MOLLY SWEENEY

June 30 -- July 11, 2010

Reviewed by Donna Bailey-Thompson

 

The notes I scribbled so fast and furiously are mostly illegible; however, the memory of the melodic language, the transformative moments and humorous anecdotes suggests that I probably would enjoy reading the script more than I did listening and watching the performance. Not that there was anything wrong about the production. The Chester Theatre Company is noted for presenting impeccable theatrical experiences, and Molly Sweeney that opens CTC's 21st season contributes to that expectation. The problem: it is not feasible to pause the action so that a beautifully-crafted thought can be savored, not when the running time is 2 1/2 hours. In Molly Sweeney, the three characters do not interact. Instead, they take turns giving monologues, and some are longer than others, and that means some are very long indeed. (They had to be the devil to memorize.)

The actors are first-rate, they skillfully alter tempo and sound levels. It's a dream cast. As Molly, blind since before her first birthday, Rebecca Brooksher radiates self-esteem and good health. Playing Molly's husband, Frank, is the engaging Chad Hoeppner who has yet to encounter a possibility that doesn't intrigue him. The ophthalmologist, Mr. Rice, is appropriately weary, alternating laments about losses -- personal and squandered medical opportunities. Not explained is why Mr. Rice isn't referred to as Dr. Rice and how it's possible for a practicing alcoholic to be steady enough to operate on the eyes.

Ireland's acclaimed national treasure, playwright Brian Friel, has written 21 plays and a translation of Three Sisters. His Dancing at Lughnasa won three Tony Awards, including Best Play. Although Molly Sweeney is part of the list, its construction does not fit the usual expectation of what constitutes a play. Instead of actors responding to action taking place in the present, their monologues tell of what has already happened. Fortunately, what's happened is provocative.

Simply put, when Molly's father wasn't contending with his wife's mental illness, he taught his daughter how to be comfortable with her four senses. (Maybe the absence of sight gave her a sixth sense? Just wondering.) She is well-adjusted and happily married to Frank. He marvels at Molly's capabilities and believes if she could see, her happiness would be complete. He badgers Mr. Rice, at one time an internationally recognized ophthalmologist, to operate on Molly. By intermission, Molly is somewhat curious about what it might be like to see; Frank is excited for Molly; and  Mr. Rice is aware that even if the surgery is successful, a happy ending is not guaranteed.

Director Michael Dowling has both honored the script and made the most of it. David Towlun's set design and Lara Dubin's lighting design are "joined at the hip," so perfectly do they meld.

Brian Friel, now in his 80s, wrote Molly Sweeney about ten years ago. His script has dramatic components but relating those moments in the past tense render them, well, as passive. Molly's lilting brogue, Frank's amusing quirkiness, and Mr. Rice's medical knowledge, all of them speaking Friel's beautiful words that border on poetry -- ah,  the  Irish! -- are enough good reasons to explore Molly Sweeney for yourself.

 

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"Brian Friel, widely recognized as Ireland's greatest living playwright, brings his unique brand of eloquence and warmth to the journey of three characters in search of a clear vision." 

 

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