A Number
If at first you don't succeed, try, try again. That long-lived cliché takes on poignant dimensions in the elliptical plot line of "A Number," a drama by Caryl Churchill staged by the Odyssey Theatre Ensemble.
In the taut, provocative 65-minute piece, a father confronts cloned versions of his biological son -- the result of his attempt to compensate for his abandonment of his original child. His voice trailing off dejectedly, the father confesses his shortcomings as a parent to the first "copy" of his son, "If I'd tried harder ... I started again. I did try."
Although Churchill’s play stimulates reflection on the nature of human identity in the face of such technological possibilities, at its core "A Number" is a domestic drama about the burdens and struggles of parent-child relationships.
In a series of encounters with his real son and two technologically engineered copies (all portrayed by Steve Cell), Salter, the dour widowed father (John Heard), is forced to account for himself over and over again. In one of the reckonings, he faces the edgy menace of his flesh-and-blood son Bernard, who is bitter at being abandoned and wants to kill the first clone of himself. In another scene, the first clone (Bernard 2) laments his secondary status in relation to the biological child: “You wanted him back, so I'm just him over again."
Further complicating the identity issues is the fact that researchers stole genetic material from the first clone and created at least 19 other versions. One of these technologically engineered offspring also confronts Salter. Instead of being embittered like the others, he is detached and soulless.
Churchill, a prominent British dramatist, distinguished herself by her daring themes and experimental style. Among her best-known works are "Cloud Nine" (1979), a farcical romp that explores political and sexual oppression through gender-bending and cross-racial casting; and “Top Girls” (1982), which assembles female figures from throughout history at a London restaurant.
In "A Number," Churchill’s enigmatic dialogue allows for mysteries to linger in the spaces between words. This makes for a challenging theatrical experience, one that may prove frustrating for audience members who prefer a more linear, direct approach but is rewarding for those who embrace ambiguity.
Though Churchill’s suggestive language could yield more nuance and tonal shifts, Heard and Cell play off each other effectively in a series of crisp vignettes, under the direction of Bart DeLorenzo. Cell skillfully differentiates the moods and attitudes of the three “sons” as they confront their dispirited progenitor. Heard’s initial detachment gradually gives way to poignant moments of stifled pain. At one point, Salter admits, "I did some terrible things. I deserve to suffer."
Christopher Kuhl’s sparse scenic design -- a leather sofa and wooden tables flanked by a bland white rectangular panel -- emphasizes the sterility of Salter's life, a life that doesn't quite measure up despite multiple possibilities.
____________________________________
Theater: Odyssey Theatre Ensemble, 2055 South Sepulveda Blvd., Los Angeles
Web Site: http://www.odysseytheatre.com/
Tickets: (310) 477-2055
Dates: Through June 21, 2009