The Grand Inquisitor / Fragments
Peter Brook is one of the most famous directors in the world. His credits are so extensive it would be impossible for me to list them. I recommend going to Wikipedia for information. Mr. Brook is the sole director of The Grand Inquisitor by Fyodor Dostoyevsky and co-director, with Marie-Helene Estienne, of Fragments by Samuel Beckett, the second half of the program,
The Grand Inquisitor: With script in hand, sitting on a stool upon which he is visibly uncomfortable, with music stand in front of him to hold the script, actor Bruce Myers, tall, thin, a handsome man with a face oozing intelligence, modulates his voice in perfect articulation, rising and falling at the precise exact moments for emphasis and meaning, gives a reserved, dry, unemotional, and unfeeling reading of one of the great works of literature. Unless I was at a family gathering, school, or library, this rendition of the most famous portion of one of Dostoyevsky’s most famous novels, The Brothers Karamazov,leaves me absolutely cold. The minimalist presentation is, in my opinion, a very poor choice for what could have been a dramatization of the battle of free will against advantageous enslavement represented in the two opposing characters of the Grand Inquisitor and the all-loving Christ. It is the inner life and development that Mr. Myers has chosen to neglect. Where is the emotional turmoil and conflicted passion of the Grand Inquisitor? What is it in his twisted, sinister character that leads him to such hideous conclusions? Where are his unresolved problems and conflicts? What is he fighting for? And in opposition to this, where is the totally vulnerable, guileless surrender of Christ? Mr. Myers makes no attempt to turn into his characters as most actors would do, I believe. This is a bloodless dish. At least, that’s my opinion.
Fragments, five short works by Samuel Beckett. In Rockaby, the second piece of Fragments, Marie-Helene Estienne, alone on stage, gives a deeply emotional presentation. The coughing in the audience subsides. We understand totally the loneliness and emptiness of this life before us; we can feel what the actress is feeling. A richly deserved applause rings out as she exits. What a contrast to that which came previously.
The third piece, “Act Without Words II” consists of comedic mime. Mr. Myers was great, not missing a laugh, nor overdoing to get more; easy, light, without reserve. As a mime he succeeded brilliantly. The other three pieces in Fragments were good, although performer Yoshi Oida seemed a bit self-conscious. Perhaps it just appeared that way because he was trained in a Japanese traditional theatre style thought appropriate for the interpretation of Beckett. He was endearing enough, just not emotionally involved in anything and resorting to indication.
The set was minimal or non-existent. The lights (Philippe Vialatte) were rosy and glowing and adequately unobtrusive, except when they stayed on lightly in the audience during performance. I do not know if this was intentional.
The evening was interesting to see, particularly the Beckett, but I cannot recommend this production.
The Board Stage1310 11th Street
Santa Monica , CA
www.thebroadstage.com
Ends Sunday, April 17