Tuesdays with Morrie    

The Generic Theater

Theatre Reviewer: David Adams

Finding Treasure in Abandoned Places

Let me start with a quote from director Jeremiah Albers which probably applies to a great many readers:

“I had just accepted the position of director on this show and was struck with an instant case of buyer’s remorse. After all, Tuesdays with Morrie was an immensely popular bestselling book that appealed to a whole bunch of people who were nothing like me. I remember, at the height of the book’s popularity, rolling my eyes at the mere mention of its title.”

How many of you felt the same way – and had never read the book, or watched the movie? I’m one of those people, and so it was with an unabashed sense of amazement that I left the Generic Theater last Friday night after being blown-away by a marvelous night of theater. How had I missed this for so long?

Tuesdays with Morrie is based on the true story of Morrie Schwartz (D.D. Delany), a well-liked and well-respected sociology professor at Brandeis University who is struck down with ALS in his late 70’s. In the first of three visits with Ted Koppel on Nightline, he is spotted by a former student (author Mitch Albom – played by Kent Collins) who, despite a very close connection in college, has not seen his old professor in sixteen years. What follows is the story of their reconnection, with Morrie sharing life-lessons with a stagnant Mitch while Morrie is dying. As you can see, the story has a set-up that would justify the opening quote – and yet this show was one where my eyes did not roll. To the contrary, I couldn’t take my eyes off it – and wanted more.

I’ll start with a possibility that has occurred to me – a simple one-plus-one-equals-two observation that may explain it: maybe this production is so touching and moving because it was created by someone who was unattracted to the touchy-feely sentimentality that seemed to hover around this story. What emerged was a powerful and engaging human drama: two people drawn together by need, curiosity, and love.

Delaney creates a memorable Morrie Schwartz: wise, quick-witted, playful, and dying. It was easy to see why Delaney’s “Morrie” would have been the great favorite with sociology students at Brandeis University in the decades surrounding the radical 60’s and 70’s, and why one of his favorite students would have been drawn back to him. Delaney also portrayed Morrie’s failing health with unerring fidelity, an essential element in this story since many of the magic moments in the play come from hearing inspiring insights about life flow from a man who is slowly losing his.

Mitch stands as a contrast to Morrie, but not an opposite. This is not an Odd Couple sort of pairing but one of kindred spirits who have been separated by life experiences and choices. Part of the great goodness in the production is that Collins and Delany (and obviously Albers) found the right resonance for these two characters so that this underlying connection is palpable in their interactions. Collins’ incarnation of Mitch is, like Morrie, a nice guy who is not only uncomfortable with death but also with life, having drifted into a modern day numbness and isolation as he pursues success in his profession. When Mitch and Morrie reunite, Collins and Delany portray the obvious contrast while simultaneously bringing forth the attraction that they had developed in college. We could see it and feel it without being told about it – a wonderful performance.

Collins is also to be commended for the charm he gives to Mitch, creating a character that the audience can care about as he stumbles through the journey of re-learning life lessons. He also does a marvelous job of slipping between his duties as narrator and active participant, between knowing how the story will end and portraying the confusion and conflict of the moment.

A third, and very effective cast member, was the uncredited home health-care nurse who appeared between scenes to perform her duties and tend to Morrie. It was a very subtle and yet powerful confirmation of Morrie’s failing health and provided Delany with additional opportunities to show us Morrie’s steady physical decay.

The director and production team provided these two fine actors with a simple yet strikingly effective space to work in. By using wheeled flats, director Albers and scenic designer Terry Jernigan, quickly transformed the stage from one scene to the next. The period furnishings (the bright orange “modern” sofa, and the working black-and-white console television and Hi-Fi phonograph come to mind) were perfect, as was the vintage cell phone for Mitch. (The class of middle school students who attended this performance were audibly confused about what that clumsy looking thing was supposed to be!) A contemporary wheel chair and authentic hospital bed rounded-out the list of well-chosen props and set pieces. Kudos to Jeanette Rainey, Nina Martin, and Christine Babashanian for these touches.

Another fascinating element was the use of projection (designed by Bob O’Donnell). The basic black drape along the back wall of the stage had been framed with a loosely hung white sash that also served as a projection surface. Still images that were evocative of the season or subject appeared throughout the show, adding color and confirmation to the action. Sound designer Phil Duffy ably supported the moments with music and sound, but he also had some fun, treating us at one point to the audio sensation of being center court at a tennis match.

My recommendation? Forget what you think you know about this story, and let this production enchant and surprise you.

Tuesdays with Morrie runs through June 13, with performances at 8:00 PM on Thursday, Friday, and Saturday, and 2:30 PM on Sunday. For tickets, call 757.441.2160 or go to www.GenericTheater.org .

Theatre Reviewer: Jym Newton

“Company”, the groundbreaking concept musical by Stephen Sondheim and George Furth, is, by definition, a piece which is open to any number of interpretations by director, performer, and audience alike.  The ambiguity of the plot and characters ushered in a new era of composition in which music and lyrics serve to drive and illuminate the story being told in a non-linear fashion. This format seems even more appropriate now, when we receive almost all information in a “point and click” fashion, buffet style, rarely processing anything sequentially. Today’s audience has a leg up on the theatergoers of 1970, and the production currently on stage at the James-York Playhouse capitalizes on that fact.

The story is about Robert (Jeffery Villines), a successful man with great friends, most of whom are married. The play centers on Robert's quest to understand marriage, the one thing which his life lacks. In general, Robert is an odd fellow, not understood by his friends, and unable to understand them at the same time. Villines performed well as Robert. He ended up being phlegmatic, especially initially, than the part might have called for. However, as the play progressed, he convinced me of the character's emotions. Honestly, none of the characters felt as if they were merely saying lines. Most of the them felt like real people.

I was most impressed with Joanne, played by Marcia Dadds. Her cynicism, witty remarks, and general demeanor came across with flare and finesse. Dadds sang "Little Things You Do Together" and the more popular, and "The Ladies Who Lunch", the latter making me as a member of the audience want to give a standing ovation in the middle of the show. She was phenomenal.

Also stand outs, Christina Westenberger and Jeff Joyner as married couple Harry and Sarah were most believable as two people with separate issues individually, worked as a couple who really did love each other. As far as married couples go, these were the most convincing, especially with their banter and physical interactions. Joyner's "Sorry Grateful" was emotional and moving and made you want to route for the underdo character of Harry. demeanor came across with flare and finesse.