Acting surpasses script in McCarter's 'Herringbone'

If you decide to see "Herringbone," the play currently featured at Berlind Theatre, chances are you won't ever have seen anything quite like it. This is a show imbued with a distinct self-consciousness that even lets us peek backstage from time to time. Gone is the mystery of the theater: The magic is still there, but in "Herringbone" the cogs and springs of theatrical magic are put on stage as well. Add that this is a one-man Vaudevillian musical with 10 characters, and you've got a one-of-a-kind show.

Set in Alabama in 1929, "Herringbone," directed by Roger Rees, tells the story of a young boy, George, and his struggle to succeed in show business while holding onto his own identity. Herringbone, the narrator (B.D. Wong), assumes all the roles of the show, including his parents, his acting coach and the spirit of a 37-year-old murdered midget who takes over his body.

Rees has made this production distinctly Vaudevillian, and the set, designed by Eugene Lee, is a perfect mirror of this style: The stage is nearly bare and totally black, with the musicians onstage in the middle of the action. The set comprises a moveable door, a trunk containing a few basic props and a chair. The stage itself is a turntable that is used repeatedly, adding an enjoyable dynamic to the bare-boned design. The lighting, by Kenneth Posner, further enhances the feel. Lights around the proscenium arch and the lip of the stage create the old-theater look, illuminating the actor in a warm gold wash such that he pops against the black around him.

While the atmosphere is palpable, it doesn't quite fit with the architecture of Berlind Theatre. The theater is too monumental: This show begs for a tiny, intimate space where the audience, in addition to the orchestra, is with the actor. The theater's size immediately serves to remove the audience from the action.

The sparse set is supplemented by a re-creation of a McCarter Theatre dressing room - B.D. Wong's dressing room - that is rolled onto the stage. Wong returns to the room when not performing and readies himself - warms up, gets dressed, does his makeup - all in front of the audience. These silent sections are an integral and fascinating part of the play, but their purpose is unclear, and they would be more interesting if they were tied into the script itself.

The musical itself is without a doubt the weakest aspect of the production. The script, written by Tom Cone, is unclear in its intent and feels disjointed. It has jarring shifts in tone, switching from hammy to nightmarish and from slapstick to drama. These rapid changes alienate the audience rather than engaging it. No persevering undercurrent unites the whole, making it difficult to maintain empathy for the main character.

The music, written by Skip Kennon with lyrics by Ellen Fitzhugh, is unfortunately not strong enough to make up for the flawed plotline. The songs feel simple and generic; plucky, but rather empty. The one exception is a ballad in the middle of the second act called "A Mother." This song, more than any of the others, reveals the cracks hidden behind Herringbone's slick facade. We see him for who he really is and feel a refreshing connection with him.

Wong gives a strong, polished performance in a very challenging role. He has a commanding presence on stage and is a talented singer and dancer. His most outstanding quality, however, is his ability to transform into multiple characters and switch dexterously between all of them. He has no costume pieces to help distinguish the characters - he wears a pinstriped suit throughout the play - yet he switches between an older woman and a little boy without missing a beat. More to the point, the audience is never confused by the characters and willingly suspends disbelief. At the end of a long week of shows, however, Wong appeared exhausted and seemed to be going through the motions of the play without really living in the character.

The choreography, by Darren Lee, is a highlight of the show. Using movement from the era of the play, he creates dances that are engaging to watch and are delicately and cleverly woven together with the dialogue and music.

In sum, while the direction and technical elements of the show are polished, and B.D. Wong is a gifted performer, the show itself is ultimately lacking and leaves the audience feeling unsure of how to feel. Regardless, "Herringbone" brings to life a new and unique, if flawed, perspective on theater.

Herringbone

By Tom Cone

Berlind Theatre

Through Oct. 12

Student Events Eligible

Pros:

Strong direction and choreography

Polished technical elements

Commanding performance

Cons:

Writing of script and score flawed and frustrating

3 our of 5 paws