By Judd Hollander
The concept of "home" is more than just a physical
location. It's also a state of mind that can conjure up a place from long ago
where things seemed to be better, happier and easier to understand. This is the
idea playwright Horton Foote explores in his 1982 work The Roads to Home, presented by Primary Stages at the Cherry
Lane Theatre
Each of the plays' three scenes could stand alone as a
separate story, though some of the characters depicted appear in more than one
situation. While the scenarios presented are sent in around Austin and Houston ,
Texas Texas
town of Harrison . The ultimate home
for several of the characters, as well as the location for many of Foote's
works.
In "A Nightingale", Mabel (Hallie Foote) and
Vonnie (Harriet Harris), two middle-aged housewives, neighbors and long-time
friends, are sitting in Mabel's kitchen one weekday morning, swapping various
bits of gossip. Coming rather abruptly into this mix is Annie Gayle Long (Rebecca
Brooksher), a young married woman with two children. Annie has taken to
stopping by Mabel's place almost every day. This despite the wishes of both
Mabel and Annie's husbands.
Annie, who has gone through numerous personal tragedies in
her life and who is also struggling with severe postpartum depression, is beginning
to show signs of a mental breakdown. She apparently latching on to Mabel as
both woman originally hail from the aforementioned Harrison .
That connection providing the only hint of stability to a mind rapidly losing
its grip on reality. Annie's situation appears even more precarious when her
husband, Mr. Long (Dan Bittner) appears. His answers to Mabel and Vonnie's
questions often contradicting previous statements made by Annie.
While there is no denying the seriousness of the matter, many
of the early moments with Mabel and Vonnie call to mind a television sitcom.
The women's easy camaraderie and banter reminding one of Alice Kramden and
Trixie Norton. High marks also go to Jeff Cowie for his set design work on
Mabel's kitchen, which readily brings forth the flavor of the period.
"The Dearest of Friends" continues this rather deft
mix of comedy and pathos. Taking place about six months later, Vonnie finds her
world upended when her husband Eddie (Matt Sullivan) asks for a divorce. Vonnie
explaining this to Mabel and her husband Jack (Devon Abner) in tones that range
from bitterness and anguish to caustic humor. All the while Jack is quietly
reading the paper, commenting only sporadically. He seemingly knowing more
about the situation than anyone else, while wanting nothing more than to stay
out of the entire affair - pardon the pun.
The events in this scene showing quite clearly how one
person's seemingly perfect existence may not translate to that of another. This
becoming especially evident when Eddie appears and gives his side of the story.
A subplot to this is the danger of a seemingly endless life of routine. A
premise for which the groundwork is laid via the relationship between Mabel and
Jack.
Things wrap up with "Spring Dance", which takes
place in a garden behind an auditorium where a dance is being held for residents
of the local sanitarium. Set four years after events previously shown, Annie is
now a patient of said institution as she attempts to recover from her mental
collapse so she can return to the life she once had. Annie's fellow inmates
including Dave Dushon (Bittner) and Greene Hamilton (Sullivan), two other
former residents from Harrison; as well as Cecil Henry (Abner), a somewhat garrulous
man from Waco, Texas. As the music from the dance plays on, the setting
reminding one of a summer cotillion, Annie finds her still-tenuous hold on
reality becoming more and more slippery. At least that's what it seems. It being
hard to tell for sure as Greene and Cecil keep giving her different answers in
regards to her questions concerning the timeline of events. The idea of home
here being something quite precious, but also so idealized, the actuality
reality of it will never measure up.
Far more serious than either of the two earlier segments,
"Spring Dance" shows what happens to people who are unable to conform
to the "normal" world and are instead shipped somewhere out of sight
from society until they are able to heal, if ever. Foote's depiction of
people's attitude toward the treatment of the mentally ill being one that still
exists today. Even with the advances of various forms of treatment that have
come into being since the decades in which the scenes are set.
While presenting a very engaging story and a very intriguing
message, The Roads to Home falters
when it comes to characterization. Only one of those depicted ever becoming
more than one-dimensional. That being the character of Annie; Ms. Brooksher
basically carrying the entire final scene as her character's troubled mind
struggles to reconcile the different information continuously being imparted to
her.
Fortunately, the acting of the entire cast more than makes
up for any weaknesses in the script. Ms. Foote - the playwright's daughter -
and Devon Abner both doing excellent jobs with the material they're given. The
two also being the premiere interpreters of the author's work today; each
having appeared in numerous productions of Mr. Foote's work over the years. Also
excellent is Harris' portrayal of Vonnie, the character going from a jovial and
happy housewife to a woman scorned during the course of the play.
Michael Wilson's direction is sound, keeping the story
moving throughout and not letting things get either too maudlin or silly at
points; while always making sure each of the three scenes always hold one's
interest. Most importantly, even if this is the first Foote play you've ever
seen and know nothing about the Harrison history that's
woven in throughout his works, you can still feel enough sympathy understanding
for the different characters and situations to become totally engrossed in the
story. Costumes by David C. Woolard work nicely, especially the outfit worth by
Brooksher in the final scene.
Despite characters that often are never as deep as they
could be, The Roads to Home
nonetheless offers a powerful illustration of what "home" means to
people and how the reality of that idea often differs from how one truly wishes
it could be.
Featuring: Hallie Foote (Mabel Votaugh), Harriet Harris
(Vonnie Hayhurst), Rebecca Brooksher (Annie Gayle Long), Dan Bittner (Mr.
Long/Dave Dushon), Matt Sullivan (Eddie Hayhurst/Greene Hamilton), Devon
Abner (Cecil Henry).
The Roads to Home
Set Design: Jeff Cowie
Costume Design: David C. Woolard
Lighting Design: David Lander
Original Music and Sound Design: John Gromada
Wig Design: Paul Huntley
Production Stage Manager: Robert Bennett
Production Supervisor: Mind The Gap
Casting: Stephanie Klapper Casting
General Press Representative: Matt Ross Public Relations
General Manager: Dan A. Carpenter
Director of Development: Erica Raven-Scorza
Director of Marketing: Phil Haas
Directed by Michael Wilson
Presented by Primary Stages
Tickets: 212-353-3101 or www.primiarystages.org
Running Time: 1 hour 55 minutes, one intermission
Closes: November
27, 2016