gene’s girlfriend Kate (Caitlin Houlahan) leaves him and he is left relying on his father when Nick has nothing more to give him and feels an abject failure at his inability to raise his children to help support the family which is now bereft. No wonder Nick considers suicide (Dr. Walker implies this) but is too dependent on Elizabeth needing him to take it beyond contemplation.
Only Elizabeth, after her marvelous speech about love and her marriage to Nick, afterward singing “Forever Young,” remains serene in her sentience and canny distraction. Indeed, with Nick’s help she has mastered the art of balance even in her dementia.
With finality, we look in the background at their last Thanksgiving together in tableau, as Dr. Walker narrates what he knows of the characters’ futures, again reminiscent of the narrator in Thornton Wilder’s Our Town. And as McPherson is wont to do and does believably, Dr. Walker (Robert Joy) shares his passing to “the other side” in Christmas of 1934. We realize then that he has been speaking to us as a spirit, sharing with us his fond memories of the Laines, the guests, and that time.
What more can be said about this marvelous must-see Broadway premiere that has been directed by Conor McPherson and shepherded with care and love from The Old Vic, to The Public Theater, to the Belasco Theatre? The chorus/ensemble (Matthew Frederick Harris, Jennifer Blood, LawTerrell Dunford, Ben Mayne, Tom Nelis, Chiara Trentalange, Bob Walton, John Schiappa, Rachel Stern, Chelsea Lee Williams), are exceptional in voice and movement. Kudos to Rae Smith (scenic & costume design), Mark Henderson (lighting design), and Simon Baker (sound design). Simon Hale’s orchestrations and arrangements of Dylan’s music are exceptional. Additionally, without Dean Sharenow (music coordinator) Marco Paguia (music director) Lucy Hind (movement director) the actors who played in the band (Todd Almond, Marc Kudisch, Luba Mason), and musicians Martha McDonnell, Mary Ann McSweeney, and others, the full impact of the production would be lessened.
Theater Review (NYC): ‘Girl from the North Country’ by Conor McPherson, Music and Lyrics by Bob Dylan
I cannot imagine any writer but Conor McPherson effectively providing such a dramatic flight path to Bob Dylan’s repertoire. The playwright’s eerie, atmospheric writing effectively implies connections between the material at hand and otherworldly realms. Dylan’s titular song is part of the hybrid McPherson musical Girl from the North Country, which is part song cycle, part winsome and effusive-with-longing memory play. Extended, the production currently runs at The Public Theater until 23 December.
Indeed, in this musical, which the playwright also directed, McPherson’s writing and Dylan’s songs have reached an apotheosis of sorts. Their collaboration is a fascinating meld. And their works morph like sand under the tremendous heat and pressure of sadness, fear, and desperation to depict a desperate time in 1934. The result when cooled becomes a glass through which we see clearly the emotional and spiritual impact of longing, desiccated dreams, the desolation of impoverishment, unfulfilled love and loss.
We recognize that that era is like our current one. Thus, these elements in the characters’ songs and word-arias become empathetic fragments. And in them we find threads familiar from our own lives meshing with the raw, explicit rendering of soul-weakened characters who “can’t catch a break.”
McPherson, the seminal Irish playwright of the haunting Shining City, The Weir, and The Seafarer, always exposes the spiritual elements present in our midst, whether we want to acknowledge them or not. For his part, Dylan for over 50 years has entertained and moved us with poetic evocations of life’s gritty and hope-inspired underbelly. Indeed, his brilliance manifests in his reverse chameleon-like morphology. Incrementally, he started trends, then left them to form others after musician admirers saturated the field with imitations. Always fresh, insightful, wise, Dylan has become a treasured cultural prophet and minstrel wandering through the times of our lives.
Over the decades he has proven himself more than a masterful tunesmith, though the Nobel Prize Committee bestowed its award for his songwriting. His word-craft and storytelling ballads remain unique and particular to Dylan. He has shepherded us through repeated social crises and cultural transformations. But Dylan stayed true to himself. He adhered only to the shifting currents within, despite the outward tug of his fans’ pressure to keep doing the same stuff.
Together McPherson and Dylan achieve a new boldness and resonance. Surely, that remains one reason why this stellar production at the Public inspires and rises to an extraordinary level. This abides especially because of the striking voices of the cast. It also comes from the stunning portrayals that echo characters from John Steinbeck’s Depression-era short stories and novels. Mare Winningham’s depiction of Elizabeth Laine is just gobsmacking.
Thus, the memorable fusion of two greats illuminates like starlight. Indeed, the production may guide the way for future collaborations by others of like kin. McPherson’s and Dylan’s first time out of the gate wins with grace, humor, delight, and poignancy. Its rich fullness bears seeing more than once. For you may miss the book’s subtle themes intermingled with the parallel thematic thrust of Dylan’s songs. Gleaning how the show subtly weaves the songs into the characterizations and story development pleasantly startles. Dylan’s “Sign on the Window” and “You Aint Goin’ Nowhere” exemplify the characters’ ironic, spiritual situations, for example.
In all of McPherson’s works, spirits materialize. Sometimes, devils manifest, including a few “Christian” human devils. Some leave once they have moved humanity to act. Other spirits continue to haunt his characters with surreal guilt. In Girl From the North Country, a sister’s horrific end floats in the consciousness of Nick Laine, a fact Dr. Walker (Robert Joy) and Elizabeth Laine his wife (Mare Winningham) affirm.
Nick doesn’t admit to this “haunting.” But Elizabeth, at times strikingly sentient, other times searingly dementia-addled, suggests its impact. She refers to “hearing the girl down the hole” when she resists Nick’s struggles to attend her. In another instance, when Nick attempts to finalize the deal to marry off their adopted daughter, the pregnant Marianne (a moving Kimber Sprawl), to the 70-year-old Mr. Perry (a fine Tom Nelis), Elizabeth speaks of “the girl.” Thus, “the girl” becomes the signifier of women as casualties of abandonment, accidental negligence, and death at the unwitting hands of men.
This metaphor, further strengthened by the male/female interactions throughout, provides the backdrop for various songs. Love, its strength, its loss, is a theme found in Dylan’s songs: “Tight Connection to My Heart,” “I Want You,” “Make You feel My Love.” The husband/wife relationships weakened by want and economic stresses languish (“True Love Tends to Forget,” “What Can I Do For You,” “Is Your Love in Vain.”) And the young girls Kate (Caitlin Houlahan) and Marianne have few options but to settle for those they do not love, in order to gain security and shelter.
Escape from this desolation of want and hopelessness lurks in every character’s mind, especially in Elizabeth’s. Her “escape hatch” under her chair, where she’s collected coins and dollars, suggests women’s behavior from time immemorial. Sadly, the paltry sum wouldn’t take her far. And her dementia, if she did “escape,” would result in her being placed in a mental institution. Thus, Nick, the best husband he can be under the circumstances, humors and takes care of her with Marianne’s and his mistress Mrs. Neilsen’s (Jeannette Bayardelle) help.
After Dr. Walker apprises us of what happened and “the girl”‘s relationship to Nick, we understand why, throughout the production, Nick never sings his own individual/solo song. Unable to forgive himself for her death, he increasingly allows his inner life to wither. Laine’s emotional and psychic state remains doubly clear when he says to Mrs. Neilsen that he “has no soul” and can’t tell her he loves her. Desolation would overcome him with alcoholism, but he must take care of Elizabeth. It is she whom he lives for, as her caretaker. Their occasional interaction during Elizabeth’s sentient periods forces edgy and humorous exchanges.
Except for Dr. Walker and the elderly Mr. Perry, each character sings either his soul’s theme that typifies his/her existence or a song of regret and loss that asks questions about life and love. Most striking for me is Sydney James Harcourt’s portrayal as the boxer Joe Scott. His rendition of “The Hurricane,” portends the (racial) storm coming, both physically and metaphorically. Obviously, McPherson has drawn parallels between his Joe Scott and the boxer Rubin “Hurricane” Carter, whose quest for freedom Dylan supported against wrongful imprisonment in the 1960s.
Winningham brilliantly delivers “Like a Rolling Stone” with nuanced depth and power. With it Elizabeth indicts all who have entered their boarding house, her family, herself, indeed all humanity. For all, whether they admit it or not, are “on their own,” facing their own abyss. The rhetorical question “How does it feel?” and the silent answer we all fear and know in our “aloneness” become the signature theme of the musical. Fabulous!
Dr. Walker narrates the story of the Laines and their guesthouse. And Mr. Perry delivers a powerful word-aria when he attempts to persuade 19-year-old Marianne that he will take care of her, die soon, and leave her his inheritance – so why not couple? However, like Nick Laine, both Perry and Walker remain songless. It is as if they haven’t the heart/soul to pour out their feelings in melodic phrases.
Stephen Bogardus’ (recently Dr. Mark Bruchner in Irish Rep’s On a Clear Day) dynamic voice has been closed off to portray Nick Laine. His Laine draws us in as he exhibits tireless efforts as proprietor of the boarding house he manages in Duluth, Minnesota in 1934. This semi-stolid figure, in his chaotic guesthouse, offering cheap room and board to a bankrupt businessman, his wife and son, a widow, a Bible salesman, and a boxer, cannot keep his family prospering. Like his impoverished guests, he struggles to make it to the next day and attempts to be sanguine about it. Of course he dreams and works at escape with Mrs. Neilsen; they wish to leave with her inheritance and start a hotel. It’s a Eugene O’Neill pipe dream!
As the musical develops, every hopeful door slams in Nick’s face. Son Gene (Colton Ryan) never gets that railroad job Nick moved heaven and earth to get for him. And Marianne doesn’t settle down with Mr. Perry, who offered to provide Laine with a check to pay a bit of his mortgage debt. Living with Perry would safeguard his daughter and her baby, Nick believes, though Marianne prefers seeking the baby’s father. When lawyers defraud Mrs. Neilsen, she decides to leave. For Nick this last door slams in his face.
And when there appears to be no way out, Nick considers suicide. Dr. Walker mentions the high suicide rates after the Wall Street crash. Surely, suicides continued in high numbers during those Depression years. Homelessness, want, sickness, starvation – Nick has seen sufferers in tent embankments like those so trenchantly described in Steinbeck’s The Grapes of Wrath. Nick fears for himself and Elizabeth, for in a few months the bank will foreclose on their mortgage. Assuredly, they will end up like the other ragtags living in tents unless he finds a way for them.
Considering that Dylan’s songs range over decades, written before this project ever could have been conceived, McPherson selected an appropriate setting and characters for his musical’s book. Every character’s desperation spills out into urgent need for money and shelter. Like the Joads of Grapes of Wrath, right before they lose their home and travel, these characters strive and seek the comfort of one another. Thankfully, Nick’s boarding house provides “a welcome for lost souls.” There, Nick feeds them, they celebrate Thanksgiving, they dance. However, Mrs. Burke (Luba Mason), Mr. Burke (Marc Kudisch), and Elias Burke (Todd Almond) hide secrets. So do Reverend Marlowe (David Pittu) and Joe Scott (Sydney James Harcourt). On the run, they bring their fears and hidden sorrows to this guesthouse and eventually their darkness is brought into the light.
Perhaps the most poignant of fears concerns the Burkes, whose strong, powerfully built son Elias manifests the mind of a three-year-old. Like the character Lennie in Steinbeck’s Of Mice and Men, he understands little of his world around him and stumbles into fearful trouble.
The poignance of his demise is uplifted when Todd Almond as Elias magnificently sings “Duquesne Whistle.” As a spirit he has gone to the afterlife. No more materialistic pain and suffering shackles his mind and heart in darkness. Dressed in a white suit, free of his mental challenges, he and the chorus celebrate that other dimension McPherson beautifully presents. It is a full-on, gospel “coming home” ceremony. Elias (like his name-variant prophet Elijah), “makes it to the other side” of Light in a wonderful capstone to Almond’s complex and nuanced portrayal that stuns.
Thanksgiving, the last memorable party, follows with grim realities that unload truths on all of them. Only Elizabeth, after her marvelous speech about love and her marriage to Nick, afterward singing “Forever Young,” remains stalwart in her sentience and distraction. Indeed, with Nick’s help she has mastered the art of balance even in her dementia.
With finality, we look in the background at their last Thanksgiving together in tableau, as Dr. Walker narrates what he knows of the characters’ futures, reminiscent of the narrator in Thornton Wilder’s Our Town. And as McPherson is wont to do and does believably, Dr. Walker shares his passing to “the other side” in Christmas of 1934. We realize then that he has been speaking to us as a spirit of his memories of the Laines, the guests, and that time.
What more can be said about this marvelous must-see-a-few-times production? The chorus/ensemble (Matthew Frederick Harris, John Schiappa, Rachel Stern, Chelsea Lee Williams), are exceptional in voice and movement. Kudos to Rae Smith (scenic & costume design), Mark Henderson (lighting design), and Simon Baker (sound design). Simon Hale’s orchestrations and arrangements of Dylan’s music are exceptional. Additionally, without Lucy Hind, Unkledave’s Fight-House, Dean Sharenow, Marco Paguia, the actors who played in the band (Todd Almond, Marc Kudisch, Luba Mason), and musicians Martha McDonnell, Mary Ann McSweeney, and others, the full impact of the production would be lessened.
2018 Tribeca Film Festival Review: Chekhov’s ‘The Seagull’ Starring Annette Bening, Corey Stoll, Saoirse Ronan, Elisabeth Moss, Mare Winningham
Michael Mayer’s valiant attempt to bring a freshness to The Seagull with a script based on Anton Chekhov’s titular work by Stephen Karam (Tony winner of The Humans-2016) shines for a myriad of reasons. Yes, many critics dunned it or found that it fell short of its monumental task to bring Anton Chekhov’s four act, three hour play to the screen. Indeed, Chekhov is not easy and the script has been paired to emphasize the humor and highlight the salient speeches and actions, leaving the more unwieldy dialogue behind.
At its first time out in 1895, The Seagull flopped. The play requires superb acting and directing so that the ponderous tones are submerged and the comedy comes to the fore. I have seen a number of productions that left me with a yawn and a nod. Not so for this film. Forgive me fellow sojourners with a critical eye. My pen is blunted from razor sharp barbs directed to slice into this fine feature which made its World Premiere at the 2018 Tribeca Film Festival.
Mayer brings the action into the breathtaking settings of the lake and environs of the estate. He carries this striking beauty into his grand and lush interiors signifying the wealth and class status of the Pjotr Nikolayevich Sorin estate. Sorin (Brian Dennehy) is Irina’s (Annette Bening) brother. Interior and exterior settings are visually stunning. Against this gorgeousness Mayer unleashes the characters foibles and tragedies. The irony that luxury and the exquisite beauty of things has little power over emotions thematically resonates throughout. The principals’ (Irina-Bening, Trigorin-Corey Stoll, Nina-Saoirse Ronan, Masha-Elisabeth Moss, Konstantin-Billy Howle) interactions form the meat of the drama which ends in tragedy. None of the characters appear to be self-aware (Trigorin excepted with caveats) to the point where they can make decisions which are life-affirming. Chekhov and Mayer’s iteration of his version of The Seagull places the human condition in its humor and sadness front and center. To his credit Mayer’s understanding and perception continually serve his fine cinematic intuitions, skills and efforts.
The vitality of the settings that move back and forth from outdoors to interiors ground us in the landed wealth and social order of the Sorin family who also boasts a celebrity, the actress Irina who visits her brother Sorin and her son Konstantin each summer. The settings, always a subtle reminder of the time and place in Russia before the revolution (twenty years or so later) seem a particular irony. The upper class social elites and celebrities (Irina, Trigorin, etc.) whose physical needs are answered by the serving class, remain surreptitiously unhappy and in a constant state of displacement by the major facts of life: love-loss, aging and death. Their sturm und drang, whimsies, self-absorption and discontents are the luxuries of their class which harbor the seeds of tragedy because their cavernous, selfish desires blind them to the encroaching realities. Unless they self-correct, they will face tragedy and loss after tragedy and destruction, muting their soul’s enrichment until little of worth is left.. Inevitably, this class in the coming decades will lose all they take for granted.
Irina (Bening is authentic and stunning as the aging diva racing one step ahead of oblivion, and the end of celebrity and youth) brings the successful novelist Trigorin (Stoll in a superbly realistic performance) into the summer festivities of the family on their estate. Trigorin’s presence is the catalyst that puts the human dominoes in motion and sends them careening off a cliff with humor and irrevocably pathos. Konstantin, a passionate, unconventional writer is devastated after his mother Irina and the others find his play, performed by his unrequited love Nina, to be laughable and esoteric. Too self-absorbed with their own greatness Irina and Trigorin dismiss his yearning for success and recognition. His need for his mother’s love and acceptance has fallen at the shores of his depressive state for years. Almost in a revenge against his plight and in a self-curse of not achieving success, he shoots a delightful, beautiful seagull in a wanton act to release his anger. He gives the seagull to Nina who rejects it. It is a symbolic act, as if as refuses to acknowledge that her unrequited love wounds him. This act reverberates and symbolizes additional themes. One is that human being’s selfish desires and passions loosed upon the natural world and others, if not moderated, harm and destroy.
For her part Nina (who lives on a neighboring estate) is entranced by Trigorin and dismissive of Konstantin’s love. She seeks fame as an actress and wants Trigorin’s love which he finds flattering for his ego is wounded in his relationship with Irina and the encroaching years of waning masculinity. Nina may be his last, greatest passion, and if not that, a distracting plaything to notch on his belt and then discard. When he notes the dead seagull, he shares that he may use it as a symbol in a work he will write. These poetic notions seduce Nina with the enticement that she may be his seagull. Nina is blind to the danger of what he says, innocently trusting him with her love and being.
Stoll as Trigorin is convincing especially in his self-justification of why he must take Nina’s love, if even for a season, when she offers it quoting from a passage in a work of his. This speech in particular is superbly delivered by Stoll. And even if it is not graceful, we empathize with his fear of aging and the limitations of his mortality with which we all can identify. Neither money, nor success nor celebrity can answer death. However, being pursued by two women a beautiful younger one and a celebrated actress who is a drama queen will suffice in the meantime, though it requires the humility and wisdom to negotiate their war against each other to “get” him. Trigorin’s pride and fear do not allow him to balance the two women so that they don’t care about his concern for the other in competing jealousies. They do care and they compete for him.
Irinia discovers Nina’s hopeless infatuation and must then approach Trigorin with clever wiles to get him to return with her to Moscow. If they stay at the estate, in front of her he will fulfill his lustful passion for Nina, for Nina is relentless. Irina refuses this humiliation.Though Trigorin and Irina leave together, in the short term she knows she must let him go.
Bening’s and Stoll’s interplay is smashing. In their portrayals, they reveal that neither character loves the other, but the passion for keeping their successful images by using each other’s status is familiar territory. Ultimately that will bind them together, despite any interfering love by encroaching inferiors like Nina or even Irina’s son Konstantin.
These intricate matters of the heart are further complicated by the unrequited love of Konstantin for Nina whom he adores, and Masha’s (the daughter of Sorin’s baliff) unrequited love of Konstantin. The only stable one appears to be Doctor Dorn (Jon Tenney) who sees the value in Konstantin’s symbolistic, maverick play. However, he is having an affair with Polina behind her husband’s back, not embarrassed to cuckhold an inferior. Thus, with this selfish and wanton weakness, he fits the ethos of the other disturbed, dismantling characters.
What of the irascible and reflexive Sorin (Dennehy) who allows the visitors to descend on the estate each summer with aplomb and takes care of his nephew Konstantin while his sister indulges her passions for the dramatic life? He appears to be the most balanced, but he has two sick feet on a banana peel, and if he moves too suddenly, he appears ready to slip out of life. Only the servants/peasants whose needs we cannot see remain solid even heroic as they attend to their sometimes “infantile” charges and judge their actions accordingly.
The beauty of the film is its muscularity. The director focuses on the performances in the highly charged scenes between Bening’s Irina and Stoll’s Trigorin and between Trigorin and Saoirse Ronan’s Nina and between Nina and Howle’s Konstantin.
The succinct script entices us toward believability. We know these individuals and are fascinated by their rationale for behaving as they do. Though not very admirable or honorable, they are like us as they “hang themselves and each other out to dry.” When Nina returns in her dishevelment and dislocation of self and presents what she “is” to Konstantin, he sees her identity ravished and torn by Trigorin and the vicissitudes of her mediocre acting career. From his love for her and out of his own depths of despair, he willfully kills himself ending his misery and torment.
The ending is particularly poignant. Saoirse Ronan, appears like a ghost to revisit and haunt the scene as if transferring her great wounds to Konstantin who again kills a seagull in his empathy with it. This time it is himself. Representatively, symbolically his act shows that though Nina’s physical life continues, for all intents and purposes, her beauty and innocence are dead. Both have allowed themselves to be consumed by others whose great, dark abyss of self-torment seems limitless in its rapacity to devour all who attempt to love them.
See the film for the performances: all are wonderful, and kudos to Elisabeth Moss who manages always to be funny in her despair and angst. Mare Winningham, Jon Tenney and Brian Dennehy relay solid performances.
Mayer has found an approach to putting difficult classics onscreen. Perhaps he will continue this trend; fine directors should work with the classics to acquaint the current generation with great playwrights and authors. Actors surely will jump at the opportunity, to portray humorous and profound characterizations like the ones Chekhov has delineated in The Seagull.