Reviewed
by Will Stackman
Those
familiar with Oliver Sacks' anecdotal study of neurological anomalies,
"The Man Who Mistook His Wife For A Hat" will find some of the more
striking references from that work embedded in this collage of interactions
between doctors and patients. Those familiar with the recent work of Peter
Brook will recognize the transformations the four actors undergo in this short
effort. In the course of 75 minutes, each performer plays doctors confronting
men suffering from some aberration of perception, as well as the patients
themselves. These unique symptoms suggest the malleability of reality, at least
for the individual. There are of course no conclusions or judgements, and no
patients with secondary clinical diagnoses. "The Man Who," labeled as "a theatrical
research," is basically factual.
Under
the direction of Wesley Savick, the cast consists of IRNE winner Steven Barkhimer, Robert Bonotto, Owen Doyle, and Jim Spencer. Barkhimer was last seen for the
Nora in "Van Gogh in Japan", as was Robert Bonotto. Both were seen
this fall at the Lyric in Steve Martin's version of "The Underpants."
Owen Doyle appeared recently in "A Prayer for Owen Meany" at
Stoneham. Jim Spencer was in Nora's "Antigone: last season and was
nominated for an IRNE for his role in ACT's "City Preacher" by Ed
Bullins. Director Savick, on the faculty at Suffolk University, recently
directed "Theatre District" for Speakeasy, and Zayd Dorhn's IRNE
winning "Permanent Whole Life'" at Boston Playwrights'. The show has
the polish one would expect from such an ensemble. The ritual of actors
becoming doctors or patients by changing into or out of white coats provides an
orderly background to the mental chaos the latter experience.
In
a piece of nonlinear theatre like this, the arc of the action comes from
connections made between disperate elements. As the ensemble moves from the
calming attitude of the neurologists to the varying degrees of agitation shown
by their patients, the depth of the failure of perception becomes painfully
clear. The common dilemma shared by both classes is heightened as doctor
becomes patient and vice versa. There are a few bravura moments, carried off by
Barkhimer and Doyle, while Bonotto and Spencer have quieter epiphanies. The
simple truth of the show however, is that there is no cure for these problems,
a very sobering thought. Like the rest of life, they can only be dealt with.
Each
actor wears identical grey shirts and pants provided by costumer Jacqueline
Dalley. Set and
lighting were designed by IRNE awardee, John R. Malinowski, who's created a square white
platform in the center of the frieze stage, overhung with a suspended ceiling.
The lighting is mostly institutional, with appropriate variations, especially
on the two side stages used for non-interview scenes. The actors never leave
the stage, waiting. in character, on benches upstage right and left when
they're not in a scene. All the props, including video equipment, are kept on
shelves along the backstage wall. A clear plex table and two shiny metal office
chairs complete the scene. The general effect is artificial reality, reflecting
the formal protocols of scientific investigation.
Brook
has taken on madness before, beginning with "Marat/Sade", and has
most recently become deeply involved with Eastern mysticism. Here. in the
"theatrical research," he uses a lifetime of experimental technique
to take Sacks' case studies from the page to the stage. The current production
meets this theatrical challenge. Nora has had a season of offbeat efforts this
year which haven't drawn as well as might be hoped. "The Man Who" may
find a larger audience among mental health professionals locally, but should
reach farther to those interested in the range of serious, nonexploitive
theatre.