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'Ah, Wilderness’ refreshing
Play shines under talented director
By Jonathan Siegie
Of ttw EimraM
It is perhaps fitting that
University Theater celebrates
Horace Robinson’s fiftieth
year with his direction of "Ah,
Wilderness!”
The production well
represents the man who has
given us so much — it’s
forceful, dynamic and
innovative.
“Ah, Wilderness” is Eugene
O’Neill’s visionary look at the
ideal American family. It is his
only comedy.
Father Nat, who owns the
local paper, is understanding,
friendly, firm and loving. Essie
is the behind-the-scenes
power, strong and gently
manipulative. The children
range from the young brats,
through the young intellectual
Richard, to the typical college
man Art.
There is Nat’s sister Lily, a
teetotaling spinster, and
Essie's brother Ski, a ne’er-do
well rummy. The two quietly
have loved each other since
she rejected him 16 years ago.
The play focuses on
Richard, who has recently
discovered radical politics,
poetry and girls. He gets in
dutch when he sends hot love
notes to girlfriend Muriel, and
Theater Review
her mother finds them.
He gets drunk, finds himself
with a floozie, and rediscovers
his love for Muriel. Along the
way he does a lot of growing.
O'Neill's script is quiet and
subtle. The humor is gentle. It
inspires smiles and nods of
recognition. Robinson has
chosen to play up the broader
aspects of the comedy.
Robinson is well aware of
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the sacrifices he’s made. But
as he’s said, playwrights don’t
write for his casts or his au
diences. As with every script
he directs, Robinson has
made changes, and they work.
The opening night audience
loved his show from the start.
Yet not all of Robinson’s
touches work. He’s turned Sid
almost into a clown, and thus
lost the long, bittersweet
romance between him and
Lily.
Robinson has directed Nat
to turn from the table during
dinner towards Richard, who
is reading a book, to tell a tired
old story. Nat turns in order to
allow Sid to mug behind his
back.
It's great fun, but the block
ing is artificial and doesn't
make sense. Robinson could
have easily had Nat get up to
tell the story and thus
reasonably turn his back.
Nevertheless, what is so
refreshing about a Robinson
production is the clarity of his
vision. He knows what he
wants from his cast and he
gets it.
And there are some
marvelous touches. Richard
and Muriel hold a tryst at a
deserted beach at night. In
contrast to the lovely, lush set
of the Miller house, the two
young lovers play on a blank,
black stage. Each is wearing
white, and the purity of their
love against the stark black
background is beautiful.
At the end of the scene the
set lights come on revealing
his parents at home waiting
for Richard. They know where
he is. The scene begins while
Richard and Muriel slowly
leave. It’s a lovely transition.
The players are cast well.
Don Alder plays Richard with
all the enthusiasm of the
teenager he’s supposed to be.
He’s willful but sensible. He
reflects the teaching of father
Nat, superbly played by
speech Prof. Bob Friedman.
Friedman is the steadying
influence of the show. He and
Barbara Kelly, as Essie, have
raised their children with com
mon sense and understand
ing.
Michael Fernbach’s lighting
is an effective part of the
production.
When Sid returns to the liv
ing room after sleeping off a
drunk, a hot light brightens his
white shirt. Lily forgives him,
as she always does. At the end
of the play every light is out
except for the one in the
hallway where Nat and Essie
meet before going up to bed.
That plain device captures the
mood and brings the audience
right into the Miller home.
“Ah, Wilderness’’ will play
in Robinson's theater today
through Saturday. Get your
tickets early. They’ll probably
sell out.
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