"Only connect"—perhaps the most famous single line in twentieth century British literature— in E.M. Forster's 1910 novel Howard's End attests to either the author's astonishing prescience or the depressing fact that the disconnectedness we feel today, despite the predominance of social media, has affected modern society for a long, long time.
That line could be used as an epigram by playwright Kate Fodor for her play, 100 Saints You Should Know, now receiving a polished and very affecting production by Alliance Repertory at the Edison Valley Playhouse, where it runs through April 13.
Artistic Director Michael Driscoll has a knack for selecting off-beat, thought-provoking plays and then helming them with a steady hand and a light touch, giving his actors the leeway to let their talent beguile us into believing the characters onstage are real people. They don't disappoint this time!
Fodor's script involves a quintet of characters, all of them disconnected in one way or another. The young Roman Catholic priest Father Matthew McNally feels detached from his faith and his mother Colleen. A widow of six years, Colleen misses her sister in Ireland and cannot understand her son's torture. Cleaning lady Theresa feels cut off from her smart-mouthed 16-year-old daughter Abby; she doesn't have a relationship with her own parents who threw Theresa out of the house when she became pregnant as a teenager. And Garrett, the grocer's son, has grave doubts about his sexuality and resorts to drinking in lieu of friendship with his peers, with tragic results. During the course of the play's dramatic arc, these five lost souls attempt to reach out to each other, with varying success by the time the lights go down.
Paul Zeller's grave mien and sad eyes aptly convey Father Matthew's anguish at being caught with erotic photographs of the male body. Disclaiming any sexual interest, he declares (and believes) that "Beauty is God's goodness made visible," as he wrestles with the lack of intimate human connection he experiences as a priest. His misery is echoed by Noreen Farley as his mother Colleen, who can't understand her only child's darkness of the soul and his lack of certainty about his religious calling when it's something she's dreamed of for him since he was a little boy. Farley's charming Irish brogue beautifully conveys the old woman's loquaciousness—endearing and maddening at the same time. These two characters want to converse with each other, but neither knows how. In fact, when "Mattie" uses a word that makes Colleen uncomfortable, she cuts him off, widening the gulf between them. (Above: Paul Zeller and Noreen Farley)
The other parent-child relationship—or lack thereof—is all the more convincing because the two actresses really are mother and daughter. Merry Maid Theresa cleans the church rectory twice a week; when she's home, she worries about her slacker teenage daughter Abby, perhaps because of her own past. Bringing a book to Father Matthew at his mother's house, she appears to be a stalker, but it turns out that she wants to talk to him about God, more specifically, what is prayer? Beth Painter's awkward groping for words to express her confusion contrast mightily with those uttered by her child. Totally comfortable onstage, Hannah Painter fully inhabits the role of Abby, managing to mask her character's uncertainty and vulnerability with brashness and smart aleck talk. She doesn't converse; she spouts her own point of view like a raging fountain. (Above, left: Beth Painter and Hannah Painter)
The saddest character of the lot is played by Aaron Black as self-conscious Garrett; his discomfort onstage can be attributed to his character, not his talent. Garrett lets Abby toy with his lack of self-esteem. Up against a more sure-footed teenager, he's in over his head, leading to tragedy. No one listens to this young man; his parents have gone to visit relatives in Montana and have left him all alone for three days. Talk about detachment! (Right: Aaron Black and Hannah Painter)
Production values also shine in this production. Gerard Painter and Derek Evans have provided a minimal, yet evocative set; change of scene is accomplished by props and some folding panels. Elyse Halloran's lighting is appropriate to time and place.
These five characters all want unconditional love, but will they get it? Playwright Fodor may not tie things up neatly at the end, but she does hold out hope, especially for Theresa and Abby, and two out of five ain't bad.
100 Saints You Should Know refers to a book given to Theresa by her grandmother and her joy at finding that her name links her to St. Theresa of Avila, the Little flower of Jesus. These people may not be saints by a long shot, but I guarantee you will be glad to meet them and spend two hours in their company.
100 Saints You Should Know will be performed at the Edison Valley Playhouse, 2196 Oak Tree Road, Edison through April 13. Performances are Fridays and Saturdays at 8 PM and Sunday, April 7, at 2 PM. For information and tickets, call 908.755.4654 or visit www.evplayhouse.com.
Photos by Howard Fischer.
