Failure: A Love Story Playwright Philip Dawkins's work requires inventive staging and offers a challenge to the producing theater. It deals with events in the clock-making Fail family of Chicago, chiefly the deaths of the parents and of three daughters, in separate accidents, in 1928. The deaths are depicted in a lighthearted, sprightly manner; this is a comedic fable. Events are presented in an hour and 45 minutes, with no intermission, with entrances and exits abounding, and with elements of carnival, of a circus and of Cirque du Soleil. The set features a huge clockwork mechanism upstage, and at one point birdcages drop to hold simulated parakeets. One daughter, Jenny June (Brittany Halen), attempts to swim across Lake Michigan, and disappears, apparently drowned in the attempt. The final swim is on fabrics suspended from the ceiling. The first daughter to die is Nelly (Nina L. Garcia) and the third is Gertrude (Courtney D. Jones). A man named Mortimer Mortimer (David Matranga) courts them all, in turn. The parents are Michelle Elaine as Mother and Luis Galindo as Father, and there is an adopted brother, John (Lex Laas), who isn't good with people. There is a plot, but the frenetic pace and rapid-fire line delivery allow no breathing space for personality to emerge, so the characters are like stick figures with balloons drawn from their heads, saying their lines in a loud, flat tone, just short of a shout, and then dashing off. The single exception is Garcia as Nelly, who manages to stay in sync with the general tone of the other actors but also to add a piquant charm that is captivating. A festive atmosphere entertains, and stagecraft is successfully given the reins, in a production that feeds the eyes with color and activity. Through February 16. Stages Repertory Theatre, 3201 Allen Parkway, 713-527-0123. — JJT
Freud's Last Session In London on the day when Germany invades Poland in 1939, superstar father of psychoanalysis Sigmund Freud, an unrepentant atheist, invites the brilliant young university professor C.S. Lewis, a devout Christian, to his home for a chat. In Mark St. Germain's bumpy yet intriguing two-character conversation, Freud's Last Session, feisty, hard-edged Freud (James Black) engages upright, morally unshakable Lewis (Jay Sullivan) in an 80-minute round of intellectual tennis. Their exegeses on Jesus, man's suffering, a bit of sex talk and lots of daddy issues ends up in a tie, while the drama takes a snooze. The debates are smart as the guys serve and volley with professional precision, batting back and forth such capital-letter subjects as emotion vs. intellect, faith vs. the scientific method, even fathers vs. sons. They are both expert at the game. "An insidious lie" is what Freud calls religion; "There is a God," counters Lewis. Curmudgeon Freud, dying from jaw cancer, usually gets the best lines, but Lewis parries with the finesse of youth and the implacable rightness in his Christian faith. Just as the game gets heated, it's invariably cut short by phone calls from the outside world to remind old Sigmund to turn on the radio to hear the latest bad news, or by the screech of air-raid sirens that sends both men scrambling for gas masks. The specter of death is close, adding a poignant, human touch to Freud's stoney pronouncements and Lewis's prim priggishness. The pain and grisly details of his cancerous disease soften Freud, as do Lewis's still-fresh memories of the horrors of trench warfare during WW I. While trying to present both sides without judgment, St. Germain drains the life out of the play, not that there aren't moments of levity during the dry debates about free will, moral conscience and obsessional neuroses. Both men get their share of audience sympathy. Although he appears as rumpled as his black suit, Black makes shuffling old Freud a still-smoldering volcano, bellowing smoke and fire when appropriate. The explosions sap him, leaving him more pained and therefore more resolute for his suicide to be. He's still a mighty lion and knows his place in history, but his body is broken, even if his ego is secure. As a young C.S. Lewis, before he became internationally famous as an unrepentant Christian from The Chronicles of Narnia and The Screwtape Letters, Sullivan is as clean and bright as Freud is sooty. He's had his revelatory road-to-Damascus moment, and his conversion makes him shine. He radiates goodness and morality, with a whiff of insufferable rightness. If you're going to war with unbelievers, he could lead the troops into battle with unconquerable cheer. His jousts with Black sparkle. Directed with unmatched fluidity by Tyler Marchant, Freud moves swiftly. No one stays in one place very long, not even on that famous couch. Designed by Brian Prather, Freud's examining room is a hothouse beauty, draped in oriental rugs and cozy as a dream, with every nook holding leather-bound tomes or a phalanx of ancient statuary, guardian angels and totems that spur the mind. The set is the most well-appointed arena in town. Although Freud's Last Session resembles SparkNotes more than Tom Stoppard, St. Germain's game of advocates and adversaries is literate and adult and hinges on the mysteries of life. There's plenty to think about. We're grateful for that. Through February 23. Alley Theatre, 615 Texas, 713-220-5700. — DLG