THE BASICS: This hard-hitting, 1950’s drug addiction story by Michael Gazzo is receiving its local premiere courtesy of the American Repertory Theater (see Facebook). The show runs weekends, in the little Basement Theater at the Church of the Ascension on Linwood Avenue, through March 29th. Matthew La Chiusa directs a cast of eight. The show runs approximately 2 ½ hours with its single intermission (FB event).
THUMBNAIL SKETCH: The action revolves around Johnny Pope. An esteemed Korean War veteran who got hooked on painkillers stateside while recovering at a VA hospital, Johnny could not keep clean as a civilian. A troubled junkie now, with one failed recovery behind him, he is still trying to keep his enormous secret from his nearest and dearest—his alienated, pregnant wife, and his gregarious but judgmental father. An impromptu visit from the latter brings this theatrical pot to a boil.
THE PLAY, THE PLAYERS AND THE PRODUCTION: Gazzo’s drama, nearly 60 years old, still has plenty of punch, and plays well in LaChiusa’s capable hands. This particular production is color-blind, and I will admit to having some problem with that. Most often, this takes the playgoer, especially one who is not familiar with the work, down paths not intended by the playwright, creating needless problems and confusion. That said, the cast of eight is very fine. They are believable individually, and give some heartfelt performances. At the top of that list is Hugh Davis as Johnny—moving skillfully from evasiveness and tight-lipped pain to the open anguish of drug withdrawal soaked in the shame of discovery. As the suffering wife Celia, and the enabling brother Polo, Maura Nolan and Raphael A Santos are talented and affecting, but seem a little too young for their roles. Victor Morales makes an impressive Father, a man “with his head in the clouds” (as the playwright tells us) who falls to earth a roaring, wounded beast. The drug dealing locals, as motley a crew as ever assembled, are pretty good, too. Alhough I would have liked a whole lot less finger snapping from Bryan Figueroa—it becomes unintentionally comic. Steven Brachmann as the strung-out street kid/ errand boy Chuch, is a nifty fringe benefit.
The tumble down 50’s apartment set from Thomas LaChiusa is spot on. The costumes by Elaine Heckler and the lighting by Tony Rajewski are also fine. There is some good, mood-setting 50’s jazz piped in here and there; I would have liked to have heard even more.
IN SUM: A gutty, underappreciated drama, well mounted by the savvy and dedicated folks at the ART. Recommended to all who can stomach such things in the dead of winter! I was glad I attended.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!