Word: evett
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Dates: during 1980-1989
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...student production of these plays would undoubtedly seem juvenile and possibly annoying, but director Wesley Savick and his cast have an unerring sense of timing. All the performances are good, particularly those of Norris and Benjamin Evett as Laertes...
Perhaps that is why Ben Evett '86, a charter member of Robert Brustein's Institute for Advanced Theatrical Training, has decided to stage Faith Healer in the Adams House basement. This two hour talkfest consists of four reminiscences about Francis Hardy (Ben Evett), an itinerant Irish faith healer whose ministrations actually succeed from time to time. Hardy, his wife Grace (Rebecca Clark), and his manager Teddy (Linus Gelber) recall his life, culminating in a disastrous return tour to Ireland. Each character gives his version of the events, with Hardy going first and last; like the famous Japanese short story...
With twice as much stage time to fill as the other two actors, Evett is nevertheless able to project the complex, almost mystical charm his role demands. He inhabits both Hardy's character and accent with ease, no small accomplishment when he must hold the audience's attention for two half-hour segments...
...assured performance rare enough on the professional stage, let alone a Harvard House basement. One can watch the flow of emotions and thoughts in Gelber's Teddy; his grief and pride in his two friends are the truly touching parts of this production. After watching Gelber's translucent performance, Evett's final monologue looks jerky and insincere in comparison, even though it is a fine enough performance in its own right...
Given the close proximity of the audience and the actors, Evett should have toned down everyone's performance; even Gelber seems to imagine he is playing for 200 instead of 20 from time to time. Perhaps if Evett had found someone to direct himself, he could have achieved the glass-like clarity of Gelber's acting. After all, the only dramatic thing an actor can do in a one-character monologue is to slowly open a window into the character's soul; there's no dialogue, or conflict, or imagery to rely upon...