BWW Reviews: J.Samuel Davis in Upstream Theater's THE DOUBLE BASS

Michael Hofmann's witty translation of Peter Suskind's play The Double Bass is an intriguing work, filled with many wildly funny moments, and Upstream Theater's current presentation, which is playing at the Kranzberg Arts Center through February 14, is  must-see production, powered by a riveting performance by J. Samuel Davis, under Philip Boehm's thoughtful direction. It's rare you get a chance to witness such a captivating and engrossing piece of theater.

Delivering his dialog directly to the audience, Davis immediately grabs our attention by explaining exactly why he considers the double bass to be the most pivotal piece of any orchestral ensemble. As Brahms plays on his stereo he pontificates on its importance. His take is that it provides a foundation that, when removed, allows music to devolve into formless chaos. Davis plucks an open E string to demonstrate the resonant but harsh qualities that the instrument possesses, and in the process reveals its beauty and drawbacks. The double bass is not a glamorous instrument to be sure, and it's imposing size and sonic capabilities limit the options for its placement on stage, as well as its appeal to composers. And, in two brilliant bits he's revealed the love/hate relationship he has with his instrument.

But, this isn't just a 75 minute rant, Hofmann and Suskind have given their character dreams that keep him moving forward despite the burden of anonymity he seems bound for. When Davis begins to open up about his personal life, or lack thereof, we begin to sense his growing frustration; it seems the bass has a way of getting in the way of him making time. But, his mood immediately brightens when he begins obsessing over the object of his desire; a mezzo-soprano who's oblivious to his feelings. Although he does devise a rather clever way of grabbing her attention, it's doubtful he'll follow through with it.

Davis is marvelous, charming and intense in equal measure, bringing us deep inside the troubled psyche of this self-described artisan. It's a pleasure to watch him work, and he sinks his teeth into a part that allows him to run the gamut of emotions as he praises, damns, and makes love to double bass. He also exhibits an ease with the instrument that makes his terrific performance that much more believable.

Philip Boehm's excellent direction keeps Davis on his toes throughout, as he flits about his sound-proofed apartment (save for a moment when he bows a note fortissimo and brings forth the wrath of his neighbors), delving into a variety of reasons why his profession brings him both pleasure and pain. Jason Coale's scenic design provides a comfortable space for Davis and his bass to occupy, as well as to change in and out of Michele Siler's perfectly suitable costuming.

Upstream Theater's production of The Double Bass is an absolute delight.

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