recentgracereviews

Let me rave a moment. GRACE, currently on stage at the Edwin Booth Theatre of Dover, is an art high, the kind of play that has you pondering and talking for days, discussing the dialogue, design and all the details. Written in the '80s by Edward Langlois and John Carmichael, both local guys, this production is a revision. Can't say where the first one stood. Can say this current production is a beautiful, moving, not-to-be-missed piece of work.

GRACE is set in the 1980s, at a time AIDS is starting to grip the country's consciousness, when diagnosis of the disease is a sentence to a quick and painful death. Lewis, a gay man, is once again hospitalized and in a late stage of the disease. His world is now one of a wakeful state of fear and pain, and a dream state of wild hallucinations filled with as many emotional roller coasters as his real time world. In both states he struggles with the basic need of love and approval. Even now, as he wastes away with the disease, his parents, each with their own-self absorbed styles, tear at him. Encounters with the couple are often more surreal than his dreams, which can wake him in terror.

There is little softness in Lewis' life. When it's offered, while it may be met with humor, it is often met with a defensive snarl, or his own style of inherited self-absorption. His only sure oasis in conscious state comes in the form of Sammy, his male nurse. Only there does he seem to meet with complete acceptance.

This production plays like a great piece of classical music. It takes you through all the emotions, playing you with its change in movement, focus and rhythm. Its dialogue is smart, humorous, intelligent and painful. The conversatins draw you in as they build both tensions and tales. Its relationships are complex, as are the indivuals that are a part of them. Langlois has directed and designed his piece; his hand and eye are evident in every turn. the costuming is stunning, the set solid. But nowhere more than in the individual, minute direction of his players does Langlois' touch show more.

It is in the simple move of a character, their stance, or juxtaposition to that of another actor. it's evident in Paul Place Cordeiro as Madame DuBarry as she stands in profile, her arms and shoulders set slightly back from the body, hands in a graceful gesture. It's in the posture of Alan Huisman as he portrays the father, literally against the wall, his face addressing its blank, black space. it can be seen in Barbara Hilton's character's slow, loving touch to her own face or legs, forming a "V" raised to the sky. Over and over, Langlois' theatrical flair permeates each figure and the scene as a whole. What is equally stunning about this play is that each of its six actors give outstanding performances -- some of them their personal best. Christopher Curtis as Lewis is flawless. Always a strong actor, this performer goes deeper yet as he takes you on a tumultuous emotional ride. He embodies this character.

One of the night's most pleasant surprises is Ralph Hamilton's performance as Duc de Croy/Mike. Hamilton shows a comfort with his roles that till now has been displayed only during his dance performances. In both his roles he displays striking growth as an actor. Hilton, who has given many strong performances, here gives her best yet. She makes this character her own, wears it like a well-fitted glove. She's whimsical, self-absorbed, playful and sexy. Mother is a quixotic, complex character. Hilton makes natural segues through her role's many characters, giving her a believeable, deep form. Danny Gerstein as the kind, humorous nurse, gives his best local dramatic performance as well. His character is desparately needed in this sea of piranhas. Gerstein is able to convey a serenity, born of worldliness without making Sammy a syrupy character. Rather, he is a necessary quiet power.

As my guest points out, Cordeiro as DuBarry physically epitomizes the beautiful fairy tale bride-doll little girls covet. It is both her own presence and the gossamer look of her costuming and make-up. But Cordeiro is more than a pretty doll, she's a fine actress who mesmerizes with her dreamy performance. Last but not least is Alan Huisman as Duc d' Aiguillion and the father Andrew. Audiences have come to expect strong performances from Huisman. He won't disappoint.

If there is any criticism of GRACE it would be that it could use a little shaving off the third act. With a little nipping the finish could be all the more powerful. The costuming and wigs by Langlois and Patricia Kaufman are works of art. The make-up a notable addition. Don't miss this play, it's a stunner, rich in visuals and thought. Just a gem.

The Edwin Booth Theatre's current production of GRACE, a compelling look at how one man lives in the face of imminent death, is a vibrant, emotionally satisfying theater experience. The reasons are many. The script's take on the age-old issue of how a man behaves when he knows he is about to confront his ultimate destiny is fresh. The language ranges from poetic to brutal. The characters are believably flawed yet likable. The dream sequences are interwoven seamlessly, adding pageantry while enhancing the humanity of the reality-based events. Moreover, the production is perfectly cast and eloquently presented. The actors have clearly embraced all sides of these characters. The staging is simultaneously corporeal and balletic. the costumes are stunning.

Written by John Carmichael and Edward Langlois, GRACE is the story of Lewis, a 35-year-old man who, in the final stages of his bout with AIDS, has recurring dreams of Madame DuBarry and the court of Louis XV, is tended by a wonderfully honest nurse and attempts reconciliation with his parents. Langlois, who also directs this production, has led the actors to an exciting level of commitment and honesty. Because of this, the audience invests similar emotions.

GRACE, which premiered in 1988 at the Mill Pond Center, is, on one level, dated. Yet that's not a bad thing. In fact, the show is stronger because it wasn't updated. As it stands, GRACE serves as a reminder of how much has been learned about living with AIDS in the intervening years. Most importantly, this is a play about human dignity in the face of impossible odds, one that encompasses many levels of grace. Chris Curtis credibly inhabits Lewis' world. His relationship with each of the individuals he admits into his room or his mind is clearly defined. His sense of self, as an actor and as the character, is keenly drawn. With indefatigable focus and energy, Curtis gives a tour de force performance. Ultimately, Lewis' quest for grace in a world that has not always accepted him for who he is becomes the heart of this show. Think of the many ways the word "grace" can be used -- as approval or favor, mercy or pardon, reprieve, privilege, divine assistance, a charming trait, fluid movement, a sense of propriety, a title of respect; a woman's name. the play's multiple layers and the actors' recognition of the same become more evident with this in mind.

Several of the actors play dual roles, existing in both of Lewis' worlds. Alan Huisman plays Andrew, Lewis' father. This is a man who has stubbornly refused to accept his son for who he is. Even in this situation he seems unfeeling. How could anyone speak in such a manner to a son so near death? In one final redemptive act, however, he shows a hint of humanity. Huisman's portrayal is textured enough to let the audience believe this man is for real, as despicable as that is. Andrew's dream counterpart is Duc d' Aiguillion. Barbara Hilton is in top form as Catherine, Lewis' mother. Catherine is one of those women who in just a few sentences can make sure any conversation is about her. Hilton flits and fidgets with aplomb, making it hard for the audiences to dislike this woman as much as we might and perhaps should. In the dream sequence she plays Duchesse d' Aiguillion. Danny Gerstein is delightfully low key and conversational as Sammy, Lewis' nurse. Sammy has seen death often. Most importantly, he dares to be honest with Lewis. In their scenes together, Gerstein and Curtis clearly trust one another in much the same way their characters do. Plus, in the dream sequence, Gerstein plays a tap-dancing Cardinal with verve. Ralph Hamilton brings an edgy decadence to the role of Mike, Lewis' former lover. In this role and as Duc de Croy in Lewis' dream, Hamilton consistenly makes bold, sweeping acting choices. With a swaggering aloofness, Mike is frighteningly detached and uncaring Yet, in one final powerful stroke, he is responsible for one of the show';s final and perhaps most powerful moments of grace -- the coups de grace if you will. Paula Place Cordeiro is a fragile, yet spirited Madame DuBarry. How haunting it is that this woman, who was beheaded for sleeping with the king of France, is, even if in a dream, so totally synchronized with Lewis' feelings and needs. This is the one character who remains of the dream world. The resemblance, particularly the coloring -- pale skin and blonde hair -- of both this character and Lewis provides a strong connection between Lewis' two worlds. What a lovely theatrical convention.

These actors are at the top of their form. Langlois' personal investment in the production as a playwright, director and designer is clear. Consequently, the ensemble presents a compassionate creative story, resulting in an exciting night at the theater.