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Death haunts a writer in American Players Theatre's 'Year of Magical Thinking'
By Mike Fischer, Milwaukee Journal Sentinel, July 2, 2014.
American Players Theatre s Sarah Day makes Didion s devastating Year magical By Kevin Lynch, Culture Currents Vernaculars Speak blog, originally published in The Shepherd Express, July 3, 2014. This is what she means by magical thinking the primitive belief that if you take a certain course of action, the desired consequence will inevitably follow.
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The Year of Magical Thinking
S ome shows are impervious to criticism. And only the stoniest heart could not respond in some measure to Joan Didion's play, based on her memoir, about the death of her husband and their daughter. But, for all the brilliance of Vanessa Redgrave's performance and the sensitivity of David Hare's production, I was less emotionally pulverised than I had expected.
I put this down to the venue. Having played the 767-seat Booth Theatre in New York, Didion's work is now at the Lyttelton, which is an inhospitable space for a one-woman show. The play depends upon an intimate bond between actor and audience hard to achieve in this rigidly geometrical theatre. Admittedly Bob Crowley's gradually unfolding backdrops of misty marine vistas look supremely impressive. But even an artist as skilled as Redgrave finds it difficult to converse with a two-tiered audience in a quasi-cinematic space.
A pity, since the content is so powerful.
What it reveals, above all, is the dislocating madness of grief. Didion, clearly a woman of implacable intelligence, finds it impossible to come to terms with the death of her husband, scriptwriter John Gregory Dunne, in December 2003.
Even as a friend informs the New York Times of his death, Didion wonders if he could still be alive in the different time zone of Los Angeles. And, when she bundles his clothes into bags, she hangs onto his shoes against his possible return. This is what she means by "magical thinking": the primitive belief that if you take a certain course of action, the desired consequence will inevitably follow.
Didion also brings her priceless reportorial gifts to bear on the subject of the death of her daughter, Quintana, 18 months later, from pancreatitis.
Didion scrupulously observes her own behaviour during her daughter's prolonged hospitalisation in Los Angeles, even avoiding any venue that could stir painful memories. Yet she emerges from this irrationality into a fierce sanity that leads her to conclude "there comes a time when we must relinquish the dead".
Redgrave brings to all this her own unique emotional transparency. She inhabits the very soul of the character, and lets you see Didion's honesty, guilt, irony, and capacity for self-examination.
The rare moments of naked suffering, as when she cries "Why didn't he come back?", also acquire a visceral power. It is a consummate piece of acting, reinforced by Hare's austerely beautiful production in which effects, such as a distant sound of funeral bells, are kept to a refined minimum. But, although the evening is undeniably impressive, it rarely for me became a fully shared emotional experience.
· Until July 15. Box Office: 020 7452 3000.
“Extraordinary. Didion’s eloquent contribution to the exploration of loss. a 'must-see' event.” – DC Metro Arts
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