Joey Guerra
Entertainment Editor
Review
Tony Kushner has a lot to say about life and death.
The Columbia University graduate, who is perhaps best known for the two-part epic Angels in America, delves further into the meaning of existence and the mysteries of the afterlife with the ambitious, sometimes draggy and often hilarious Hydriotaphia, or The Death of Dr. Browne, his latest piece to be produced at the Alley Theatre.
Hydriotaphia, which was actually the second play Kushner wrote, remained on the shelf for about ten years until Kushner's association with the Alley incited him to dust it off, retool it and put it on full display. Working closely with director Michael Wilson, Kushner shaped the play into its current form through endless revisions, constant rehearsals and tweaking.
So extensive were the rewrites, though, that the play's original opening night of April Fool's was, appropriately enough, postponed by a week to give the cast more rehearsal time.
In this, its world premiere at the Alley Theatre, Hydriotaphia unfolds in two acts over five scenes. Armed with a 14-person cast, the play largely overcomes any rough spots and emanates a satisfying farcical quality.
The entire episode unfolds in the immense, dank bedroom of Sir Thomas Browne (Broadway vet Jonathan Hadary), a 17th-century British writer and scientist in his final hours. Jeff Cowie's effective, moody stage plan perfectly accentuates the play's initial mood, and it serves as another example of one of the Alley's strongest assets - lavish, realistic set designs that don't overpower the actors.
Hydriotaphia, Browne's ac-claimed essay on ancient burial rites, is what initially prompts his musings on life and death, but it is a far more familial situation which propels the action of the play.
Browne's will is what everyone is after, including Dorothy (Shelley Williams), his unhappy wife who is having an affair with gravedigger Leonard Pumpkin (Kyle Fabel). Browne's physician (John Feltch) and pastor (Charles Dean) are also on the lookout, as well as the Abbess of X (Sharon Lockwood), Browne's presumed-dead, karate-chop sister.
Hovering over the events is, quite literally, Browne's Soul, which appears in the image of a small, cranky, annoying woman played by actress Jenny Bacon. Dressed in all white and coming off as a sort of hybrid mime/harlequin, Browne's Soul provides the play with many of its most buffoonish moments, and Bacon does her best with this at-times unnerving character.
Only Maccabbee (Alex Allen Morris) and Babbo (Bettye Fitzpatrick), two aging servants, seem faithful to their master, but their loyalty is also tested as the end draws near.
In Kushner's 17th century, commoners speak in a dialect taken from the Krazy Kat cartoon series, and everyone has a trick up his sleeve. The balance between humor and drama is at times blurred, though, especially in the play's unfocused first act.
There's simply too much exposition, too much hypothesizing on life and death without any action. Browne simply whines and talks and whines some more. Additionally, Kushner's idea to have Browne order Maccabbee to perform scientific experiments and report back to him was a poorly conceived one and a painfully obvious illustration of characterization. ("Look! I'm a scientist!")
Still, those unclipped strings could be a result of Hydriotaphia still essentially being a work in progress.
Luckily, things pick up in act two, which is much better realized and finds a perfect blend of farcical and theological elements. The search for the will is in full swing, and Kushner's script remains tight and focused, much like the characters ransacking the house for that priceless piece of paper.
Hadary is good in portraying the difficult character of Dr. Browne, who sometimes comes off as little more than an annoying old man. His fear of dying and being alone seem very real, and Hadary takes Browne beyond the trappings of a tortured genius.
Williams, always an interesting performer, is in usual fine form as Dorothy, and Fabel's Leonard Pumpkin is a good match for her. Fabel's blend of misguided pride, monetary concerns and working-man tenderness are effective.
Feltch seems to be having a good time playing the highbrow physician who cares for Dr. Browne, and Dean is appropriately meek as Browne's pastor. Also notable are Annalee Jefferies as the saucy, oh-so-Spanish Doña Estrellita; Morris as the cartoonish Maccabbee; Paul Hope as a gruesome, gross-out version of Death; and Lockwood, who provides unexpected humor and psychodrama as Browne's long-lost sister, the newly anointed Abbess of X.
The play's highlight, though, comes from Fitzpatrick, who gives the show its humor highlight as Babbo, Browne's nanny-cook who holds the key to everything. Scurrying about in long skirts and carrying freshly baked tarts, Fitzpatrick is a pure joy to watch. Her delivery of Kushner's Krazy dialect is wonderful, and the talented actress injects every scene she's in with ribald, risqué attitude. It's simply a great performance.
Under Wilson's direction, the play often veers haphazardly from serious moments to humor, but that's also what gives it part of its quirky charm. Wilson undoubtedly understands the nuances of Kusher's work, even if it is a bit tough for the audience to follow at times.
Hydriotaphia does have its share of mopey moments, but powered by Kushner's ultimately thoughtful script and affecting performances, it's an offbeat visitation that's worth the trip.
Hydriotaphia plays at 7:30 p.m. Tuesdays - Thursdays, 8 p.m. Fridays, 2:30 p.m. and 8 p.m. Saturdays and 2:30 p.m. and 7:30 p.m. Sundays on the Alley Theatre Large Stage, 615 Texas Ave., through April 25. Tickets are $31 - $46. Call (713) 228-8421 for more information.