With the premiere in the U.S. of Polish writer Ingmar Villqist's powerful play Helver's Night, artistic director Philip Boehm has once again demonstrated the enduring appeal of Upstream Theater. Boehm consistently provides his audience with challenging and innovative translations of playwrights from around the world. This particular production benefits greatly from the exceptional performances of Linda Kennedy and Christopher Harris, as well as Boehm's own keen directorial touch.
The mentally-challenged Helver lives with his caregiver, Karla, in an unnamed country which is on the brink of some sort of social upheaval. A fascist takeover is in place and troops are being organized, although Helver's participation has been limited to a position as a ridiculed observer to this point, since his condition actually makes him a target for removal. But, he's just not aware enough to understand the gravity of the brutality he's witnessed, and he rushes home to drill Karla in the same manner in which he's seen the military treat prospective soldiers. To Helver, this is all a game, and Karla reluctantly goes along with him, playing the situation for laughs before it begins to take on a more serious edge. Once the reality of their plight becomes clearly evident, Karla re-establishes control over her charge and decides on a difficult, but necessary, course of action for the pair of them.
Christopher Harris establishes Helver's state of mind early on, and his mannerisms and bouts of impatience are on par with those of a four year old. Helver does have his moments of lucidity, but he's forever undone by his inability to remain focused and attentive. When he tells Karla about his experiences with the troops, he has all the unbridled enthusiasm and protective nature of a young child. He's been told the proper way to behave if he's going to avoid becoming another "carcass" for the cause, and though he's not clever enough to figure out exactly how that pertains to him, he's knows that something's wrong. Harris handles this tricky role with aplomb, and his interactions with Kennedy seem entirely believable.
Linda Kennedy is very strong as Karla, offering up a nicely faceted portrayal of this troubled woman. Her character has been through her own share of hard times, including the fact that she gave up her own "special" child after her husband rejected the infant. He came around eventually, but not in time to stop her from giving the child away to an institution. However, she ended up becoming a mother of sorts to Helver, after discovering the abandoned young boy, and with the institution's support, raising him as best she could. Kennedy runs the gamut emotionally as her character's concerns slowly mount over the course of the play.
Philip Boehm's direction, and translation, are clear and focused in their approach and execution. Boehm keeps the intensity on a slow boil, gradually ratcheting it upward as the play progresses. Part of this effect is achieved through the ambient sound design he's created in concert with Dylan Jones. Scott Neale's use of expressionistic angles for his slightly rundown scenic design adds immeasurablY. Joseph Clapper's lighting scheme also lends another dramatic element to the proceedings.
The themes at work here may not be breaking any new ground, but I don't think we can ever have enough plays that speak to the need to be constantly vigilant against the forces of intolerance. Helver's Night may well be a cautionary tale, but its couched in reality, and that's a very scary thing to think about.
Upstream Theater's production of Helver's Night continues through October 25, 2009 at the Kranzberg Center of the Arts.
