BWW Reviews: Well Acted THE ANARCHIST Takes Up a Short Residence at Theatre Asylum

The Anarchist/by David Mamet/directed by Marja-Lewis Ryan/Theatre Asylum/through May 23

David Mamet's curious one-act The Anarchist, which bombed on Broadway in 2012 after a mere 17 performances, was called by critics "a slip of a play". True, it does come in at 70 minutes, but who cannot be riveted by Mamet's intriguing exploration of salvation? Yes, religious salvation that erupts during a prison interrogation serving as a final appeal for prisoner Cathy (Felicity Huffman), convicted some 35 years previous for the murders of two guards. Cathy was a young revolutionary at the time in Algeria; when we see her she describes herself as 'an old lady', perhaps somewhere in her 50s. Ann (Rebecca Pidgeon), the warden of the prison / psychologist working in direct connection with the prison authorities, performs the interrogation with one goal in mind: to break down Cathy, to make her confess the whereabouts of her accomplice, whom she hasn't seen or had contact with since the crime. Far-fetched, you say? But Cathy's release depends on this piece of information. Despite some dissatisfying results, Mamet's fiercely engrossing dialogue, crisp direction from Marja-Lewis Ryan and superior performances from both Huffman and Pidgeon make the one-act worthy of note.

Let's get back to the topic of salvation. Mamet, born to Jewish parents, has a pretty keen knowledge of Christianity and Catholicism. Cathy, also born to Jewish parents, has undergone a transformation during her 35-year confinement, and has found the forgiveness of Christ; she claims to have a power that she is more than willing to share with Ann. She wishes to save Ann from her embittered lifestyle and devotion to the Stare, and Ann claims to want to save Cathy. Cathy has served her sentence and paid for her crime. Her freedom seems deserved. But Ann has issues. Unless Cathy tells her where to find her criminal accomplice, she will remain imprisoned for life. Will Cathy's supposed new-found salvation be enough?

Both women are prisoners in this piece. Ann tells Cathy that she is about to leave her position in the prison as the play opens. She lives out of duty to the State...that comes first and foremost in her life. She feels no sense of mercy - or at least keeps up a bold veneer to this effect. She wants justice, and in her mind not releasing Cathy... the families of the guards, who are awaiting the decision in adjacent rooms, will be satisfied and justice will be served. Who is right and who is wrong? Both are entrapped.

The conclusion of the play seems unfinished. We want more...at least more emotional involvement from Ann, a short break from her behavior patterns, but it doesn't happen. Cathy's calm, reserved manner and contentment within herself is enough for us to forgive her, even though many of the details of her crime are sketchy, unspecific. Mamet holds firm to his purpose: he hates authority, wants firm animosity toward Ann and sympathy for Cathy. Well, as outcomes go, that's the way it seems. But, as I said before, at the very end, the dialogue between the two women could continue on, but it does not.

Under Ryan's steady directorial hand, the two actresses are a marvel in their focus and commitment to the moment. Huffman, without a smidge of makeup, is thoroughly real and convincing, so genuine in her revelations and feelings as Cathy. Pidgeon keeps Ann driven, unconvinced and uncompromising. Michael Fitzgerald's set design of the prison conference room with its bench, table and two striaght-backed chairs and large window facing the brick-walled corridor is appropriately drab, cold and uninviting.

Don't miss The Anarchist! It may not be completely satisfying as a play, but Mamet's brilliantly intelligent dialogue and two outstanding performances from Huffman and Pidgeon are enough to make it worth your time. And the small, intimate space at the Asylum offers something special that a big Broadway stage could not. As I sat watching, I felt like I was eavesdropping on the interrogation. It was real and fascinatingly engrossing. In light of the current Equity proposal for smaller LA theatre, here's further proof of the value of Equity waiver 99 seat theatre. If a play does not succeed on the big Equity stage, it does not mean that it will not find its place. Bravo to Mamet and his team for their determination to work on The Anarchist!

http://www.theatreasylum-la.com/

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