A lovely visual
presentation cannot hide the weaknesses of what is more an educational
recitation of historic events than a dramatically interesting script. What
reads in a newspaper or a book as incredibly vivid does not always makes for
fluid, well-honed dialogue, and a theatrical script requires more than a
narrative voice spoken by one character after another to be dramatic in
nature. As written by Melanie Marnich, These Shining Lives is
more documentary than dramatic rendering. The facts presented -- a company’s
malfeasance protecting its own interests and profits in the 1920’s over the
health and safety of its employees -- are certainly worthy of a theater
presentation, and the events that lead to pain and death are clearly
repellant. Yet this performance as a whole, a world premiere directed by
David Schweizer, feels flat; without a sense of weightiness to it. The
central character is played by Emma Joan Roberts, who opens and closes the
show talking to the audience in a straight narrative as a preface and a
final note. She is engaging and bright. She is all aglow in sweetness … even
in the throes of her death spiral. As her husband, Jonathan C. Kaplan is
also a bit too easy-going even when the situation would call for some fire.
Kelly McAndrew is the hot one in this production. She is the flashy work
mate of Roberts who is always at a heightened demeanor until the final
scenes when she finally pulls back to show at least some ravages of sickness
and pain and real caring. |
Storyline: In the 1920’s the women of the
Radium Dial Company find work comfortable and with extraordinary pay. But,
over time, their apparent good fortune gives way to a crippling reality as
they become slowly sickened and begin to die from radium poisoning. Four
fiercely determined friends organize and fight back against the company to
gain the truth for themselves and the world.
Playwright Melanie Marnich is a member of the
The Playwright’s Center and of New Dramatists. Her work has been produced at
regional theaters throughout the country. She wrote These Shining Hours
because she believed the “story resonates in our time.” In her program
notes, Marnich also writes that there was a struggle within herself to
capture drama without melodrama, and tragedy without histrionics…“to find a
theatrical language that was relevant, surprising and accessible.” Too
often, however, the script reads and is spoken as a straight-line of
narrative with few lines that grab the memory. “If a job pays well, it will
cost you something” is the key phrase of foreshadowing near the top of the
production. Director David Schweizer has extensive directing credits at
CENTERSTAGE as well as other regional theaters. He certainly let loose the
design team who have taken the script and amplified the visual aspects and
all possible movements of actors about the large stage, as well as moving
set pieces and lush lighting and projections to make These Shining Hours
a very watchable production. But ultimately there seems little actor emotion
or passion to take this production very far into one’s head or heart.
Emma Joan Roberts is the
central character, Catherine Donohue, who drives the production. She is a
perky narrator who sets up the show with a visually appealing aura about
herself. But, even perkiness must be pulled back if one is dying a horrible
death. Instead she continues to look fresh, unlined and unstressed. In fact,
the only visual depiction of pain and terminal mortality is one scene in
which Roberts has a blanket over her legs. In this manner the power of the
issues the play is depicting lose their footing since so much hangs on the
trajectory toward the death of Roberts’ character. Her co-workers, Cheryl
Lynn Bowers and Kate Gleason Frances, are differentiated mostly by the color
of the one outfit that they wear throughout the production. (By the way,
even in a 1-act play it is a wonder that, over a 10 year period -- through
work, home and even a lake bathing scene -- each wears the same outfit,
never changing as they age and get ill.) Kelly McAndrew gives some
brassiness to her role as the red-head know-it-all with a raucous delivery
until the final scenes. Jonathan C. Kaplan as Roberts’ husband is just too
flawless in his approach. Even his righteous anger seems too brief in nature.
He plays his role as one without much blood and passion until the last few
minutes when he takes on the company weak link, a male supervisor (Erik Lochtefeld).
The production at
CENTERSTAGE uses all the theatrical devices available to give some motion to
the production, including trap doors and elevators from beneath the stage to
bring actors into view. Set pieces are moved before the audience’s eyes and
actors enter through the audience, while the back wall opens
and closes to reveal actors lit for great affect by a handsome lighting
design.
Written by Melanie Marnich. Directed by David
Schweizer. Design: Alexander Dodge (set) Anita Yavich (costumes) Justin
Townsend (lights) Rob Millburn and Michael Bodeen (music composition and
sound) Bill Geenen (photography) Mike Schleifer (stage manager). Cast:
Cheryl Lynn Bowers, Kate Gleason, Jonathan C. Kaplan, Erik Lochtefeld, Kelly
McAndrew, Emma Joan Roberts. |
|
September 10 - October 5, 2008
The
Matchmaker
Irene Lewis directs Thornton Wilder's gentle comedy which served as the
inspiration for the Jerry Herman musical Hello, Dolly!
October 22 - November 16, 2008
Who’s Afraid
of Virginia Woolf?
CENTERSTAGE intends to mount Edward Albee's 1963 biting character study play
but has not yet received Mr. Albee's permission. Pending that, they have
reserved the slot in the Pearlstone Theater schedule for the play.
December 10, 2008 - January 11,
2009
Caroline, or
Change
E. Faye Butler will star in the musical with a book by Tony Kushner and a
score by Jeanine Tesori.
January 28 - March 8, 2009
Fabulation, or The
Re-education of Undine
A "century-later companion" to Lynn Nottage's Intimate
Apparel which premiered here in 2003.
March 11 - April 5, 2009
‘Tis Pity She’s a
Whore
The seventeenth century revenge tragedy by John Ford
deals with forbidden love between a brother and sister.
April 22 - May 21, 2009
The Understudy
Theresa Rebeck's latest is a back-stage comedy. |
