"Red-Eye to Havre de Grace"
Quick - Edgar Allen Poe.
What comes to mind? “The Raven.” Obviously.
It’s far and away the most famous of Poe’s works. This was true even in Poe’s time, a fact
expressed with compelling hilarity – and on several occasions – during “Red-Eye
to Havre de Grace,” currently stunning East Village audiences at the New York
Theater Workshop.
Poe wrote his most popular poem in 1846 and died just three
years later – broke and broken. During
his last 1000 or so days, he was asked to “do ‘nevermore’!” with significantly
more frequency than we are led to believe interested him. Though he had written many other
well-received works, once “The Raven” came along, everything else dropped to a
distant second.
By the time frame of this play – the last few days of his
life – Poe had moved on, flinging himself into a metaphysical treatise in the
form of a 150-page prose poem called “Eureka.”
When most physicists of the day described a steady-state theory of the
universe (that it always was and always will be just how it is), “Eureka: A
Prose Poem” proffered a vision that incorporates what we now refer to as the
Big Bang, the Singularity and the Higgs boson.
The piece (I won’t call it a play, because it’s much more
than that) follows Poe on a journey to present this vision to the Philadelphia
Literary Society, and then immediately return to New York to reunite with the
woman he called “Muddy” – the mother of Poe’s now long-dead wife (and cousin), Virginia.
Penniless and ill, Poe (a marvelously sunken-eyed Ean
Sheehy) shambles between train cars and boarding houses, offering writing
services (a poem, or recitation, even brochure copy) as payment in lieu of
cash.
The journey takes the form of music (by the Wilhelm
brothers, David and Jeremy), movement, recitations and dialogues – amid a
collection of simple set pieces (a couple of doors that also serve as tables,
walls, etc., and a bed frame) and a handful of props.
While David Wilhelm mainly sits upstage right, playing the
piano, brother Jeremy takes a more active role.
Several roles, actually. Train
conductors, boarding house proprietors, doctors… But his primary role is that of a very
sincere National Park Ranger assigned to the Poe House in Phildelphia, who
introduces the play, guides us through the action and provides background and
context. From time to time he also sings
(a very passable baritone) and plays a sweet and mournful clarinet.
This show is not for everyone. None of my three companions liked it
much. I, however, found it thrilling and
imaginative and heart-breaking and funny and true and beautiful and
strange. It was an experience that
happened on so many different levels – emotional, intellectual, artistic,
conceptual – that it’s one of those rare shows I’d see again immediately,
because there was so much going on that I’m certain I missed vast swaths of
meaning.
In some ways, it reminds me of a Cirque du Soleil show, in
that there is almost always music playing and almost always something
surprising or amazing going on in terms of staging or physical
performance. Early on there is a
delightful scene in which Poe is being led to his room in a boarding
house. By moving and turning and
rearranging a pair of doors/tables, a chair and Poe’s suitcase, we get the sense of
the two men climbing stairs and walking along hallways to finally arrive in an
attic crawl space.
But there are delightful surprises throughout “Red-Eye to
Havre de Grace,” and I don’t want to spoil them all for you. What I do
want to do is convince you to go see it.
Immediately. Tonight if you
can. After all, it closes June 1.
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