A BLESSING FROM BLESSING
Playwright Lee Blessing has done a gutsy thing. He puts himself in the head and heart of the mother of a ruthless African dictator who murders and tortures his compatriots with horrifying abandon. Though supremely talented, the Pulitzer Prize-nominated Blessing is, after all, a white American far from the horrors that are sadly so prevalent today in Africa and around the world.
Yet he succeeds beautifully with Going to St. Ives, not just in the creation of memorable and believable characters, but also in crafting a taut two-hander that explores the troubling issues of morality, guilt, revenge, and a mother’s love.
When we meet the regal May (Inger Tudor) standing in the doorway of a typically British home in idyllic St. Ives, looking resplendent in a stunningly colorful African ensemble, we know we are in the presence of a woman who commands attention. The home is owned by Cora Gage (Nan McNamara), a renowned British ophthalmologist to whom May has come for eye surgery.
The tension between them is palpable from the onset as these two powerful women’”each with hidden life-and-death agendas’”posture for. . . what? Control? We’re not immediately certain until those agendas are revealed and we see that each woman needs the other–in one case, for shocking ends. What ensues is a struggle for both as they weigh the morals of unleashing a violent act for a higher good.
Blessing intelligently explores a variety of themes, including social responsibility: May states, “How can there be civilization? Half the world turns its back while the other half bleeds and dies.” However, the resonating factor beyond the women’s intellectual connection is the terrible yet touching bond forged by the two women. At its heart, Going to St. Ives is a love story, not just a mother’s love for her son but a mother’s love for another mother.
Sensitively guided by director Linda Kerns, McNamara and Tudor are both strong and sensitive, delivering truly lovely performances. Tudor was a late replacement, making it all the more laudable that the two actors established as much chemistry as they did on opening weekend; a connection which is likely to become even more robust. Hopefully, the actors will find those places where a beat or silence could underline the particularly dramatic moments.
Mark Henderson and Tim Farmer’s set and Bill E. Kickbush’s lights are perfectly suited for this piece – simple and realistic, which helps Vicki Conrad’s authentic costumes to stand out.
Although Blessing is a frequently produced playwright, it is possible he is underappreciated for his thoughtful and powerfully nuanced work. Actors Co-Op presents a wonderful opportunity to appreciate one of this writer’s lesser-known plays.
photos by Lindsay Schnebly
Going to St. Ives
Actors Co-op
First Presbyterian Church of Hollywood
1760 N. Gower St. in Hollywood
scheduled to end on March 16, 2014
for tickets, call 323-462-8460 x 300 or visit www.ActorsCo-op.org
post-show discussions with the cast, moderated by a variety of experts,
held on Feb. 23 and March 2, 9, 15 and 16