|
Regional Reviews: Minneapolis/St. Paul Gabriel Also see Arthur's coverage of The Ivey Awards
Gabriel takes place on Guernsey in 1943, set in an old farmhouse on the Becquet estate. Jeanne Becquet, her spirited young daughter Estelle, brooding daughter-in-law Lily, and down-to-earth housekeeper Lake have been forced out of the main house into the farmhouse. Jeanne's husband died before the war, leaving Jeanne as head of the household. Myles, Jeanne's son and Lily's husband, is serving in the Royal Air Force, his fate uncertain. Into this nest enter two outsiders. First is Von Pfunz, the Nazi officer occupying the big house on the Becquet estate. Jeanne had been conducting an affair with the officer Von Pfunz recently replaced. It is not clear whether she did this out of lust or to secure favors and protection for herself and her family, though it appears the truth is a combination of the two. What remains to be determined is what relationship Jean will have with Von Pfunz. The second outsider is a handsome young man who arrives washed up on the beach, unconscious and naked. He is spotted by Lily, who, despite the protests of both Jeanne and Lake, takes him into their home to bring him back to life. Is the young man British or German? Unclothed, there is no uniform to identify his nationality. When he does regain consciousness, he has total amnesia, does not know where he is from, how he ended up on the beach, or even his name. But he speaks in perfect English, so at least he is friend, not foe. That is, until he encounters the Von Pfunz, with whom he speaks in equally perfect German. He does not remember how it is that he knows both languages. Theories are flung about ... a downed British airman, a German SS survivor of a recent shipwreck, a local bank clerk who has gone missing. Estelle has her own theory: with her child's belief in fairy magic, she had drawn a "square of power" in chalk on the farmhouse floor, and used this to wish for a fairy to descend and protect them. Needing something to call the young man, she suggests the name Gabriel, which of course suggests other powers. The play continues with several interlocking intrigues. There is the mystery of Gabriel's identity, the cat and mouse relationship between Jeanne and Von Pfunz, and Jeanne's despair over all she has already lost, including her self-respect. Lily admits that she was unhappy in her marriage to Myles and allows herself to be drawn to Gabriel. When Jeanne inadvertently reveals a family secret, all of their lives are in peril. That Gabriel keeps us thoroughly engaged, guessing at the outcome, and finding sympathetic aspects to all of the characters, is a great credit to playwright Buffini's skill. Plot points that could easily have stretched credulity seem like natural developments. Director Amy Rummenie keeps things moving fluidly, from scene to scene, and mood to mood. The pace is ideal. We are not rushed through the abundance of substance, yet never does the play feel weighted down. The actors contribute to the success of this piece as well, each creating a complex individual who lives with the internal contradictions brought forth by their impossible circumstances. As Jeanne, Katherine Kupiecki has the largest and most fully developed role. She is totally believable in balancing her Mother Courage-like survival instincts with feelings of genuine longing and vulnerability. She is well matched by Wade A. Vaughn as Von Pfunz, who is equally believable as a gentle soul who writes poetry and who earnestly states "I have never hurt a child," yet who also has no qualms about sending Jews to slaughter in death camps. Miriam Schwartz as Lily conveys her feelings of regret and hopes for a second chance at happiness, even as she faces tremendous risk. Lily Wangerin is remarkable as Estelle, carrying complex and lengthy dialog as well as her adult peers. Her Estelle believably plays highly dangerous games that taunt the occupying Germans, while maintaining an innocent faith in the power of spiritual forces to after her family. Janet Paone provides comic relief and a grounding force as the loyal housekeeper. Ross Destiche as Gabriel is given the least to work with, as his amnesia leaves him with no back-story, only confusion. One might have expected him to be more panicked, less at ease in his interactions with both the Becquet family and Von Pfunz. The moment of romance he shares with Lily also seems to be out of any context. The farmhouse interiors designed by Steve Kath make for apt playing spaces for this drama to unfold, illustrating the humble existence to which the family has been reduced, along with the clutter of the enterprising Jeanne's black market merchandise. Tony Stoeri's lighting adds to the shifting of moods between fear, mystery, hope, despair and desire. The costumes by Sara Wilcox seem appropriate for the times and circumstances. Gabriel leaves the viewer with a lot to think about and tells a rattling good story that triggers various emotions, while shedding light on an unknown piece of not-too-distant history. With all that, and Katherine Kupiecki's especially strong performance, it is easy to recommend this production. Gabriel continues through October 11, 2014, at the Minneapolis Theatre Garage, 711 W. Franklin Avenue, Minneapolis, MN, Tickets are $20.00 - $26.00, Students -$15. For tickets call 612- 375-0301 or go to walkingshadowcompany.org. Written by Moira Buffini; Director: Amy Rummenie; Scenic Designer and Technical Director: Steve Kath; Costume Designer: Sara Wilcox; Lighting Designer: Tony Stoeri; Sound Designer: Anita Kelling; Props Designer: Bobbie Smith; Stage manager: Nicole Rodriguez; Production manager: David Pisa; Assistant Director: Lucas Skjaret; Fight Choreographer: Meredith Larson; Accent Coach: Keely Wolter; German Consultant: Ari Hoptman; Electricians: Claire Alexander, Charlette Reiner Cast: Ross Destiche (Gabriel); Katherine Kupiecki (Jeanne Becquet); Janet Paone (Lake); Miriam Schwartz (Lily); Wade A. Vaughn (Von Pfunz); Lily Wangerin (Estelle).
|
