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| MISGUIDED REVIVAL IS NO 'MIRACLE': Alison Pill and Abigail Breslin in 'The Miracle Worker' at Circle in the Square Theatre. Photo: Joan Marcus |
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By David NouNou
I have always wondered why a wonderful drama like The Miracle Worker has
never been revived on Broadway since its original opening in 1959. There is the
magnificent 1962 movie version, which has preserved the brilliant performances
of Anne Bancroft and Patty Duke portraying Annie Sullivan and Helen Keller,
respectively. In an age where the same plays get constantly revived every few
years— and most of them being mediocre productions at best—this show has never
been done. The reason being, this play is thematically delicate, inherently
visceral, and physically demanding. It has to be expertly mounted, brilliantly
performed, and competently directed to truly work.
There is no
experimentation with this play. It has to be performed on a proscenium stage,
and no other stage will do. The viewer cannot be reminded of the audience
fidgeting across the stage or be constantly distracted by furniture rising up
and down on the bare stage to signify scene changes. The viewer’s attention has
to be focused on the two principal performers. Because the action/reaction
between Annie and Helen is so crucial, compelling and significant, the viewer
cannot miss a single gesture or nuance. You cannot truly appreciate all the
anguish and frustration these two characters go through if all you can see, at
certain moments, is the actors’ backs.
The play is set in 1887 when Annie
Sullivan (Alison Pill) enters Helen Keller’s (Abigail Breslin) life. Helen is
born deaf and blind. The affluent Keller family in Tuscumbia, Alabama, wanting
to establish some order in Helen’s unruly, disheveled, and self-indulgent
existence, hires Boston governess/teacher Annie—who is partially blind herself.
Annie’s mission is more than putting order in Helen’s world; she wants the
troubled girl to be able to experience life. Abigail Breslin, best known for her
Oscar nominated-role as Olive in Little Miss Sunshine, does an admirable job as
Helen. She exudes Helen’s frustration and anguish, but unfortunately for the
audience, we miss a lot of it because the action is performed in the round.
Although Alison Pill is an accomplished actress, and does a serviceable job as
Annie, she is not convincing as the life-altering teacher. There is no
chemistry between Annie and her student, and that is so essential in a delicate
play like this.
Although The Miracle Worker is a provocative play,
this version is misconceived in both production and direction. The cast has to
be compelling and not just fill space on a stage. The set must be grounded and
anchored, and not obstruct the performers with wires or doors that become
intrusive and distracting. Indeed the fault in all this lies in Kate
Whoriskey’s lackluster direction. Instead of being treated to fireworks from the
two leading ladies, we are witnessing choreographed movements. We should be
riveted by the action, but instead we are left feeling indifferent. Instead of
witnessing a miracle taking shape on stage, I saw a little girl slouched in her
seat in the first row across from me, licking a lollipop. What a shame to have
this image in my mind instead of cherishing the final breakthrough/bonding and
victory of student and teacher. I guess I will have to rent the movie again to
witness that miracle.
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