The
Oakland Tribune, February
20, 2001
Chad Jones
Shotgun Players' hostage
drama takes no prisoners
The three men shackled
to the floor in Frank McGuinness' drama Someone Who'll Watch Over Me
are guinea pigs in a theatrical experiment.
Irish playwright McGuinness
takes an extreme situation from real life - three men are political hostages
in a cell on the outskirts of Lebanon - and uses it to dissect the human
psyche.
Stripped of everything
we value, isolated from those we love and thrust into the care and company
of strangers, who are we?
Neither McGuinness'
play nor director Patrick Dooley's Shotgun Players production cuts deeply
enough to discover the answer to that question. But the experience of
watching the play does open up a lot of fascinating issues about the fantasy
and reality of self-identity.
The action of the
play is, of course, limited. The actors are quite literally chained by
the wrist to the floor.
So, for the play's
2 1/2 hours, we settle in to watch hope and desperation battle it out
with fear and insanity in the hearts and souls of three disparate men.
The first of the prisoners
to go wobbly is the American, Adam (Richard J. Silberg). The irony to
this is that Adam appears to be the strongest. Always doing push-ups and
using his shackles as if they were part of a weight training program,
Adam, who tells his cohorts that he's from Fremont, insists that he will
not be defeated by his situation.
But then something
happens with the guards in the bathroom, and Adam begins having nightmares
about his parents and his childhood. That's never a good sign.
With Adam on the brink
of losing it, his fellow hostages step up their efforts to keep despair
at bay.
Edward the Irishman
(Clive Worsley) is the most animated of the three. He sings - everything
from The Water Is Wide to Chitty Chitty Bang Bang - he dances,
he clowns. Occasionally he falters, but he fights hard.
Michael the Englishman
(Kevin Karrick) speaks in a hyper-genteel accent that makes him sound
like a 1940s British film star. A self-described ``sanctimonious prig,"
he is restrained and reluctant to admit to human frailty, and yet his
lack of contact with his own emotions may be the very thing that saves
him.
To break the monotony,
the prisoners pretend to create movies. One person narrates the action
while another acts it out. Or they dictate pretend letters to their families
at home. Or they read one of the two books their captors have provided
for them: the Bible and the Koran.
In their more contemplative
moments, the men also consider the nature of God and wonder how a merciful
deity could make innocent people suffer.
The play's title comes
from the Gershwin song Someone to Watch Over Me, a favorite of
the Irishman's, but as the play progresses, it's clear the title also
refers to the hostage takers, to a higher being and to the prisoners themselves
as they learn to care for one another to the best of their abilities.
Director Dooley understands
the play's internal rhythms and ably guides his strong actors. This is
a play where very little actually happens, so the drama has to come in
small, subtle ways.
The actors all perform
admirably, and each has moments of raw emotion and compassion that take
the play where it needs to go.
Worsley as the Irishman
is especially good. Where Karrick and Silberg fall into the playwright's
trap of creating American and English stereotypes, Worsley forges his
own path and creates a complex man of equal parts humor and darkness.
One of the production's
great advantages is the performance space. The Eighth Street Studio Theatre
in Berkeley is a good-size room, but Dooley and set designer Michael Frassinelli
wisely cram the action into a cramped corner of the room. The set-up of
the seats forces the audience into the dingy cell with the hostages, and
it is, as it should be, uncomfortable.
The
East Bay Express, February
23, 2001
Katy E. Shrout
An
American, an Irishman, and an Englishman are locked up together in a Lebanese
prison cell, held hostage by captors they neither know nor understand.
There is food, but no indication of whether it is night or day. The men
offer each other companionship and support, but like the residents of
Jean-Paul Sartre's hell in No Exit, they also serve as one another's
most skilled torturers. They are in shackles, chained to the floor.
It's
funny, but the actual shackles are what got under my skin the most in
this excellent Shotgun Players production. In the first ten minutes, you
realize that these characters are never able to raise their arms above
their heads. All gestures they make are truncated. It's very claustrophobic.
Standing in their boxer shorts, with cramped arms, they are completely
powerless.
Director
Patrick Dooley, artistic director of Shotgun Players, has done good work
with Frank McGuinness' unflinching drama, based on the conversations between
these three men, who, in their bouts with fear, act as constantly shifting
points on a triangle. The American, Adam (Richard J. Silberg), is first
seen doing push-ups: he's a healthy, good-hearted doctor who seems made
of steel, but is the first to crack. Irish Edward (Clive Worsley) is at
first sarcastic and sometimes mean, but is the most courageous in speaking
the truth about the trio's grim situation. The English professor, Michael
(Kevin Karrick), comes across first as a comic British caricature, meek
and priggish and absurdly polite. He is, of course, much more than this,
and the gradual peeling away of his outer layers is fascinating to behold.
McGuinness'
dialogue is juicy, infused with emotional resonance and humor, and cites
everything from the jazz standard of the play's title to medieval literature
to the Koran.
All
three actors are terrific, particularly Worsley, whose fiery Irish-accented
Edward gives the play an indispensable comic vitality. Silberg's desperate
monologue about what the market price of an American might be is compelling.
At times, the baby-faced Karrick seems miscast, too youthful to be plausible
as the older professor, but his performance in the second act makes this
forgivable.
If
the pace feels slow in patches, it's probably connected to the characters'
intense feelings of bored restlessness. For most of the action, you're
more likely to empathize with their trapped-animal frustration and wonder
at what human beings do when they are afraid and powerless.
West
County Times, February 25, 2001
Jack Tucker
Berkeley troupe offers
sharp, funny Someone
Shotgun Playerscurrent
production, Someone Who'll Watch Over Me, by Irish playwright Frank
McGuinness, is a sobering, acidly etched -- and yet, achingly and oddly
funny -- story about the resiliency of the human spirit under extreme
duress. It's a tight play: a tiny cell with three prisoners stripped to
their underwear and chained to the floor.
Director Patrick Dooley's
tight direction adds to the intensity. But it is the sharply defined portrayals
by the three actors that make this difficult play work. They are: Kevin
Karrick as Michael, an English university teacher; Richard J. Silberg
as Adam, an American psychologist, and Clive Worsley as Edward, an Irish
journalist. The constraints of space and movement are essential elements
of the drama. After almost two hours -- if you give yourself to the story
unfolding on the little platform stage only yards away -- you begin to
share a feeling of deprivation; to sense the tightening grip of fear;
to understand how it could feel to lose your sanity.
"Silence was also
a critical part of this production," Dooley said when asked about some
of his directorial choices.
"In rehearsal, the
actors found that it was very difficult to stay on stage and not speak
for only five minutes. The other temptation was to feel that they had
to make up for their silence by filling the space with physical noise
-- activities, mimed stuff, artificial emotions, heavy breathing, etc.
"When they actually relaxed and just silently coexisted, it was beautiful
-- like watching a nature program." To fight their mounting fear and save
their sanity, the prisoners create imaginary refuges in their minds into
which they can withdraw. They write and read aloud imaginary letters.
In one especially funny sequence, each takes turns pretending to direct
movies of the other two. The styles are eerily on the mark of their favorite
directors: Hitchcock, Sam Peckinpah, Richard Attenborough.
They play imaginary
games. They throw parties. They get angry with each another and shout.
They make up. And it is in these turnabouts that they reveal a deep affection
for and a dependence on one another. The humor is sharp and penetrating.
You feel guilty laughing, given the fix they're in. Then you realize the
humor springs from an inner terror, and they are holding it at bay with
shafts of laughter. This intensity cannot go on indefinitely, neither
on stage or in life. Something has to give. The dramatic explosion is
a catharsis -- the purifying of the emotions or relief of emotional tension,
a concept originally applied by Aristotle to the effect of tragic drama
on audiences.
Someone Who'll
Watch Over Me unfolds in catharsis rather than explodes. That's the
way the play builds; that's the way it should, and does, end.
San
Jose Mercury News, February
23, 2001
Karen D'Souza
A
simple goal dramatically defined
Day
and night blur into nothingness for the lost souls in Someone Who'll
Watch Over Me. Chained to the fetid floor of a cell in Lebanon, their
only crime being foreigners, three men stare into the yawning abyss of
a future without basic human rights. This is a hellish existence where
months seem to bleed into forever and the outside world almost ceases
to exist. There is no light and no hope and, most of all, no exit.
Director
Patrick Dooley makes the most of the 8th Street Studio's funky performance
space in Berkeley, a claustrophobic warehouse with rigging hanging from
the ceiling and a tiny triangular stage thrust in the corner. While the
first act drags considerably as the ensemble takes its time finding the
pulse of Frank McGuinness' play, this Shotgun Players production ultimately
delivers a chilling sense of what it's like to endure the interminable.
The
opening moments find Adam, an arrogant U.S. doctor (Richard J. Silberg)
and Edward, a jocular Irish journalist (Clive Worsley) crouched in a filthy
corner against stained walls (set by Michael Frassinelli). They are pawns
in a global war; hostages being held for some cause they know nothing
about. Mostly what they do is wait. Time ticks by with cruel lethargy.
To break the monotony, they exercise, straining their bodies against the
shackles in a futile attempt to keep fit amid the listlessness and inertia.
They cling to this meager discipline like a lifeline. When their daily
ration arrives or when they are allowed to go to the bathroom, it's a
huge event, a reminder they are still alive, still human. These moments
are few and far between.
At
first it's only Edward who relieves his frustration by talking. Worsley
throws himself into Edward's frantic rants about his profession, his family
and his memories. Conversation is how he convinces himself that he's still
human. Filling the stage with his vigorous presence, the actor finds the
beautiful persistent rhythms in the script and lets them serve as a harsh
counterpoint to the reality of the action.
Silberg
fleshes out his character less substantially, leaving Adam a somewhat
muted figure whose thirst for the Bible and feelings about his wife remain
unclear.
No
sooner do Adam and Edward begin to reach out to each other than a third
prisoner arrives. Michael (a deft turn by Kevin Karrick), a gentlemanly
literature professor from England, began his day foraging for pears to
make a flan and ended it lying prostrate in a cell. He's a bit pampered,
a bit flabby, the sort who's never done a push-up in his life. He awakens
to find that he has become a missing person, one of those items from the
evening news that's sad but soon forgotten.
About
halfway through the play, in a scene when the three men escape their reality
by making believe they are sipping cocktails, the ensemble comes into
its own. The actors shed their tentativeness and connect to each other
in a palpable way that conveys the intimacy and dependency among their
characters.
They
are jubilant at their achievement, carving out a few moments of cheer
amid the doom. Then suddenly a realization hits. Nothing has changed.
Death and torture could come at any time for any reason -- or no reason.
From
then on, the production finds its unremitting pace. The unmotivated line
readings and slack cadence that plague the first act right themselves.
The second act finds the prisoners torn apart as the playwright examines
what makes a man and what can unmake him. Dooley casts the barrenness
of the situation into high relief with a single reverberant sound effect
that echoes through the final moments of the piece.
Michael
sits alone in his concrete hole about to lose his mind to the deafening
silence. All he has left is his fortitude, the insistence that he retains
some small measure of control over his fate. The lights go down on the
sight of him bracing himself against the floor, resolving to do the only
thing he can, survive.
SF
Weekly, February 28, 2001
Michael Scott Moore
Three
Men in a Cell ... to say nothing of the firing squad
Jerome K. Jerome's
novel Three Men in a Boat deals with three idle Englishmen floating
down the Thames with a dog. They have amusing adventures and emit witticisms
that made their author famous enough in his day (the late 19th century)
to bring about Oscar Wilde's public disgrace.
Frank McGuinness'
play Someone Who'll Watch Over Me deals with three men chained
to the floor of a Lebanese jail. An Englishman, an Irishman, and an American,
with nothing to do but wait for death, amuse themselves by composing imaginary
letters or miming fantasies of cocktails and fine food. Their witticisms
are nasty and aimed at each other, and instead of ending in a clever comedic
luncheon in London the play ends with one of its characters executed.
McGuinness also wrote,
among other plays, Observe the Sons of Ulster Marching Towards the
Somme, which Viaduct Theater produced here a couple of years ago.
He lectures in English at St. Patrick's College in Maynooth, Ireland.
As far as I know he's never done time in Lebanon, no more than he's fought
in the First World War; but then Someone Who'll Watch Over Me isn't
about Middle Eastern politics. His characters never see their captors.
They've been grabbed at random from the streets of Beirut. That they're
in Beirut is superfluous; they could just as easily sit in a Siberian
gulag -- or a Beckett play.
So the show consists,
literally, of two-plus hours of men in a cell. First we see Adam, the
American doctor, and Edward, the Irish journalist. Adam keeps himself
fit with push-ups, Edward would rather jeer and complain. Soon a linguist
named Michael gets dumped unconscious next to them. Michael is a great,
soft, earnest lunk of an Englishman who provides fresh jeering material
for Edward. "You're a miserable git, aren't you?" Edward says, about 10
minutes into their acquaintance, and when Michael in passing calls Irish
speech a "dialect," Edward erupts. "We've taken [English] from you," he
shouts. "We've made it our own. An' we've bettered ya at it!"
Edward is a lively,
savage presence who fuels the play with his bitter, scathing brogue. Clive
Worsley plays him brilliantly. I know Worsley from his performance last
year as the mild, tippling American broadcaster in Mr. Happiness; the
bright flash of his adopted accent here works a nice contrast. In shackles,
with scrawny legs exposed, wearing a shaggy beard, he looks and acts like
a desperate, hunted animal. At the show's climax he drops straight into
a pit of madness and grief (against Michael's civilized protests), and
wrenches a strange catharsis from a script that's mostly talk.
Kevin Karrick, as
Michael, works against his own obvious Irishness to create a pompous but
sympathetic Brit who hankers for homemade pear flan. He's stern, judicious,
polite, and reserved about his own feelings. "Don't be afraid of pain,"
he remembers his father telling him. "Don't be afraid of controlling it."
Karrick rises to brilliance in a speech about Michael's wife, who died
in a car crash; the spectacle of him wrestling with grief is wrenching.
Lying at the heart of Someone Who'll Watch Over Me is a study in
contrast between Irish and English attitudes toward pain, and although
McGuinness breathes into his English character a respectful and believable
life, he still comes down for the home team. "Bein' Irish helped me,"
says Edward, near the end.
The flawed part of
this production is Richard Silberg's performance as the American, Adam.
He should be a commanding presence in the cell, but Silberg's acting lacks
authority. He lets no emotion play through his voice. Director Patrick
Dooley has probably told him to be stoic next to the gregarious Irishman,
but the result isn't a tough character so much as a line-reading one.
(Maybe he has improved in recent appearances; I saw the show in preview.)
Still, his performance perks up when Adam slides toward craziness. "I
want a pair of jockey shorts," he tells his cellmates in a cracked deadpan.
"I want my country's greatest contribution to the world -- a white, clean
pair of jockey shorts." [Pause.] "I wanna kill an Arab."
Someone Who'll
Watch Over Me can't help dragging now and then; even the funny scenes
begin to feel redundant and drawn-out. But tedium must be the main feeling
of being in jail. McGuinness has written an Irish fugue for three voices,
resonant but slow, that appreciates but finally lacerates English (and
American) restraint. I doubt he had Jerome K. Jerome in mind, but the
play works as a quiet rebuke to anyone who would shoot down an Irishman
for flaming too bright.
SF
Bay Guardian, March 7, 2001
Robert Avila
Shotgun Players presents
Frank McGuinness's drama about an American, an Englishman, and an Irishman
held hostage in Lebanon. Although inspired by the real-life experiences
of Terry Anderson and others, the play barely touches on the politics
of the Middle East - the Arab captors, while reference points for the
characters' despair, remain offstage and peripheral, incidental to the
play's themes. McGuinness concerns himself instead with the relationships
between Adam (Richard J. Silberg), Edward (Clive Worsley, in a flawless
performance), and Michael (Kevin Karrick), as they struggle to maintain
their grip on sanity. McGuinness uses their desperate condition to explore
the universal need for love, compassion, and understanding, as well as
the power of humor to sustain people in an absurd situation. The setting,
with its ready-made assumptions and loaded associations, may ultimately
be a hindrance to the playwright's more general aim, but McGuinness's
talent for dialogue and three outstanding performances under Patrick Dooley's
direction make for a captivating evening.
Urban
View , March 7, 2001
Matthew Surrence
"Trio
Trapped"
The
premise sounds almost like the setup of an absurd joke: an American, an
Irishman, and an Englishman are, for reasons unknown to them and to us,
being held captive in a Lebanese prison cell. But Frank McGuinness' tough
and tender play is the furthest thing from a joke; it takes its characters
and their situation utterly seriously, which is not to say that the three
actors in Shotgun Players Artistic Director Patrick Dooley's taut production
don't find plenty of the play's humor. They do, but more impressively,
they find their characters' humanness and humaneness.
Two
actors are already on the Eighth Street Studio stage - a small platform
in the corner of a large room in a West Berkeley warehouse complex - as
the audience members enter and take their seats on two sets of bleachers.
Muscular Adam (Richard J. Silberg), a doctor, is the American; wiry Edward
(Clive Worsley), a journalist, is the Irishman; portly Michael (Kevin
Karrick), a teacher, is the Englishman. They wear nothing but shorts and
T-shirts, and their manacled wrists are chained to the floor. Each man
has a towel and a plastic water bottle. They pass their time perusing
their only reading matter, the Bible and the Koran; doing push-ups and
arm crunches; or devising diversions, such as retelling the story of Virginia
Wade's 1977 triumph at Wimbledon or listing desert island discs (one of
those, Ella Fitzgerald's recording of the classic Gershwin tune, gives
the play its title).
Adam,
from Fremont, dreams of taking his fellow prisoners on a tour of San Francisco's
seafood restaurants. Teetering on the brink of losing it, he rants about
his jealousy of his parents' foster children - a diatribe Silberg makes
chilling - and the value, or price, of being an American. Worsley's superbly
sardonic Edward responds to Adam's talk about sex with a classic pugnacious
Irish riposte: "We invented foreplay; we call it drink." Predictably,
Edward taunts Karrick's touchingly gentle Michael, and if the chains hadn't
kept the two apart, they might have come to blows over the potato famine.
But in the play's sweetest moments they sing The Water is Wide
and bond over a strangely moving rendition of the title song from Chitty
Chitty Bang Bang.
We
never see or learn anything about the captors, or why these men were kidnapped,
in the course of the two-act play's two-and-a-half hours. (During the
intermission, the actors remain chained and in character onstage.) One
man eventually is taken out and presumably executed. Another is set free.
One man remains at the end, performing the same physical act the play
began with: pushups. McGuinness' matter-of-fact mixture of bleakness,
absurdity, anguish, humor and warmth has led some observers to compare
the setting to the anteroom of Hell devised by Sartre in No Exit
and the road to nowhere on which Beckett placed Waiting for Godot.
But the text doesn't support such microcosmic existential parallels, nor
does it feel like a tribute to the indomitable human spirit, à la Life
is Beautiful. It instead derives its stark power, intensified in Dooley's
distilled staging, in the contrast between the men's current terror and
the fragile, fond memories they cling to, as they try, and falter, under
the direst of circumstances, to help each other heal their broken hearts
and maintain their breaking spirits.
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