This
Sullivan works
miracles on stage review
of "The Miracle Worker"
Annie Sullivan.
It's a dirty job, but somebody's got
to do it.
Sullivan is, of course, the titular
character of William Gibson's classic
stage play, "The Miracle Worker."
Sullivan was also a real person, an
ambitious young woman who accepted
the challenge of educating a nearly
feral deaf, blind girl, Helen Keller,
when there was no accepted method
to such a task.
As a dramatic character, Sullivan
presents many challenges, not the
least of which is being struck repeatedly
by the raging Keller -- and tackling
her repeatedly in turn -- while trying
to tame and teach her with a hand
alphabet.
Cathryn Salamone is playing the role
for Curtain Call Theatre and she's
something of a miracle worker herself.
I've never seen a better Annie Sullivan.
Salomone recently portrayed Jo March
in Schenectady Civic Players' musical
production of "LIttle Women"
and she was a revelation there as
well.
A career path playing iconic 19th
Century women is hers if she chooses
it.
Salamone is surrounded by a capable
supporting cast, including McKinley
Fallon as Keller; and Patrick White,
Pamela O'Connor and Elijah Dederick
as other Keller family members.
In Gibson's play, Sullivan must battle
the Keller family for control of Helen,
before she can begin teaching the
girl. This tangle provides grist for
the first act, while much of the second
finds the two women creating a bond
while stationed in a small garden
house just away from the main house.
The play's most famous scene occurs
at the water pump, where Keller finally
make the connection Sullivan has been
striving for -- matching words with
the objects and actions they describe.
Too often the play is didactic --
revolving around a manic Keller flying
around the room, in the same way that
Sullivan accuses the Keller family
of revolving around their difficult
daughter.
Salamone doesn't let that happen to
the play or her charge.
As she did with Miss March, Salamone
balances her character's elements
-- Sullivan's inner strength, her
overbearing righteousness and her
deep-seated doubts and fears. But
she also balances the play.
The rivalry between father and son,
for example, as played by White and
Dederick, doesn't really find its
proper intensity, yet each man plays
fine scenes with Salamone.
And some of the show's best moments
are the difficult, yet tender exchanges
between O'Connor, as Keller's doting
mother, and Salamone, who demands
that Keller be treated as a normal
child.
Fallon has an impressive far-off stare
as Keller, and does a good job (despite
flailing her arms a bit too wildly)
of representing the little girl
lost in her own soundless, sightless
world.
Director Steve Fletcher wisely keeps
this show mostly spare and quiet,
which make the script's flare-ups
effective.
And, largely thanks to Salamone, the
emotional pay-off at the end of the
show is huge.
Salamone, a Hudson Valley Community
College freshman, is -- in case you
haven't figured it out yet -- one
to watch.
William
Gibson's play, "The Miracle Worker,"
which chronicles the early life of Helen
Keller and her teacher and mentor, Annie
Sullivan, has captivated and inspired
audiences for more than 50 years. The
play tossed Anne Bancroft and Patty
Duke two tickets to stardom, made Arthur
Penn the director du jour and gave them
all a film contract and two of them
an Oscar.
The classic tale of overcoming the insurmountable
by using the power of determination
and discipline is offered up by Latham's
Curtain Call Theatre through March 27.
A 50-year-old play might stand for a
good nip and tuck here and there just
to keep it fresh and alive, but this
production takes a deeper cut, almost
a Reader's Digest edit, leaving us searching
for the unabridged edition.
But where the story excels and interests
us is in the conflict between the two
strong-willed women, teacher Annie Sullivan
and student Helen Keller, and the focus
of this production is firmly there.
The struggle by Annie to use Helen's
own determination and strong sense of
self to unlock her own door is fascinating
and compelling and gives the audience
something to inspire.
Cathryn Salamone finds all the right
notes to Annie's song right from the
very start of the evening. Up for a
challenge as soon as she de-boards the
train, Salamone makes Sullivan a force
to be reckoned with while allowing the
audience to see the frailty behind Annie's
dark glasses and maintaining the composure
of a woman trying to achieve the impossible.
This is a tough effort for any actress,
but Salamone displays these truths with
ease. It is a stunning and well rounded
portrayal.
Creating a formidable foe is the job
of McKinley Fallon as Helen, and the
actress succeeds. Able to capture the
frustration and wonder of a girl who
yearns to break out, Fallon manages
exceedingly well with the physicality
and fragility of Helen's situation.
Heading up the Keller clan as Captain
dad and maternal Kate, Patrick White
and Pamela O'Connor fill out the story
with a with the complete range of emotions
that plague the parents of a needful
child.
Most of us know the outcome and those
who do not will not be surprised the
way the journey ends. The iconic scene
at the water pump where the "miracle"
happens does still flood with emotion.
Salamone is darn brilliant in this scene,
as is Fallon.
Steven Fletcher's direction seems tentative,
which is an odd choice in a story that
takes place on a battlefield. The moments
of quiet between the skirmishes are
rightfully small, but the confrontation
scenes between Annie and Helen need
more of the dirt and violence of two
women locked in a battle of wills.
But this show is Salamone's and the
chief glories remain hers, from start
to finish.
