By Chris Lane
By Jef With One F
By Chris Lane
By Olivia Flores Alvarez
By Angelica Leicht
By Jef Rouner
By Jef With One F
By Jef With One F
Dressed in stagehand black, Lynn play-acts her life more or less chronologically from the day she was born to the day in 1985 when her father died, victim of a long decline brought on by the Parkinson's disease that rendered him first unable to memorize new lines and then unable to perform at all. Other members of the Redgrave family figure in as bit parts -- from sister Vanessa ("the Marxist realist") to their scalawag of a grandfather, Roy Redgrave, who billed himself as the "acting cock of the north" and ditched his family for a film career in Australia. But it is really Lynn Redgrave and her father who take center stage. Sir Michael's presence is manifested by a photo of him as a bare-chested Antony projected, screen-idol size, on a blank, black wall behind the spare set on which daughter Lynn performs.
And a bravura performance it is. From the opening moments, when she strides onto the stage, sizing it up and finding it to her liking, Redgrave makes herself at home with a self-possession and delight that one guesses weren't possible when her father was himself stalking across stages. Sometimes acting as narrator, sometimes athletically acting out many parts, Redgrave plays, struts, gesticulates, moans, prances. It all comes across like a high-spirited internal monologue, how you would explain your life to an engrossed imaginary listener willing to let you set the record straight, for once. In this situation you can give yourself all the good lines, and upstage whomever you want.
Redgrave knows she's her father's daughter, the daughter of an actor. She just doesn't think he knew it. For as much as this play is about fathers and daughters, it's also about actors -- a houseful of them, generations of them -- and about how actors live, which is: they live their lives on stage. At least, that's how Redgrave portrays Sir Michael. As an eight-year-old, she fantasizes about going on stage with him because then she could get to know him -- or at least get to know the character he plays. Offstage, the roles still clung: "Daddy behaves completely differently depending on which play he's in," Redgrave tells her audience. "Comedies are best." Well, if Sir Michael only lived on stage via his magnetic performances, daughter Lynn has gone him one better: she not only lives on stage, she puts her own life on stage that she might fully claim it.
Guided by the deft direction of John Clark, Redgrave's at her best when she's leaping about, playing the many characters -- familial, famous and fictional -- that have come together in her life: herself as a girl; herself as a grown woman; sister Vanessa; her parents; her grandmother; Laurence Olivier; Richard Burton; Prospero; Cordelia; Lear; Hamlet; and on and on. While some of the stouter Shakespearean monologues may drag for audiences not as intimate with them as were the Redgraves, when Lynn does a turn as both Juliet and the Nurse, whirling back and forth between crabbed old hag and fresh young lover, it's an amazing sight. And not only can Redgrave act, she can do impressions. The show's highlight comes when, in a send-up of Noel Coward directing Maggie Smith and Dame Edith "a handbag!" Evans in Hay Fever, Redgrave makes the two headstrong actresses play off one another like a ferret and a high-strung poodle.
The wry assuredness and mastery of the likable Lynn we see belie the sickly, sour child she tells us she used to be. And it's as this simpering "glum one," resentful at being abandoned by her glamorous daddy, that Redgrave stumbles. Shakespeare for My Father is at its most tenuous when it treads the touchy ground of parental accusation and Redgrave strays toward the dread region of oh-pitiful-me-ness. When she yells, "Speak to me, Dad!" to the image that she has projected up on her stage, it feels forced, like she's begging the question.
Of course, dialogues with dead parents are about as poignant as the human repertoire gets, and many audience members may well come unglued if they, too, had remote fathers. Some will view Redgrave as striking a courageous blow for ignored daughters everywhere. But in a way, she's begging acceptance from the audience in lieu of the acceptance she feels she didn't get from her parent; it's the classic actor's neurosis. Even upon arising the day of her father's funeral, she flashes back to how he didn't sit through her first high school play. When her face contorts in horror, is it at a dead father, or an inattentive one? As Redgrave recited Portia's speech about the quality of mercy, I detected a certain mercy missing from her performance. She says she forgives, but I wonder. She's on that road, yes, but she can still sound bitter, petulant and occasionally petty.
Although dysfunctions are dealt with only glancingly, it's hard not to suspect that they're one of the story's main roots, from Redgrave's steadily drinking grandmother, who puts a four-year-old Michael on trains as a parcel ("he loved it"), shipping him off to relatives because she's too busy to deal with him, to Lynn herself, pulling out what looks like a chocolate bar for a nibble whenever childhood scenes get stressful, which can't help but remind us that she's an ex-Weight Watchers spokeswoman.
Anyone intrigued by the House of Redgrave will find this interesting fodder. The daughter grieves her father while the actress assumes his billing. But after all, an actor's emotional reservoir is her stock and trade. Albert Finney has noted that when he heard the news of his father's death, he was playing Lear. The first two nights of mourning were given to pure grief, but by the third, he'd started to incorporate the emotion into his role. Lynn Redgrave is attempting something similar. And while she's honest and witty and charming and brave, she has yet to make that final leap across the void to embrace and forgive. Maybe Shakespeare for My Father helps work that catharsis for her. It certainly serves as a diverting and thoughtful evening for us.
Shakespeare for My Father will run through July 3 at the Alley Theatre, 615 Travis, 228-8421.