Reviewed by Judd Hollander
Just about everybody has wished for a second chance at least
once in their lives. The opportunity to undo a certain decision, change the
direction of one's life or simply move on from the past. So it is in Samuel D.
Hunter's fascinating and often bleak new play, Greater Clements. A place where possibilities and emptiness walk
hand in hand. The show now at the Mitzi E. Newhouse Theatre at Lincoln
Center
In 2017, Maggie (Judith Ivey), a 65 year-old widow, runs the
local historical museum in the former mining town of Clements Idaho California
As Maggie prepares for the closing of the museum, in the wake of the aforementioned decision, she learns that her old high school sweetheart Billy (Ken Narasaki), with whom she has remained in touch over the years, will be passing through town with his 14-year old granddaughter Kel (Haley Sakamoto). That Maggie and Billy still have feelings for each other is immediately obvious, raising the possibility the two might start a new life together.
Judith Ivey as "Maggie" in Greater Clements. Photo Credit: T. Charles Erickson
For Maggie however, things are not as simple as just packing
up and leaving. She also has her son Joe (Edmund Donovan), to consider. Joe has
struggled with mental illness for many years, and has recently moved back in
with his mom. A somewhat jumpy sort, Joe used to take great pride in giving
tours of the now-disused mine. Including describing a fire there in 1972 which claimed
the lives of 81 miners, including his own grandfather; Maggie's dad.
Running through this story is the idea of rebirth and
beginning again. Be it with Maggie and Billy and a new chance at romance, or the
dogged efforts of Maggie's friend and town busybody Olivia (Nina Hellman) to
overturn the unincorporation, and thus start to put the community back
together. Though as it becomes quite clear, sometimes one is simply carrying too
much emotional baggage to be able to move on. Which also makes it rather ironic
that the one character who has the most possibilities in their future doesn't
want any of them. At least not until a dose of reality is delivered from a most
unexpected source.
Another very strong element in the story is the way many of
the characters come off as both sincere and pragmatic. Its as if their very
words are weighed down with the experiences of the past. This clearly visible
in Maggie's various conversations with both Billy and Olivia.
Ivey gives a very powerful performance as Maggie. She being one
of those dependable people always ready to lend a hand to those in need. At the
same time, Maggie carries a deep seated guilt stemming from those times she did
put herself first. As well as an undercurrent of anger when forced to deal with
matters she's since come to terms with. Her scenes with Billy are especially
sweet and touching as this normally guarded soul tries to balance her needs and
responsibilities both as a woman and a mother.
Donovan is thoroughly dynamic as the thirty-something Joe.
He showing the character to be both a manic and officious sort, while continually
trying to hold himself together; both for his sake and his mom. Yet despite all
the progress he has made, via medication and psychiatric visits, there are
those who, for various reasons, will always judge him for what he has done
before. A conversation between Joe and Wayne (Andrew Garman), the county
sheriff, being particularly telling in this regard.
Narasaki is fine as Billy, a gentle sort and a realist who
just wants to enjoy whatever time he has left with someone he cares about.
Hellman is both passionate and annoying as Olivia, a woman who wants things to go
back to the way they were. The vote to unincorporate the town and the apparent
heated debate over the question can almost be a stand-in for the feelings
Americans had over the 2016 election, and the upcoming one in 2020 in regards
to who they support and why.
(background L to R) Nina Hellman, Ken Narasaki, Andrew Garman; (center)
Judith Ivey and Edmund Donovan in Greater Clements. Photo Credit: T. Charles Erickson
Direction by David McCallum is strong for the most part, though
things could have been a bit more focused at points, with certain sections of
the play tending to meander. It would also have been nice to see a bit more
backstory for the characters of Wayne and Olivia. Plus the way the final scene
is set up - while also introducing a completely new character - has the effect
of taking away some of the play's overall impact.
Dane Laffrey's sets, which include the museum, Maggie's
living quarters, and the mine itself, are excellent. As are Yi Zaho's lighting
effects and the sound design work by Fitz Patton.
A deeply absorbing tale about people and places bypassed by
time and circumstances, Greater Clements is
quite the powerful work indeed.
Featuring: Edmund Donovan (Joe), Judith Ivey (Maggie), Nina
Hellman (Olivia), Ken Narasaki (Billy), Haley Sakamoto (Kel), Andrew Garman (Wayne
Greater Clements
by Samuel D. Hunter
Sets: Dane Laffrey
Costumes: Kate Voyce
Lighting: Yi Zhao
Original Music and Sound: Fitz Patton
Stage Manager: Roxana Khan
Assistant Stage Manager: Karen Evanouskas
Dramaturgs: Anne Cattaneo, John Baker
Casting: Daniel Swee
Director of Marketing: Linda Mason Ross
General Press Agent: Philip Rinaldi
General Manager: Jessica Niebanck
Production Manager: Paul Smithyman
Directed by
Lincoln Center Theater at the Mitzi E. Newhouse
Tickets: 212-239-6200 or www.telecharge.com/Off-Broadway/Greater-Clements
Running Time: 2 hours, 50 minutes, including two
intermissions
Closes: January 19,
2020
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