Nicola Murphy and David Beck and TESSIE and TOM
Photo by Katie
Some years ago, I responded favorably to the Lincoln Center production, The Sons of Ulster Marching Towards the Somme” impressed by its portrayals, its direction, noting a respectful, attentive audience for the play set in circumstances removed from the American experience. Not long after, I happened to see it again in Dublin at the Abbey Theater and was astonished at the profound difference, not in performance or direction, but in reaction by the audience: visceral. Not intellectual nor appreciative but visceral. Here was a play that dug into them in language and blood, into their personal histories, their breath. They felt every morsel of the play.
There is a gulf between the European experience and the American which gapes widely in responses to plays’ elements that spike a certain time, a certain environment, a certain mind set embedded deeply and parochially in story and action. Oh, we over here understand intellectually and respond to the artistry but not in the gut. We weren’t subject to that particular slaughter at the Somme which left a million homes without a man in them. We Americans correspondingly can appreciate “The Troubles” in Ireland, we can draw parallels, visualize, sympathize but gut wise, not wise. Playwright Shirley Gee’s Never in My Lifetime is served well by an earnest, hard working cast and director; they deliver the stories, the content, the brutalities, the emotional tugs with all the European authenticity they can, led by a director who knows the territory. They might have enhanced our experiences of their work in little, helpful steps, for instance, a line in the program setting the time and the period which would orient us, put a frame around the play for us so that we wouldn’t fidget about the hows and whys, we’d maybe see what is germaine to us. And because our American ears don’t distinguish very critically what accents tell European audiences instantly, perhaps a hint to let us know right off that these are Brits, them are Irish, just to settle any muddle, please. And, crucially, although the Slut Look was the rage by some in the period of the play, our lead girls we take for hookers at the very outset. Or are they? Authentic fashion statement along with the excess makeup that ages them? And while we are shaking off these confusions the play continues and it’s a while before we realize that the Wife and her soldier husband are on the other side, the British side. Which would intensify the meaning of the relationship between Tom – he’s a Brit we figure too slowly – and Tessie, the Irish hooker. Hooker? No, best not.
By then we have become aware that Tessie’s best friend, Maire, is deeply involved with the Rebels, but is she driven enough to betray her friend for the Cause? Or just enough to kill the Brit? But then, if Tessie is having it on with the Brit isn’t she just as bad? The Brits are all murderers who have to be murdered along with anybody who associates with them, there are no good live Brits, only dead ones, they’ve killed and tortured too many. Free Ireland! Meanwhile Irish Tessie’s mother and English Charlie’s wife suffer on the sidelines.
There is nothing in playwright Gee’s accomplished show which has not been shown here before. Over there, across the great gulf, the feelings, the gut feelings provide everything we’re meant to feel here. Her play is felt in Ireland; it is observed here. Director Tim Ruddy pulls all aspects, the declamations, the conflict scenes, the romantic scenes into a fluid performance which would benefit from his summoning his American eyes and ears in order to reach his desired audience. I admired the work of everyone in his cast: David Beck, Nicola Murphy, Fiona Toibin, Danny Yoerges, Tammy O’Neill and Catriona Rubenis-Stevens.
Access Theater, 380 Broadway at White Street. 4th Floor. Tickets, $18. Students $12. Smarttix.com. neverinmylifetime.com. 212-868-4444. Wed-Sat 8 pm. Mats, Sat, Sun 3 pm.