Theater Review: Tuesdays with Morrie - Finding Treasure in Abandoned Places

Let me start with a quote from director Jeremiah Albers which probably applies to a great many readers:

“I had just accepted the position of director on this show and was struck with an instant case of buyer’s remorse. After all, Tuesdays with Morrie was an immensely popular bestselling book that appealed to a whole bunch of people who were nothing like me. I remember, at the height of the book’s popularity, rolling my eyes at the mere mention of its title.”

How many of you felt the same way – and had never read the book, or watched the movie? I’m one of those people, and so it was with an unabashed sense of amazement that I left the Generic Theater last Friday night after being blown-away by a marvelous night of theater. How had I missed this for so long?

Tuesdays with Morrie is based on the true story of Morrie Schwartz (D.D. Delany), a well-liked and well-respected sociology professor at Brandeis University who is struck down with ALS in his late 70’s. In the first of three visits with Ted Koppel on Nightline, he is spotted by a former student (author Mitch Albom – played by Kent Collins) who, despite a very close connection in college, has not seen his old professor in sixteen years. What follows is the story of their reconnection, with Morrie sharing life-lessons with a stagnant Mitch while Morrie is dying. As you can see, the story has a set-up that would justify the opening quote – and yet this show was one where my eyes did not roll. To the contrary, I couldn’t take my eyes off it – and wanted more.

I’ll start with a possibility that has occurred to me – a simple one-plus-one-equals-two observation that may explain it: maybe this production is so touching and moving because it was created by someone who was unattracted to the touchy-feely sentimentality that seemed to hover around this story. What emerged was a powerful and engaging human drama: two people drawn together by need, curiosity, and love.

Delaney creates a memorable Morrie Schwartz: wise, quick-witted, playful, and dying. It was easy to see why Delaney’s “Morrie” would have been the great favorite with sociology students at Brandeis University in the decades surrounding the radical 60’s and 70’s, and why one of his favorite students would have been drawn back to him. Delaney also portrayed Morrie’s failing health with unerring fidelity, an essential element in this story since many of the magic moments in the play come from hearing inspiring insights about life flow from a man who is slowly losing his.

Mitch stands as a contrast to Morrie, but not an opposite. This is not an Odd Couple sort of pairing but one of kindred spirits who have been separated by life experiences and choices. Part of the great goodness in the production is that Collins and Delany (and obviously Albers) found the right resonance for these two characters so that this underlying connection is palpable in their interactions. Collins’ incarnation of Mitch is, like Morrie, a nice guy who is not only uncomfortable with death but also with life, having drifted into a modern day numbness and isolation as he pursues success in his profession. When Mitch and Morrie reunite, Collins and Delany portray the obvious contrast while simultaneously bringing forth the attraction that they had developed in college. We could see it and feel it without being told about it – a wonderful performance.

Collins is also to be commended for the charm he gives to Mitch, creating a character that the audience can care about as he stumbles through the journey of re-learning life lessons. He also does a marvelous job of slipping between his duties as narrator and active participant, between knowing how the story will end and portraying the confusion and conflict of the moment.

A third, and very effective cast member, was the uncredited home health-care nurse who appeared between scenes to perform her duties and tend to Morrie. It was a very subtle and yet powerful confirmation of Morrie’s failing health and provided Delany with additional opportunities to show us Morrie’s steady physical decay.

The director and production team provided these two fine actors with a simple yet strikingly effective space to work in. By using wheeled flats, director Albers and scenic designer Terry Jernigan, quickly transformed the stage from one scene to the next. The period furnishings (the bright orange “modern” sofa, and the working black-and-white console television and Hi-Fi phonograph come to mind) were perfect, as was the vintage cell phone for Mitch. (The class of middle school students who attended this performance were audibly confused about what that clumsy looking thing was supposed to be!) A contemporary wheel chair and authentic hospital bed rounded-out the list of well-chosen props and set pieces. Kudos to Jeanette Rainey, Nina Martin, and Christine Babashanian for these touches.

Another fascinating element was the use of projection (designed by Bob O’Donnell). The basic black drape along the back wall of the stage had been framed with a loosely hung white sash that also served as a projection surface. Still images that were evocative of the season or subject appeared throughout the show, adding color and confirmation to the action. Sound designer Phil Duffy ably supported the moments with music and sound, but he also had some fun, treating us at one point to the audio sensation of being center court at a tennis match.

My recommendation? Forget what you think you know about this story, and let this production enchant and surprise you.

Tuesdays with Morrie runs through June 13, with performances at 8:00 PM on Thursday, Friday, and Saturday, and 2:30 PM on Sunday. For tickets, call 757.441.2160 or go to www.GenericTheater.org .

Theater Review: Arsenic and Old Lace - This Oldie but Goodie Still Entertains!

This weekend, I had the pleasure of seeing the third installment of what might be called “The Season of Major Motion Pictures” at The Williamsburg Players: Arsenic and Old Lace. I am happy to report that it is nearly all that one could hope for: a fast-paced romp through a totally implausible, twisted situation that is filled with memorable characters. It’s a very enjoyable throw-back to the days when shows were just plain fun

For those few readers who have not seen the classic Frank Capra film starring Cary Grant, Josephine Hull, Raymond Massey, and Peter Lorre, the show revolves around two older sisters, Abby and Martha Brewster (Kathy Dean and Carole Meyer), who we soon discover have taken to mercifully murdering lonely old men. They share the home with a happy lunatic nephew (Robert Kyle) – one of three brothers – who believes himself to be Teddy Roosevelt. When about-to-be-married nephew Mortimer (Steven Koernig) stumbles upon the body of one of the sisters’ “gentlemen” in the window seat, he comes unhinged as he tries to figure a way out of the mess. No sooner has he hatched a plan than his psychotic murderer brother Jonathan (Chris Hull) arrives with his accomplice, Dr. Einstein (Roman Alis). They are hiding from the police and looking to dispose of a body of their own. What follows is two and one-half hours of thoroughly enjoyable manic mayhem. The show is long but has great pacing, energy, and life. The audience on Friday night of opening week was enthralled for the entire performance and was still laughing with gusto as the lights faded on the final scene.

Director (and new Williamsburg Players president) Ed Allen faced some interesting challenges in bringing this fine show to the stage. First, as he mentioned in the playbill, this is a show with a fairly large cast who must all blend well. Casting was important. Second, and unmentioned, was the very credible issue of how to deal with the cinematic “ghosts” from the well-known movie. There were a number of choices: 1) do your best to copy the winning example; 2) pull elements from the movie while inventing new ones; or 3) strike out on your own. All three present challenges and in this production we saw interesting examples of all three.

Kathy Dean and Carole Meyer chose the third strategy for their portrayals of the Brewster sisters. There was never a moment when I felt I was watching the movie. Instead, I was watching two wonderful actresses inhabiting these charitably homicidal little ladies. Their interactions with each other and with the rest of the cast were spot on, and their timing was excellent – pulling the most from even simple lines. Truly wonderful performances.

Roman Alis (Dr. Einstein) provided us with the best example of the second strategy I have ever witnessed in a local theater. Peter Lorre created this character in the movie – and trying to copy him is a hazardous business. Instead, Mr. Alis worked to carefully master Lorre’s sound while finding his own way into the character’s behavior. The result was a work of art: an echo of the original but not a copy. Outstanding.

Robert Kyle wisely opted for the first strategy. His job was to portray Teddy Brewster portraying a lunatic version of Teddy Roosevelt – a person who may have been in the screen actor’s memory when the movie was filmed in 1941 but who is certainly gone now. Mr. Kyle channeled the look and actions of the movie character to perfection and it worked very well.

Steven Koernig, as Mortimer Brewster, seemed to dabble with all three. Cary Grant had the role in the movie and it was one of his screwiest screwball performances. Koernig was wise not to copy it, but he did sometimes sample from it, sometimes echo it, and sometimes ignore it. The result was a very entertaining and enjoyable performance but one that was more uneven than we might have seen with a more consistent approach.

Although Mr. Allen spoke of his care in casting, Chris Hull was an odd choice for a psychotic murderer. Mr. Hull is a talented actor whose ease and charm on stage have made him a favorite with local audiences. Unfortunately, those characteristics appeared with regularity in his portrayal of the supposedly dangerous Jonathan and quickly extinguished the moments of malevolence. Although, as always, it was enjoyable to watch him on stage, it was difficult to believe that he was a ruthless killer.

The other members of the cast provided fine support. They included: Jenny Taylor as Mortimer’s finace, Elaine; Tony Gabriele as assylum superintendent Mr. Witherspoon; Shawn O’Connor as the energetic but none-too-observant Officer O’Hara; Stephen Fleeson as Lt. Rooney; George Opie and Brad Collier as Officers Brophy and Klein; Steven Staples as Rev. Dr. Harper; and Jim Waldron as Mr. Gibbs.

The production itself exemplified the highest standards for community theater. The set was artfully crafted to evoke the feeling of “an old maids’ parlor” circa 1940. (Set designed by Mr. Allen and painted by Sandy Brockman). The costuming (by Cheryl Nabati) was, by and large, very successful. The outfits for the Brewster sisters were outstanding, as were those for Teddy and Dr. Einstein (clearly the look of a man on the run). Elaine’s wardrobe evoked the plain choices one would expect from a minister’s daughter. Only our theater critic and man-about-town Mortimer seemed a bit mis-matched.

Lighting choices were fairly standard with two well-placed exceptions: near total darkness, and the use of live flames on stage. In the delightful segment where Dr. Einstein and Jonathan bring Mr. Spinalzo’s body into the house, the audience saw nothing but vague silhouettes. But they, coupled with wonderfully delivered dialogue and “vocalizations”, produced some very funny moments. It was obviously a carefully crafted, unhurried scene that was lots of fun for the audience. A scene with characters prowling about on a darkened stage using a lighter was very effective, while a later scene by candlelight certainly set a mood but made it a little difficult to see and appreciate the acting during that tense moment.

Arsenic and Old Lace will provide a delightful night at the theater and comes highly recommended. It runs through February 6. Performances are at the James-York Playhouse and tickets can be purchased by calling 757-229-0431 visit their site at: www.williamsburgplayers.org