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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews Rabbit Hole
In the program notes for the Bunbury Theatre production of Rabbit Hole, Producing/Artistic Director Juergen Tossmann illuminates the risks and pitfalls of bringing this Pulitzer-prize winning play to the stage for its Louisville premiere. One can only be grateful for Mr. Tossmann's tenacity and commitment, for this play is a fine, subtle work and a welcome addition to this theatre season. It charts the difficult process of a well-to-do married couple, Becca and Howie, grieving the loss of their young son in a tragic accident. It is only after several minutes that we come to realize this situation, and the slow dawning of awareness is characteristic of the writer's technique throughout the play: he assiduously avoids the cheap, melodramatic effect of sudden or shocking revelation in favor of slower, more careful exploration of each character's journey. We are also introduced to the wife's younger, somewhat irresponsible sister, Izzy, who's newly discovered pregnancy will be the catalyst for much commentary, and her mother, Nat, who also suffered the loss of a son many years before. Each of these people are presented with depth and detail, and will grow and change simply, but profoundly, through the course of the action.
One might therefore expect some highly emotional episodes that veer towards the histrionic, and the first act does present some weighty confrontational moments, but Mr. Lindsey Abaire's script eventually focuses on the small shifts in understanding and awareness that all of these characters will experience as they make their way, slowly but surely, to a place of healing and perhaps even comfort. In the final scene we are presented with a most eloquent moment of reconciliation and hope that is remarkable in its understated simplicity. The production strives to do full justice to this strong material, and if it falls short, it is not for lack of talent onstage. The intelligent, carefully observed acting of Laura Stuart Obenauf as Becca, Raquel Robbins Cecil as Izzy, Ted Lesley as Howie, and Carol Tyree Williams as Nat, is moving and impressive, but there were several moments where I wished desperately that the performance connected more fully with the text. It is a curious frustration to watch such capable performers fall just short of the mark, as if they needed just one more week of rehearsal to discover that extra spark that would have moved a very good production to something of greatness. Watch the scene with Becca and her mother as they sort through the dead son's possessions, or the dialogue between Becca and Howie at the end and you will see the unrealized potential in the actors' eyes. The relevant emotions are running through these scenes like the undertow in the ocean, powerful but nearly hidden, waiting to be more fully realized. Neil Brewer in the smaller role of Jason, a young man involved in the accident, fares better mostly because his role is less emotionally demanding than the others. The physical qualities of the production were striking, and seemed to expand the performance space beyond its apparent limitations, which is exactly what good theatre design should do. Congratulations to Steve Woodring and Keith Kimmel for outstanding set and lighting design, respectively. Ultimately, I would recommend this production because it's a worthwhile play and because these good actors might just reach that fuller potential in the next performance. Don't you want to be there?
Rabbit Hole Posted May 16, 2008
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