Children begin by loving their parents; after a time they judge them; rarely, if ever, do they forgive them. Oscar Wilde
John Greer (Geraint Wyn Davies) has the kind of career of which every poet—hell, every writer—dreams. All of his books have been successful, he has a Pulitzer Prize, edits anthologies, writes the occasional lauded article and teaches at a prestigious university. As if this weren’t sufficient, he’s a candidate for National Poet Laureate and about to be the subject of a PBS documentary. The trajectory of his professional life has been meticulously engineered by his wife Diane (Liza Vann) a Callista Gingrich-like force of nature with brains—the poet himself being otherwise occupied on higher planes.
Katherine Greer (Natalie Kuhn), John’s college age, aspiring poet daughter, has returned home for his birthday weekend with (surprise!) boyfriend Edmund (Ari Butler) in tow. It’s clear within minutes that she worships her father and repudiates her mother’s methods. Edmund, a writer himself, takes a measured view of all this.
When the Greers return from a party in the poet’s honor, barbs immediately fly between the two women. Dialogue is sharp, smart, and darkly funny. John seems for all intents and purposes to be warm, modest and a fulltime mediator. Only when he obliviously makes short shrift of his daughter’s hard won efforts do we catch a glimpse of the man behind the paragon.
Minutes before dinner, Edmund privately drops the first shoe in front of John, threatening to reveal a secret which will, if true, destroy the illusion around which the poet has built his life. To call the young man a dark horse would be minimizing his Shakespearean intentions. The second shoe drops afterwards, as if rappelling down a mountain slamming against rock face from level to level. No one is left intact.
Playwright Jack Canfora has given us an adroitly written piece, knowledgeably descriptive, literally and metaphorically powerful, impressively manipulative. Speeches zing across the stage. Characters are whole and detailed. The “truth” on which everything turns is completely unexpected and less simple than it seems.
Natalie Kuhn (Katherine Greer) is an extremely solid performer. She never allows the naïve Katherine to appear shallow, thus minimizing a pivotal role. Her action/reaction scenes, especially heated confrontations, seem to take place in real time—a tribute to naturalistic acting. An intelligent and effective performance.
Ari Butler (Edmund) has the difficult assignment of remaining silent during chunks of narrative. He does this with such complete focus and nuanced reflection of emotional response, that explosive implications achieve a gravitas not simply because of content but also due to their source. The skilled Butler has subtly shaded Edmund’s behavior raising no suspicion of ulterior motivation prior to revelation, but evident retrospectively. When passions are unleashed, his wrench from sustained control is palpable.
Liza Vann (Diane Greer) has a flair for deadpan delivery and excellent timing. Vann’s body language and watchful gaze embody Diane’s calculation when unvoiced. Loss of temper shows fascinating and credible exhilaration. I would only question the extent of her character’s withholding as crisis arrives. I suspect this is directorial.
It’s essential to this play that we believe in John Greer. Geraint Wyn Davies, enacting the role, manages it in spades. There isn’t a woman in the audience who doesn’t want to be enfolded by the paternal teddy bear despite his ego. Wyn Davies makes wearing the mantle seem as natural as love for his wife and daughter. We buy it all. The actor’s craft in laying bare his character’s underbelly, first in fits and starts, and then with the violence of a cornered animal, is visceral and compelling.
Director Evan Bergman ensnares without self consciousness. Pacing is well calibrated, expressions are realistic, characters are physically defined, the stage is well used. Language has energy and rhythm. Explosions leave us with whiplash.
Jessica L. Parks (Scenic Design) presents the perfect skeleton of a successful academic’s home: floor to ceiling bookshelves filled with old volumes, the small, upright desk from an earlier apartment, framed art photos…into which she has placed sleek, modern, leather furniture with jarring white cushions which appear to belong in another play. Patricia E. Doherty’s Costume Design is as appropriate as second skin.
Photos by Carol Rosegg from top:
1. Natalie Kuhn and Ari Butler
2. Natalie Kuhn and Geraint Wyn Davies
3. Geraint Wyn Davies, Ari Butler, Liza Vann
The Directors Company in association with
New Jersey Repertory Company presents
Poetic License by Jack Canfora
Directed by Evan Bergman
59E59 Theaters
59 East 59 Street
Ticket Central 212-279-4200
Through March 4, 2012
