Shadowlands – Literate and Sympathetic
“Good Evening. The subject of my talk tonight is love, pain and suffering…The question I would put to you this evening, and one which I will attempt to answer, is this: If God loves us, why does he allow us to suffer so much?.. (C.S. Lewis lectures)
Shadowlands is the dramatization of a true, if unlikely story, centering on Oxford Don, novelist, poet, broadcaster, lecturer, and lay theologian C.S. Lewis 1898-1963 (Daniel Gerroll). Known both for treatises on Christianity and novels including the beloved fantasy Chronicles of Narnia (often interpreted as religious allegory), Lewis shared “Midden,” a house on the outskirts of Oxford with his brother Major Warnie Lewis (John C. Vennema). Both were, up till the play’s beginning, staunch bachelors.
We see the protagonist among other Dons where conversation ranges from cerebral to clever. Camaraderie and affection are clear. “Jack (Lewis) has only epistolary intimacies,” quips Riley in a thorny conversation about liaisons. These men might be stand-ins for The Inklings, an informal group of Oxford writers such as JRR Tolkien and Charles Williams who regularly met. Perhaps wider source of subject matter is garnered here. They are: Christopher Riley-Sean Gormley, Reverend Harry Harrington-Dan Kremer, Dr. Maurice Oakley-Daryl Heysham, Alan Gregg-Jacob H. Knoll.
Dan Kremer, Sean Gormley, Daryll Heysham, and John C. Vennema
“He spoke and dressed like a prim Englishman from another time. But his life was messy, contradictory and tarnished by thwarted dreams.” John Blake on CS Lewis- CNN 2013
A casual correspondence with Jewish American, Joy Davidman Gresham (Robin Abramson), former Communist and questioning convert to Christianity, blossoms into intellectual companionship Lewis has never experienced with a woman. Gresham is whip smart, articulate, and mirrors many of his interests. She’s provocative – “Which would you rather be, the child caught in the spell or the person casting it?” – and unsettling; honest, forthright, and pragmatic. Playwright William Nicholson’s dialogue between the two is eloquent, stimulating, and distinctly specific both to characters and the arc of their relationship.
Dealing with a rocky marriage to an adulterous alcoholic, Gresham visits England with her young, well behaved son, Douglas (Jacob Morell) a great fan of Narnia. (In fact, she had two sons.) Tea with her pen pal is arranged. Warnie chaperones at his brother’s request, initially finding the woman an abrasive interloper. As Lewis’s brother, actor John C. Vennema turns in a credibly gentle, understated performance. If this were film, I’m sure everything would flicker across his eyes.
Lewis is singularly pleased and intrigued. Another date is made. Slowly a relationship grows. At a Christmas party, the Dons are uniformly unwelcoming. Riley asks whether, when Narnia is published in America, The Lion, The Witch, and The Wardrobe is translated into The Lion, The Witch and The Clothes Closet. Later, he declares, “Where men have intellect, women have soul.” No delicate flower, Gresham retorts with a single razor-sharp stroke. Sean Gormley’s Riley is aptly, palpably supercilious.
Gresham returns to the U.S., divorces her husband, and returns to take her own house in Oxford. Sensing Lewis might feel wary, Davidman (now) notes aloud that married in the eyes of God, the church will not allow her do so again. She neither makes demands on the deep friendship nor challenges the habits of her increasingly frequent companion. They grow chastely closer until learning the divorcée is ill, which turns everything upside down – even Lewis’s faith.
Daniel Gerroll and Robin Abramson
Robin Abramson (Joy Davidman/Gresham) creates a living breathing woman with idiosyncratic particulars: Speech is broad, her walk purposeful, sitting solid. The character unabashedly looks people in the eye, confidently dispenses with nonsense, and laughs with an endearing snort. Abramson makes lack of self pity believable without allowing Joy to seem cold. She takes time to think, observe, and imbues her role with necessary patience – difficult to personify. A highly auspicious New York debut for an extremely talented actress.
Daniel Gerroll’s habitually reserved Lewis is not as unflappable as Anthony Hopkins’ film interpretation. This Lewis has a habit of rubbing the fingers of his left hand together (elbow bent) while lecturing and occasionally cogitating, an indication that things are not quite as calm as they appear. Gerroll gets birdlike when Lewis is dealing with confusion/internal conflict, tiny twitches affecting the upper part of his body. One can feel the stress.
At one point the actor leans so far in the direction of Abramson we imagine he might fall – with Lewis determined not to take a real step towards the woman he won’t admit loving. Warmth emerges very gradually making it more believable. Containment of erupting feeling is also deftly achieved.
Daniel Gerroll and Robin Abramson
Director Christa Scott-Reed conducts this symphony with a sure and imaginative hand. The scenario feels authentic in every way, moves fluidly, and holds visual interest. Its tone is pitch perfect.
Also featuring Stephanie Cozart in multiple roles.
Scenic Design by Kelly James Tighe is cunning and evocative. A paneled house front slides right and left revealing a variety of heavy-wooded interior locales. The enchantment inside Lewis’ wardrobe is beautifully realized.
Michael Bevins’ Costumes are period accurate and well tailored. Lewis might’ve changed his jacket at least once, however.
William Nicholson’s television screenplay was adapted into a Tony nominated play in 1990 and a film in 1993.
Had God designed the world, it would not be
A world so frail and faulty as we see
Lucretius
Photos by Jeremy Daniel
Opening: Robin Abramson and Daniel Gerroll
Fellowship for The Performing Arts presents
Shadowlands by William Nicholson
Directed by Christa Scott-Reed
Acorn Theatre at Theatre Row
410 West 42nd Street
Through January 7, 2018
