While music has its pop, jazz, folk and classical "scenes" and the "classical" world tends to break up into "traditional" and "contemporary" and the contemporary world tends to break up into "uptown" and "downtown," the world of theatre also has its categories. The terms "Broadway," "Off-Broadway," and "Off-Off-Broadway" speak to the size of the houses but also to the degree of commercialism of the productions. As with the music scenes, it is interesting to note the kinds of audiences that attend each category. In going to the Signature Theatre Company production of Tony Kushner's The Illusion, it was clear that this was theatre for theatre people (mostly New Yorkers)and not for tourists trying to "catch" a Broadway "show." The house itself (The Peter Norton Space) is located on the far west fringe of 42nd Street many blocks from "the Great White Way" -- not a venue that most tourists would take the time or effort to go to.
The Signature Theatre Company was begun in 1991 by James Houghton "to honor and celebrate the playwright." Each season is devoted to the work of a single playwright who is engaged in the entire creative process. Such playwrights as Edward Albee, Lee Blessing, Horton Foote, and August Wilson have had seasons "dedicated" to their work. This year's playwright has been Tony Kushner. While Kushner is best known for this very successful Angels in America, the play The Illusion, the final production of the season, was actually the work for which Mr. Kushner first received critical recognition.
Entrance to The Peter Norton Space
The Illusion is a "free adaptation" of a play by the 17th century French playwright Pierre Corneille, L'Illusion Comique, and also incorporates an episode from an old Spanish Commedia novel, Calisto. In reading the background on the original Corneille play I was struck by Corneille's bohemian spirit at a time when the French Academie set forth strict for the construction of plays. The work is not a "great" play, which makes it all the better material for Mr. Kushner to appropriate and rework.
Upon entering the small theatre, the lights were dim and the sets were dark. The only sound (aside from the softer conversations among audience members) was the dripping of water. What was that all about?
At the start of the play, Pridamant, a wealthy lawyer from Avignon, is entering a grotto, home to the magician (sorceress) Alcandre. Pridamant is hoping she will help him find his long lost son, Clindor. Now, we know why there is water dripping. We are in a dank, dark grotto.
Through the course of the play, Alcandre brings before Pridamant scenes of his son at various stages of his life. At each stage he appears to have a different name and is surrounded by different people in different situations. However, the people look the same each time. Only their names, clothing and situations are different.
In the final "stage" Clindor is killed and Pridamant is naturally both horrified and grief-stricken. He had so wanted to reconnect with his son and make him his rightful heir. Then, the magician Alcandre admits that Clindor had actually become an actor and that the "stages" of his life were actually plays in which he appeared. Clindor was actually alive and living in Paris.
Though again not a great play, both Corneille and Kushner do create multiple levels of illusion and ultimately show that what can be considered an "illusion" is more "real" than the more tangible, material elements that surround one.
This a play where older, established actors act on one level while younger, up-and-coming actors play on another. This situation creates a great opportunity for the younger actors to observe the polish and craft of actors who have honed their skills over many years. It is also an opportunity for the older actors to feed off the energy of the younger ones.
In looking over the bios of the actors, I noticed how many had made appearances in such television shows as Law and Order where many actors appear on a one-time basis. I am sure these roles not only help pay the rent but also provide a valuable opportunity for the actors to get into the skin of a character quickly and convincingly.
The set design, lighting and costuming were all exceptional, especially the creative set design. Nico Muhly's music (including, I assume, the dripping water!) was sparse but quite effective and revealed a great skill at creating music that would enhance a particular dramatic situation. Much of it was for the piano and often "played" by Alcandre's amanuensis.
Experiencing this production confirmed the fact that theatre, like literature, holds up a light to the human condition, that fiction can be used to express truth, and that illusion is often more real and so-called reality.
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