Seattle Review: Tuesdays with Morrie and Honus & Me
By: Robbie Wachs Apr. 14, 2006
Tuesdays with Morrie (Seattle Repertory Theatre)
Though instinct may urge you to stay away from Mitch Albom's much hyped Tuesdays with Morrie, Seattle Repertory Theatre's irresistible new production is not to be missed. Cynical audiences are likely to frown at this sometimes sappy tale. A dynamite performance and solid direction save this Morrie from cliché hell.
While there have been many plays reflecting on the teacher's influence on the student, few are able to capture how a pupil can change their master. Though Morrie leaves an indelible impression on Mitch, it is Mitch's influence on Morrie that is most memorable. After years apart, Mitch visits an ailing Morrie who has gained national exposure through his illness. Despite his declining health, Morrie's mind seems as fresh as ever. He vividly remembers his relationship with Mitch, and the two quickly rekindle their strong bond.
Tuesdays with Morrie could easily turn into a community theatre nightmare when placed in the wrong hands. Director David Esbjornson's instinct to let the material play naturally works wonders. He rarely forces his gifted actors to push the drama. The decision to fill this relationship with layers of subtle subtext prevents the sentimental trappings of the text from taking over. Esbjornson's gentle touch allows the audience to make this story personal. Everyone has had a Morrie and/or Mitch in their life. Esbjornson never allows us to forget this.
Theatre legend Alvin Epstein gives a rich performance as Morrie Schwartz. Epstein easily negotiates the many transitions between comedy and drama. His is a fully realized creation full of smart choices that make Morrie more than just a news headline. He has a great partner in Lorenzo Pisoni. Though Pisoni's vocal and physical resemblance to Ben Affleck is occasionally alarming, he manages to negotiate the ins and outs of the role nicely. He captures the confusion and frustration of Mitch's lifelong regrets. This strong pair has added history and depth to a universal relationship. A moment where Morrie meets Mitch's wife (who we hear but never see) is simply magical.
Esbjornson's perfect direction is aided by Robert Brill's functional set that remains appropriately minimal throughout. The absence of flashy design elements allows the relationship to develop without obstacles. Key objects important to the Morrie/Mitch relationship are given greater focus when placed on a bare wooden stage. A chair, a piano, and a tree full of fall leaves create a lasting impression in the mind. Jane Cox's lighting provides all the atmosphere needed and Christopher T. Pew's sound gives congruity to a the often disjointed text.
Tuesdays with Morrie is likely to appeal to anyone who has lost a hero. This is an impassioned plea to live life to its fullest. Though the theatre was filled with tears during the stunning finale, there was an overwhelming feeling of warmth and understanding in the air. This production urges us to correct our mistakes, fix our flaws, and right the wrongs that haunt us. It is the perfect period to Seattle Rep's remarkable season.
Tuesdays with Morrie runs through May 7th at Seattle Repertory Theatre. For tickets call (206) 443-2222, or visit www.seattlerep.org.
Honus and Me (Seattle Children's Theatre)
Nobody does children's theatre like Stephen Dietz. An all-around gifted playwright, Dietz excels in his works for young people. Like his remarkable Still Life with Iris and The Remember, Honus and Me is an accessible work full of important lessons. Honor, greed, loss, and hero worship are examined in this appealing world premiere.
Adapted from the book by Dan Gutman, Honus and Me follows young Joey Stoshack as he struggles to cope with his parent's separation. While cleaning out the neighbor's attic, Joey finds Honus Wagner's rare (and profitable) baseball card. The card transports Honus to the future where the pair embarks on a unique journey. Dietz is able to make this baseball story have universal appeal. Baseball is merely a backdrop for this fragile story about a boy's search for identity. Dietz easily bridges the gap between art and sport.
Dietz has coupled his strong text with solid direction. He manages to balance the realistic and fanciful nicely. The magical elements of the text never seem out of place. Dietz gives rhyme and reason to each of his choices. Craig Wollam's baseball diamond set utilizes a scrim that quickly takes us in and out of Joey's memory. Dietz never reveals what is real and what is not. He allows his young audience to make choices. This is Seattle Children's Theatre at its best.
David Drummond is fantastic as forgotten baseball great Honus Wagner. He handles the difficult task of playing a historical figure with great power. His warmth and presence acts as an anchor throughout. As Joey's dad, Peter Crook shows us an intimate portrait of a man struggling to capture his son's affection. A growing issue for many young children, the subject of divorce is handled with respect and class. Tim Hyland is a fierce bully and Marianne Owen leaves a strong impression as the mysterious neighbor.
The only truly problematic element of this strong production is the performance of Gabriel Baron. Though Baron is able to capture the youthful innocence of Joey, his repetitive vocal style prevents him from giving the multi-dimensional portrayal needed. Baron's Joey often reads as an annoying nuisance. Still, the strength of the text and direction push past Baron's shortcomings.
Honus and Me is sure to draw children in with its baseball themed plot. The strong themes will hook them. Dietz clearly understands the complex minds of children. This is easily the smartest children's play in recent memory.
Honus and Me runs through June 11th at
Top: Lorenzo Pisoni as Mitch and Alvin Epstein as Morrie Schwartz in Tuesdays with Morrie
Bottom: David Drummond as Honus Wagner and Gabriel Baron as Joey Stoshack in Honus and Me
Both Photos by Chris Bennion
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