Nick Payne’s Constellations, (on Broadway in 2015), poetically explored The String Theory of Quantum Physics: In layman’s terms, what happens to everything else when a single aspect of a scenario changes and is it happening simultaneously on another plane? The play’s program specified “Place: The Multiverse” = the juncture? of multiple universes. Still fascinated with questions of free will, time, memory, and the way we function, the prolific playwright/intellectual here takes the human brain as its subject. One again drama is the medium.
Four excellent actors: Geveva Carr, Charlie Cox, Heather Lind, and Morgan Spector play a multitude of characters including psychologists, scientists, patients, a lawyer, a journalist…with turn-on-a-dime American and British accents. The piece, like its predecessor, is episodic, here broken into three larger chapters: ENCODING, STORING, and RETRIEVING, each begun with robotic voguing (by Peter Pucci) and a walk around the circular staging area accompanied by spacey electronic sounds/music. (David Van Tieghem) It’s a kind of a human rondo.
Morgan Spector, Geneva Carr
Identifiable stories play through in fragments. When Albert Einstein died, Princeton pathologist Thomas Harvey, conducting his autopsy (Morgan Spector), had a carpe diem moment and, turning to the icon’s executor, asked whether he might take the brain…which ends up in the trunk of his car before being dissected and studied…to little avail.
Martha (Geneva Carr, whose natural stage presence allows her to morph with focus), the adopted granddaughter of Einstein’s son and a clinical neuropsychologist, is approached by self-serving journalist, Michael (Charlie Cox) with questions of her paternity. Might she, in fact, be Einstein’s illicit daughter? (Not so far-fetched based on evidence.) All she has to do is take a DNA sample from Einstein’s brain to find out. That is, when Michael tracks it down.
Heather Lind, Geneva Carr
The intrepid headline hound convinces Doctor Harvey to accompany him cross country with a piece of the brain in order to see Einstein’s daughter –no love lost there – Evelyn (Carr), and request that sample. They drive. (How is one to airline check a brain fragment?)
Martha is, for the first time, exploring a gay relationship with Patricia (Heather Lind with a butch persona), also an adopted child, who would like her to help a lawyer friend (Spector) with professional testimony in a murder trial.
Anthony (a credibly on-the-verge Spector) is in and out of therapy (including with a compassionate but helpless Martha) and on Dagwood combinations of medication… rendering him impotent. About to embark on his honeymoon, he stops his meds, is fine for several days, then strangles his new bride to death, remembering nothing.
Heather Lind, Charlie Cox
Henry’s (a wonderfully innocent and touching Charlie Cox) amnesiac brain is poorly wired, though whether before or after an operation is unclear. His attention span is three to four thoughts, then everything starts fresh. The patient’s fiancé Margaret (Heather Lind) tries patiently (and palpably) to help, especially wanting him to regain his music, but gives up in despair. Doctors change over time…until Martha appears, triggering a moment of clarity/progress or, perhaps, just in the right place at the right time.
I’m sure I’ve left people and connections out. All four actors are top notch, but this is an impressionistic piece. Emotions are felt only in passing except perhaps those provoked by Henry who appears throughout. The mechanism we call brain retains its secrets.
Director Doug Hughes brings what humanity he can to the passing parade, keeps things moving and characters from becoming static.
Ben Stanton’s Lighting, Scott Pask’s minimal Set and Catherine Zuber’s grey-tone costumes collectively create an ephemeral canvas.
Photos by Joan Marcus
Opening: Geneva Carr (back), Morgan Spector, Heather Lind, Charlie Cox
Manhattan Theatre Club presents
Incognito by Nick Payne
Directed by Doug Hughes
City Center Stage 1
151 West 55th Street
Through July 10, 2016