Reviewed by Judy Richter
A brilliant astrophysicist,
already the winner of a Nobel Prize, turns 49 (or 7 squared) and finds herself
facing the proverbial midlife crisis: what to do next professionally and
personally? That's where Jamie Pachino's "Splitting Infinity," presented in its West
Coast premiere by San Jose Repertory Theatre, begins.
The
scientist, Leigh Sangold (Amy Resnick), takes refuge in alcohol and in an affair with her
bright, handsome, 24-year-old postdoctoral student, Robbie March (Chad
Deverman).
Believing that anything can be proved scientifically if one can just figure out
the right formula, they want to prove that God doesn't exist. However, she
knows she can't get funding on the basis of that premise, so she reverses it:
She and her student will try to prove scientifically that God does exist. In
the meantime, she's confronted by her oldest and dearest friend, Rabbi Saul Lieberman
(Robert Yacko),
who has loved her for many years. He has just separated from his wife,
apparently freeing him to try to woo her.
The
action switches between the present and 27 years ago, when young Leigh (Christine
Sage Behrens)
and young Saul (Kevin Dedes) were students. Director Kirsten Brandt stages the action on two levels
of scenic designer Robin Sanford Roberts' set. Most of the scenes with the young Leigh and
Saul are seen on the upper level, while present scenes take place in Leigh's
office on the stage level. The overall effect is like an astronomical
observatory with stars sometime seen in the background (lighting by Jaymi
Lee Smith).
Much
of the dialogue involves scientific discussions along with questions of faith
and Judaism. Leigh gets a poignant, tragic look at faith when Robbie is
seriously injured in a traffic accident and his mother, Mrs. March (Cindy
Goldfield), a
devout Christian Scientist, chooses to have him removed from life support in
hopes that faith will revive him.
Although
the play's premise is potentially interesting, the dialogue sometimes seems
stilted, especially in the scenes with young Leigh and Saul. Leigh's younger
character isn't developed well enough to justify Saul's love, but at least Saul
is wise enough to realize that the best he can hope for is friendship. One also
has to wonder what Leigh really wants. At one point, the mature Leigh talks
about how much she enjoyed the warmth of Saul's family -- something missing
from her own home. But when the mature Saul offers her his love, she's too
self-absorbed to accept it. It's also unfortunate that the playwright has made
Leigh such a heavy drinker, thus making her less sympathetic to the audience.
Despite
the play's shortcomings, the production and acting are solid. The present
characters are especially well done by Resnick, Deverman, Yacko and Goldfield.
Costumes are by Brandin Barón with sound by Paul Peterson.
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