GAY PEOPLE'S CHRONICLE

JANUARY 28, 1994

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ENTERTAINMENT

An absorbing,

subtle human puzzle

Sight Unseen

Dobama Theatre Through February 6

Reviewed by Barry Daniels

Donald Margulies' Sight Unseen is a passionate and intelligent look at the contemporary art world as well as a psychologically intense study of the human drama lived by its three principal characters. The play's eight scenes are arranged achronologically in a subtle pattern that is musical and dramatic. Margulies weaves themes and ideas through his structure. The action moves forward through gradual revelation of fully realized characters as we finally piece together the narrative fragments of the story.

Jonathan Waxman, a successful Jewish painter-his work is pre-sold, “sight unseen," at six-figure prices to the high rollers of the art world—is the play's protagonist. In London for the opening of his first international retrospective, he is facing a personal and professional mid-life crisis. It is to Margulies' credit that he convinces us of Waxman's integrity as an artist at the same time he uses him to satirize aspects of the contemporary art scene. This is especially true in scenes 2 and 6 which take place at the opening of Waxman's show while he is being interviewed by a pretentious and somewhat vicious German critic.

Waxman has achieved fame and fortune but seems to have sacrificed himself in the process and closed himself off from the world. Four days before the opening, searching for the inspiration he feels he has lost, Waxman visits his first lover and muse, who is living with her archeologist husband in rural England. Waxman's conservative Jewish upbringing had stifled him and continue to affect his life. Patricia, a non-Jewish student model, had, with her easy sensuality, shown him a kind of freedom that had inspired his early work. He did not finally know how to accept what she offered him. Although Patricia married Nick without loving him, they have created a life together. Their marriage has survived as a kind of compromise that represents a realism that is far from the passion and drama of Waxman's world.

Waxman finds what he is seeking in an early portrait of Patricia that he had given her. This painting is the unifying metaphor for the personal drama in the play. It provides Waxman with a needed insight into the source of his inspiration. For Patricia it represents a hope that was dashed. Its presence is a poison in her husband Nick's heart: he knows it signifies a passion their marriage lacks.

The personal drama is worked out in the four farmhouse scenes. The final scenes in each act are set in the past when Waxman and Patricia were together. They provide the final keys to the intricate puzzle of their lives.

Director Joel Hammer and his excellent cast are true to Margulies' intelligence and wit and are adept at creating the subtlety of character needed to keep the drama absorbing. Morgan Lund manages to make us care about the not very likeable person Waxman has become, and he succeeds admirably in convincing us Waxman is a brilliant artist. Juliette Johnson is touching as she slowly reveals the quiet strength and realism of Patricia. Kirk Brown is very funny and poignant as the acerbic archeologist and jealous husband. Hammer understands that actors need space to create the subtle nuances of character required by the material. He also understands the rhythm and structure of Margulies' beautifully shaped scenes and finely wrought language.

Sight Unseen is not an easy play. Margulies is not afraid to engage in intense debate about the meaning of art and the relation between art and life. He makes us consider the compromises we often make as a means of surviving in a less than perfect world. He reveals the pain of dealing with loss. He does this with wit and compassion. Once again Dobama succeeds at what it does best: it brings us the work of one of our brightest contemporary dramatists in a fine staging that engages both our heads and our hearts.

Performances of Sight Unseen continue through February 6, Thursday-Saturday at 8 pm, Sunday at 2:30 pm. Tickets are $7$10 with discounts for students and seniors. For reservations telephone 932-6838.

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Cleveland Public theatre

presents the

12th Festival of New Plays

Eri. Jan. 28th at 8 PM & Sun. Jan. 30th at 2:30 PM

Hysterical Women

By Pam Simones-Directed by Wendy S. Duke

A romp through women's hystory, starring Lizzie Borden, Marthe Mitchell, Victoria Woodhull, Eve, Susan B. Anthony, and Aphra Behn. By the author of Everywoman and Sins of the Mothers.

The Angel of Anarchy

By Craig Strasshofer-Directed by Craig Webb

As corporate schemers hatch a plan to cut personnel ceets by reanimating the dead, a cracked band of neoLuddites plot their overthrow with the aid of Christ, Marx, DeBade, & Andre Breton: a surrealist fantasy for anyone who ever REALLY hated their day job by the author of The Clang Family Cycle, Doomeday, and The Dogs.

Sat Jan. 29th at 8 PM & Sun. Jan. 30th at 7 PM Why Is the Dog Howlin', Momma?

By Rosalyn Rosen-Directed by Craig Rich Bringing Bubba home: a riotously dysfunctional Texas family camps out in a motel to kidnap-rescue their "crazy" post son.

TICKETS: $6 regular, $4 stw/sr. FESTIVAL PASS: $22 regular, $15 stu/sr.

Cleveland Public Theatre 6415 Detroit Ave (at W. 65th St.)

for reservations, call 631-2727