[NEohioPAL] Review of Lakeland Civic Theatre's "Proof"

[Bob Abelman]

Lakeland Civic Theatre postulates the perfect 'Proof' 

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review will appear in the News-Herald on 9/28/12

 

 

David Auburn's Tony Award and Pulitzer Prize-winning "Proof," currently on stage at Lakeland Civic Theatre, is a dramatic exploration of the fine line between genius and mental illness.

 

The vehicle for this exploration is a fragile and fragmented Chicago family.  Catherine is the youngest daughter of a recently deceased mathematics icon who had been climbing in and out of insanity for the last 10 years after losing his intellectual edge long ago.  Catherine, we learn, gave up her own college studies to care for him, all the while wondering whether she had inherited her father's genius, mental illness, or both. Catherine's sister, Claire, visiting for the funeral, is a driven career woman with little understanding of or patience for mathematics, genius, or mental illness.  

 

The playwright cleverly employs the very axiomatic method used in devising proofs to tell this story, starting with undefined elements, working through their potential relationships, and allowing their worthiness and true nature to surface in the end.  Math, so it seems, can be riveting.

 

This is particularly evident at the close of the first act, when the play takes on a new trajectory with the discovery of a remarkably innovative mathematical proof in a hidden notebook in the father's study.  A mystery surrounding its authorship ensues, which sets the dysfunctional dynamics between the sisters in motion.  Add to the equation an entrepreneurial protégé of the father's who is interested in both the proof and Catherine's affections, although it is initially unclear which has the greater value and whether one is merely the logical pathway to the other.

 

Director Martin Friedman approaches this script with empirical rigor and mines every bit of meaning from its pages. However, his staging reflects the same simplicity, delicacy, and fluidity that define a perfect proof.  Best of all, he allows the extraordinary talent of his actors to speak for itself.  

 

Liz Conway is truly remarkable as Catherine.  Lesser actresses show their hand early in this play by tilting their character's temperament too far toward genius or insanity, but Conway painstakingly walks that fine line.  Her look, her mannerisms, and her progressive discomfort all indicate abnormity, but never what kind or how extreme.  Every creative risk she takes pays off.  

 

Laurel Hoffman is wonderful as her sister Claire.  While her character's own emotional baggage is readily apparent, Hoffman shows just enough of it to justify the tension and awkwardness between Claire and Catherine.  Her understatement gives rise to and nicely showcases Conway's creative choices. 

 

Mitchell Fields, as the father, offers a Master class in subtle transitions from acuity to frailty.  His portrayal of the father and Aaron Elersich's depiction of the father's former student, Hal, are endearing, engaging, and immediately draw the audience into the world of this play. 

 

Keith Nagy's well-worn back-porch set and season-establishing lighting design does so as well.  The tall fence that borders the space creates a sense of isolation that serves as sanctuary for the father but a prison for Catherine.

 

Everything about this production is nicely nuanced, resulting in a truly wonderful interpretation of a very intriguing play.

 

"Proof" runs through October 7 at Lakeland Civic Theatre, 7700 Clocktower Drive, on the Lakeland Community College campus in Kirtland.  For tickets, which are $7 to $13, call 440-525-7526 or contact martinfriedman98 at yahoo.com.

 

 
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