BACK
STAGE WEST
September
25, 1997
SKYLIGHT
at
the Mark Taper Forum
Reviewed
by Rob Kendt
No
doubt David Hare's plays resonate in Britain with an immediacy we can only
guess at over here. But his penetrating but generous vision also speaks with
remarkable clarity to American audiences; his passions and struggles seem every
bit our own, only with a different accent and better diction. Indeed, in
director Robert Egan's urgently entertaining, unexpectedly moving new West
Coast premiere production, Hare's Skylight feels typically English only in its
voice and its rhetoric, not its concerns.
It's
a testament to Hare's mature craft as a showman that while Skylight puts his twin
preoccupations--roughly stated, politics and sex--through as torturous a
three-hour wringer as ever, the time flies breathtakingly by. That's in part
because the play, and Egan's production, perfectly capture the weird, desperate
timelessness of an unplanned, long-overdue late-night meeting between former
lovers.
We
sense almost immediately that the reunion of Kyra, a liberal ghetto
schoolteacher (Laila Robins), and the charmingly vulgar nouveau riche
restaurateur, Tom (Brian Cox), whom she left three years before, is the sort of
pivotal heart-to-heart that becomes a test case for human communication, poised
as it is here between an almost unbearable significance and a distracting
familiarity.
Both
Tom and Kyra are easily reducible to their politics--indeed, they try vainly to
do as much to each other--but there's a lot more going on here than even the
play's necessarily drawn-out exposition tells us. What's ultimately so
shattering about Skylight, as in the best of Hare's work, is that it
looks unblinkingly at the dislocation between our most private choices and our
public responsibilities and reminds us that these are centrally emotional
questions, as nitty-gritty--and as powerfully irrational--as whom we love and
how we spend our days.
Robins
and Cox execute their characters' uneasy sexual choreography with magisterial,
unsentimental soulfulness. A faintly comical-looking couple (she's half a head
taller than he), they create a heartbreakingly haunted double portrait: We see
the ghost of the romance between a pretty young girl and an ambitious older man
through their newer, wiser, hollower selves. Michael Hall kicks at the corners
of his small role as Tom's spoiled teenage son, but that's right for the part.
David
Jenkins' set of Kyra's unheated flat, and Michael Gilliam's chilly verite
lighting, actually make us feel a little shiver, and Marianna Elliott's
costumes look similarly lived-in. Above all, the production seems a ripe
vindication for the uneven Egan. Hare's beautifully troubled marriage of
passion and intellect are a perfect fit for him, and he's risen to the
challenge with bracing ideas and emotion of his own.
"Skylight,"
presented by the Center Theatre Group at the Mark Taper Forum, 135 N. Grand Ave.,
downtown Los Angeles. Sept. 18-Oct. 26. (213) 628-2772.