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Ten Unknowns |
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Author: Jon Robin Baitz
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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"Ten Unknowns" is not a great play; it's not even a good play. Although playwright JON ROBIN BAITZ has a gift for writing fascinating dialogue, the kind of exchanges that reveal a character's intellect and politics quickly and brightly, he has not offered us a story that makes us want to tell our friends and relatives to buy tickets. Furthermore, we never get to care deeply about any of the characters here. They are neither heroic nor tragic.
"Ten Unknowns" has some similarity to "Proof," a play that was a hit last season and still runs. In both, Act I climaxes with a shocking revelation about the creator of remarkable work. But whereas the earlier show depicts an engrossing study of genius and borderline sanity of a fragile person we soon care about quite deeply, this new production veers off into environmental exchanges and heavy-handed themes of morality and authenticity.
  
Ah, but the performances are marvelous! DONALD SUTHERLAND portrays Malcolm Raphelson, an aging alcoholic artist, with such easy grace and agility, one believes he is merely playing himself. The entire show takes place in "Rafe's" studio, located near a small town in South Mexico, a cluttered yet organized space that fills the large ¾-round thrust stage and extends up against the first rows of the amphitheater. The credible set is by RALPH FUNICELLO.
The title refers to an art exhibition in 1949 when Rafe was one of ten new artists, some of whom have since achieved fame and popularity in the art world. Rafe scorned both the kind of self-promotion necessary to advancement and the non-artistic nonsense too often presented as art. Impoverished, he disappeared. Until Trevor (DENIS O'HARE), a sort of go-between in the art world, tracked him down and promoted him to a gallery ready to present a retrospective of his work covering the span of 1949 to 1992; the problem is that there is no new work. Therefore, Trevor hired an ex-lover, Judd (JUSTIN KIRK), a young artist (who is a drug addict), to assist Rafe and get him painting again. We see a full rack of large canvases upstage, but Rafe refuses to allow Trevor to sell any; in fact, he won't even let Trevor see even one of them - until a young woman arrives.
Julia (JULIANNA MARGULIES) is a graduate student studying the probable extinction of a species of translucent glass-like frogs called Jewels of the Night. The frogs used to live in a deep murky lake nearby, but local promoters stocking the lake with bass to attract tourist fishermen probably caused the frog's demise. The symbolic frogs are discussed as bellwethers of humanity, but the parallel isn't maintained to represent any of the four characters in any dramatically meaningful way.
Rafe decides suddenly and quite impulsively to allow Julia (because she's honest and unflattering) to select one canvas for Trevor to sell. But just as suddenly, that's called off and it's not clear why.
Equally puzzling, Rafe has lived on little income until recently when Trevor claims to be selling some of his older work - yet he has a charming three-bedroom house (unseen) adjacent to his studio, so well-stocked with supplies and good plumbing that he can invite Julia to stay in the guest room. Where did he get the resources for this? And if Trevor is really promoting a retrospective of Rafe's new and old work, why would he be selling things?
Another question that emerges is about the past relationship between Judd and Trevor. Although it is clear that they were close for some period of time, and even though Judd states it was just about sex, it would have necessitated Trevor being totally unaware of the degree of Judd's ability as an artist. This is inconsistent with the way Baitz presents Trevor's character as one who relentlessly tracked down the elusive Rafe.
Rafe's desire toward Julia changes and it's never clear why. At first, he wanted to paint her. That never gets accomplished. If Judd prevented this from happening, it's not explained. He's joyful at having her around, but how her presence changed him, if it did, is also not shown.
As a performer, Margulies finds the fine line between the frisky coltishness that attracts Rafe to her youth and vibrancy and the shrewd intelligence consistent with her quick interplay about ecology and metaphysics with Rafe. Margulies shows herself to be a smart, attractive actor. Kirk uses his long, lean body expressively to display his emotions; curtain applause for him equaled that for Sutherland.
Direction by Daniel Sullivan maintains a compelling intensity throughout the drama that was betrayed by the flat conclusion. However, the director also allowed the performers to speak too rapidly and too softly for the semi-circular space. Frequently, the first few rows laughed at lines the back of the house (where I sat) couldn't hear (sound by JANET KALAS). Since hearing devices are available, their use is urged here.
Lighting by PAT COLLINS and original music by ROBERT WALDMAN enhanced the mood of the play. JESS GOLDSTEIN's costuming downplayed any hint of glamour.
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Produced by Lincoln Center Theater under the direction of André Bishop & Bernard Gersten.
CAST: Justin Kirk, Julianna Margulies, Denis O'Hare, Donald Sutherland.
Theater: Mitzi E. Newhouse Theater, 150 West 65th Street, Lincoln Center.
Schedule: Tuesday - Saturday at 8; Wednesday & Saturday at 2, Sunday at 3.
Tickets: $50. At Lincoln Center Theater Box Office or call Telecharge: (212) 239-6200 or click on "Buy Online Tickets" above.
Theater: Seats have nearly no knee-room. I know that producers and theater owners need to utilize every inch of space to enhance profits, but going to the theater should offer more physical comfort than a bad airline seat.
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