[NEohioPAL] BERKO REVIEW: FREUD'S LAST SESSION @ Actors' Summit

[Roy Berko]

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FREUD’S LAST SESSION a fascinating look at belief or lack of belief

Roy Berko

*Member, American Theatre Critics Association, Cleveland Critics Circle*



Sigmund Freud founded the discipline of
psychoanalysis<http://en.wikipedia.org/wiki/Psychoanalysis>
.  His concepts centered on sexual drives, parental influences,
transference, dream interpretation and unconscious desires.  Known as an
atheist,  he was not without religion.  He was an assimilated secular Jew.

C. S. Lewis was a novelist, academic,
medievalist<http://en.wikipedia.org/wiki/Medieval_studies>,
literary critic, essayist, lay
theologian<http://en.wikipedia.org/wiki/Theologian>and Christian
apologist <http://en.wikipedia.org/wiki/Christian_apologetics> who wrote
such works as *The Screwtape
Letters<http://en.wikipedia.org/wiki/The_Screwtape_Letters>
* and *The Chronicles of
Narnia<http://en.wikipedia.org/wiki/The_Chronicles_of_Narnia>
*.  At age 15 he declared himself an atheist.  At 32 he returned to the
Anglican Communion and fervently re-embraced God and Christianity.

What would have happened if these two men had met to discuss their
conflicting ideas?  They may, in fact, have met as there is an illusion in
Freud’s records that he had an appointment with someone who may have been
Lewis.  If the duo met or not, we can eavesdrop in on playwright Mark St.
Germain’s  concept of the interaction in FREUD’S LAST SESSION, a two-character
"what-if" play now on stage at Actor’s Summit.

The play is based on the best selling book* **The Question of God* by Dr.
Armand M. Nicholi, Jr.

The setting: Freud’s study in his London house.  It’s September 3, 1939,
and, as the room’s radio informs us, the war between England and Germany is
about to break out.  As the two debate, air raid sirens wail and Freud, a
life-long smoker, is pain-ripped due to mouth cancer which requires him to
wear an uncomfortable oral prosthesis.

Freud purported that those who believed in God were suffering from
obsessional neurosis.  Lewis thought that human existence depended on the
belief in a supreme being.  A lively, contentious, yet joke-filled debate
takes place, and though they approach ideas quite differently, they find
themselves bonding in ways they might not have expected.

The script is filled with many insightful statements and questions that can
excite or incite strong feelings.  These include:  “Satan is a brilliant
creation,” “Is there a moral law?”  “Is shame a good thing?” “Are our
deepest desires ever satisfied?”  “The God of the Bible is a busybody.” “Is
the story of Christ the greatest myth of all time?”  There is also the
revelation that both Freud and Lewis had bad relationships with their
fathers, which taught them “how not to be adults.”

Hanging over the end of the play is whether Freud will, as he has
indicated, destroy himself before the cancer can do it.  We do know, in
fact, that two weeks after the date of the play, Freud, assisted by his
doctor, did end his own life. This adds to the intrigue of the script as
Freud tells Lewis that if Lewis is right about his belief in the afterlife,
he can tell Freud about it in heaven, but if Freud is right, then neither
of them will ever know the truth.

The 90-minute intermissionless production, which is mainly talk with little
action, is excellent.

Brian Zoldessy, last year’s Cleveland Critics Circle and Times Theatre
Tributes best actor winner for his portrayal of Larry Kramer in Ensemble’s
THE NORMAL HEART, is compelling as Freud.  He inhabits the role to the
degree that the viewer forgets s/he is in a theatre and is actually part of
the conversation and partaking in the character’s physical pain.   His
slight Austrian accent allows for the correct effect, without making
understanding difficult.

Keith Stevens holds his own as C. S. Lewis.  His English accent comes and
goes, but he is consistent in developing Lewis’s uptight moralistic
attitude.  His highlight is a scene in which he has a PTSD-type  reaction
to a radio command to put on of gas masks based on his horrific military
battle experiences in World War I.

No credit is given in the program to whoever collected the numerous props
on stage, but bravo to that person.  Ditto for the set design which well
illustrates the script’s line of “One hundred colors around you.”  The
rugs, Freud’s famous psychoanalysts couch, and decorations all set the
right mood.

*Capsule judgement:  FREUD’S LAST SESSION is a must see, fascinating
theatre, for anyone who is interested in a philosophical, thought laced
drama, with laughter and fine acting.*

For tickets to FREUD’S LAST SESSION, which runs through March 17, call
330-374-7568
or go to www.actorssummit.org

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