BACK
STAGE WEST
February
26, 1998
YES
IS FOR A VERY YOUNG MAN
at
Theatre Exchange
Reviewed
by Rob Kendt
The
big question with a Gertrude Stein play is how her naggingly repetitive
language can live onstage. The big surprise, in this nearly flawless and
scintillating new production of her most accessible play, is that the language
fairly breathes and pulses with wit, conviction, and feeling. In the hands of
the capable actors of the Interact Theatre Co., under Lamont Johnson's strong,
sensitive direction, the effect of Stein's elliptically orbiting dialogue on
this relatively straightforward tale of a small French town during the Nazi
occupation is not distancing or pretentious but rather layered, enriching, and
occasionally hypnotic.
It
is simple on the surface: five scenes and four main characters, seen over four
years, from the French-German armistice of 1940 to the invasion of Normandie in
1944. And on Bradley Kaye's deft, painterly set--which, like the production,
seems to capture a peculiarly French combination of bucolic and cosmopolitan,
the artful and the everyday--the action of each scene is indeed laid out
simply. But Stein's dramaturgy is remarkably deft, with occasional swathes of
exposition leavened by her teasing way with words; we meet the American artist,
Constance (Stacy Ray), who tries to stay above the fray but is not entirely
unsusceptible to the persistent attentions of Ferdinand (David Drew Gallagher),
a young man otherwise torn to the point of impotence over his country's
occupation. And we meet Denise (Megan Zakar), a pragmatic country bourgeois
whose alliances seem to go further to the right with each scene, while those of
her explosively sardonic husband, Henri (Josh Adell), become more or less
openly pro-Resistance.
If
these sound like placards as written, they take on marvellously human contours
in these actors' hands, from Zakar's forceful, alert readings to Adell's
passionate exasperation, from Ray's eloquent ladylike steel to
Gallagher's--oops, here's the rub. In the production's only misstep, Johnson
has wildly miscast the role he played in the piece's 1946 premiere at the
Pasadena Playhouse. Gallagher looks about as French as Opie Taylor, and his
even, naturalistic acting, with a voice as flat as Kansas, stands out like a
square peg from the production's more rounded theatrical vision. This is not
quite the liability it could be, since Ferdinand is a strangely intermittent
leading man, but it unfortunately deflates many of his scenes with Ray.
Contributing
nicely to the overall vision are Eve Brenner and Mary Carver as a pair of
nattering maids, James Harper as a laconic, spookily kind Nazi, and James
Gleason as a nervily loyal Resistance fighter. Vicki Sanchez's costumes are
deliciously and broadly in period, and Cheryl Waters' lighting well complements
Kaye's dusky set.
"Yes
Is for a Very Young Man," presented by the Interact Theatre Company at
Theatre Exchange, 11855 Hart St., N. Hollywood. Feb. 21-indef. (818) 789-8499.