Reivew: Faith Healer (Oak Park Festival Theatre)

  
 

The bleaker side of Ballybeg

  
  

Mary Michell as Grace in a scene from Oak Park Festival Theatre's 'Faith Healer' by Brian Friel.  Photo credit: Michael Rothman

  
Oak Park Festival Theatre presents
  
Faith Healer
      
Written by Brian Friel
Directed by Belinda Bremner
At Madison Street Theatre, 1010 W. Madison, Oak Park (map)
through April 16  |  tickets: $25  |  more info

Reviewed by Dan Jakes

In one of the four monologues that compose Brian Friel’s harrowing story about a religious performer’s doomed tour, an aging act-manager describes the one constant you experience in northern Europe: dampness. Not wetness per se, he explains, but an unyielding saturation in your clothes and hair and skin. As I sat and listened to the three desolate characters in the moody, reflective Faith Healer, that feeling of heavy saturation is something I identified with.

A scene from Oak Park Festival Theatre's 'Faith Healer' by Brian Friel.  Photo credit: Michael Rothman The unfulfilled desires and emotional stagnations of Frank, the titular artist (Kevin Theis), his deprived wife Grace (Mary Michell), and his manager Teddy (Oak Park Festival Theatre Artistic Director Jack Hickey) almost sink into your being. The present, as they portray it at least, is more or less a venue for romanticizing, decoding and brooding over the past. We never get to meet the true characters that live out the events leading up to an alluded-to tragedy–only the half-husks remembering the details years later and in some cases, from beyond the grave. It’s all very Irish.

Friel is more recognizable by his perennial hit Dancing at Lughnasa, a play that takes place in the same fictional village but counteracts its grim wallowing with nostalgia and a little whimsy. But this is different universe, one where God is less tangible, and balance or order look like fatalistic notions. Even self-centered, alcoholic Frank is clueless to whether or not he even harbors legitimate abilities. In practice, presenting Faith Healer creates a challenge: how do you stage this play and not have it read as maudlin?

Director Belinda Bremner accomplishes a semi-even tone by highlighting the speeches’ dank and sometimes searing humor. As Teddy, bottle after bottle in-hand, Hickey is so genial he’s heart-breakingly pitiful. Fantastical stories about his deceased dog give way to an account of death and a tear-soaked plea to keep business and personal relationships separate. Likewise, Michell (Grace) plays to the subtext of her relationship with her husband, conscious that every bitter detail is as equally self-destructive to dwell on as it is righteous to point out.

Faith Healer sways off-track in the one place it can’t afford to: the title-character. Theis gets carried away with the weathered Irish persona. His jagged, gravel-heavy dialect work pushes beyond brogue into a realm more comparable to a pirate or Michael Keaton in “Beetlejuice.” The effort for realism shows admirable dedication, but a character as layered as Frank aught to be born from instincts, not donned like a St. Patrick’s Day costume. Theis appears to have those instincts—veiled, they do no good.

 
  
Rating: ★★½
  
  

A scene from Oak Park Festival Theatre's 'Faith Healer' by Brian Friel.  Photo credit: Michael Rothman

Faith Healer continues through April 16th at the Madison Street Theatre in Oak Park, with performances Thursday-Friday at 8pm and Sundays at 5pm.  Tickets are $25, and can be purchased online or by calling the box office at (708) 445-4440.  For more info, go to www.oakparkfestival.com.

  
  

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REVIEW: Betrayal (Oak Park Festival Theatre)

  
  

Who’s zoomin’ who? The tangled webs of betrayal

 

 

Oak Partk Festival Theatre - Betrayal 1 - photo by  Michael Rothman

   
Oak Park Festival Theatre presents
   
Betrayal
   
Written by Harold Pinter
Directed by
Kevin Christopher Fox
at The Performance Center, Oak Park (map)
through November 13  |  tickets: $20-$25  |  more info

Reviewed by Paige Listerud

Nobody gets a break in Harold Pinter’s Betrayal, now produced by the Oak Park Festival Theatre at the Performance Center of Oak Park. Everyone is suspect, everyone’s version of events is dubious, and unspoken motives lurk beneath the most mundane conversations. One fumbles to guess at what a character really means, whether he is repeating invitations to play squash or inquiring into the latest authors worth reading. Pinter’s highly educated and exceedingly well-mannered characters seem weighed down and contained by civilized behavior. A long-running adulterous affair, once discovered, instead of being the source of passionate rage or outcry is dealt with only in the most repressed and passive-aggressive ways.

Oak Partk Festival Theatre - Betrayal 5Director Kevin Christopher Fox well sustains the closed, inbred relationship between this terrible triangle. Jerry (Ian Novak) has had a seven-year affair with Emma (Kathy Logelin), who is the wife of his best friend, Robert (Mark Richard). Part of the intrigue of Betrayal is that Pinter starts the audience at the very end of Jerry and Emma’s affair and then winds backward, through all its stages, toward its origin. One sees what the affair has become before one sees how it began; one sees the relationship after the love has been exhausted, which gives a completely new twist on how one interprets the beginning, when Jerry woos Emma with an explosive profession of love.

Indeed, it interrogates Jerry’s motives for starting the affair with Emma or Emma’s motives for capitulating to Jerry’s effusive language. It interrogates Robert’s motives for letting the affair go on for so long, as well as his motives for ending his marriage to Emma. Who’s zoomin’ who—and what do they hope to get out of each power play or emotional twist?

The play is adultery viewed in hindsight, based upon Pinter’s own extramarital affair with Joan Bakewell, a BBC Television presenter, which lasted seven years. With the beginning placed at the end, one notices those inklings of repressed jealousy and competitiveness between Jerry and Robert taint the affair from the start and make its origins suspect. One hopes that, at least at the start, Jerry and Emma’s affair soared with the kind of romance that movies and advertising sell – but that is never certain. Nothing is ever allowed room for certainty in this play. Betrayal makes us doubt love itself, as well as the possibility for love’s survival.

Since we learn from the beginning that the affair is over, the rest remains with the characters’ interactions. Oak Park Festival’s production feels like it is operating with a slightly defective third wheel. Kathy Logelin’s performance pulls the greatest emotional impact—the burden of secrecy, lies and deceptive silence show up clearly in Emma’s face. Logelin’s emotional accuracy Oak Partk Festival Theatre - Betrayal 2wins sympathy for her character, in spite of the fact she is cheating on her husband and not totally truthful to Jerry. Mark Richard may have the least sympathetic role, cruel, dry and manipulative in his relationship with Emma. But one commiserates with his desperate defensiveness in the veiled conversations Robert holds with Jerry once he’s found out about the affair.

Ian Novak delivered an excellently timed and crisp performance as George Tesman in Raven Theatre’s Hedda Gabler—but, as Jerry, he’s still trying to find his way and his occasional slippage in English dialect certainly doesn’t help matters. Pinter writes Jerry so suspect that he comes across, at certain moments, as a real cad. However, Jerry’s cannot be a role totally devoid of sympathy or the delicate balance that leaves the audience in uncertainty becomes undone. Here is a character that at least began as a fool for love. His desire for a love larger than life is very like Madame Bovary’s–a deep, inchoate longing for something more than the finite emotional space that civilized society allows us.

   
   
Rating: ★★½
   
   

Oak Partk Festival Theatre - Betrayal 3

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