The past is never the same for two people with shared history. Fay Schorsch (Deborah Hedwall) and her divorced daughter Rachel (Jolie Curtsinger) have journeyed together at Rachel’s expense to a hotel in “a small American city.” It’s clear the two purposely haven’t seen each another in some time. The reason for the trip warrants Rachel’s putting up with her mom, especially as Fay’s husband “didn’t have the stomach” to come. Heart and guts of this play are revealed as its skin is skillfully peeled away like an onion in surgery.
Fay never shuts up. She’s intrigued by and over enthusiastic about everything from the steward who served on the plane to discovery of hotel stationary; manic (embodied by some of the most unusual, yet credible manifestations one might imagine); whiney and chiding. She’s also oddly sympathetic. The capable Rachel is silent and stoic. You can feel her teeth grit as patience is stretched. She lies on the bed in a fetal position. The roommates provoke one another repeatedly. Faye, especially, goes off like a rocket. There are no tears.
At first cut, we learn that estranged son/brother Kenny has been found dead. Family was summoned to identify and deal with his body. Herein lies the reason for our feelings towards Fay. Feelings about whose origin we had no clue.
At the police station, the Schorschs are met by Officer Terry (Amelia Campbell) who, as a local, peripherally knew the boy. Initially working by the book, she’s also kind, solicitous, and, being a mother herself, empathetic. Later, in an entirely unexpected and beautifully written scene with Fay, established procedure flies out the window. A second deft cut describes Kenny, the way he lived, and how he may have died. A third exposes surprises about mother and daughter’s very different relationships with him. And then, there’s “true” history.
Playwright Joel Drake Johnson has an extraordinary talent for manipulative construction. Down the garden path we go successively intrigued, involved, and engrossed. Well placed disclosures are often imaginatively formatted. Characters are fully dimensional relating to one another with authenticity. He’s a marvelous storyteller, articulate, entertaining and moving. This is time well spent.
Deborah Hedwall (Fay) offers a virtuoso performance. Never still, rarely silent, her every word, move and sigh embodies the character. From a pitch perfect mid-western accent and appropriate bearing to visible signs of interior dialogue and untelegraphed emotional explosions, Hedwall’s acting creates a riveting and very specific presence. Surprising use of song and call-outs to Kenny are beautifully calibrated. She is the glue and the fuel. Brava.
Jolie Curtsinger (Rachel) does a fine job in a difficult role. Portraying boiling restraint, her responses must at all times be cognizant of a back-story of which the audience is long unaware. The actress’s focus creates necessary tension and an able foil. In retrospect one can fully appreciate her skill.
Amelia Campell’s Terry is friendly, excessively sensitive, proud, and emphatically small town. The actress’s artful speech patterns (shades of Fargo) and quick, insecure gestures reflect not only the locale but a visceral map to Terry’s personality. Campbell’s timing is terrific. She’s convincing even in the aforementioned unlikely scene with Terry.
Director Joe Brancato has orchestrated a compellingly watchable and satisfying evening of theater. Filled with marvelous, character defining stage business, emotional insight, and adroit pacing, the play is superbly served.
James J .Fenton’s dual purpose set is appropriate and efficient but lacks texture, possibly typical of the rooms he configures. Patricia Doherty’s costumes seem to be exactly what the ladies might naturally wear.
Photos by John Quilty, from top:
1. Jolie Curtsinger and Deborah Headwell
2. Jolie Curtsinger, Deborah Headwell, and Amelia Campbell
3. Deborah Headwell and Jolie Curtsinger
In Proximity Theater Company Presents
The Fall to Earth by Joel Drake Johnson
With Deborah Hedwall, Amelia Campbell, Jolie Curtsinger
Directed by Joe Brancato
59E59 Theaters
59 East 59th Street
Ticket Central 212-279-4200
