BWW Reviews: A.C.T.'s HIGHER Immerses Audiences in Architecture, Israeli Culture, and Grief
By: Harmony Wheeler Feb. 06, 2012
An intense and captivating look at architecture, grief, and Israeli culture and history, Carey Perloff's "Higher," challenges audiences to look at their lives and consider why they do what they do. Produced by American Conservatory Theatre, the play - both dramatic and comedic - shows now through February 19 at The Theater at Children's Creativity Museum in San Francisco. The change in venue for this particular show brings audiences closer to the action. Although the play's fantastic script certainly makes it worthy of playing at the larger A.C.T. Theater, the smaller seating area does nothing to diminish the quality of the show. If anything, it makes viewers feel like they are a part of the story, like they have a stake in what happens.
Perloff, A.C.T.'s artistic director, has written a masterpiece about two architects in love, but also competing against each other for a project that involves designing a memorial to the victims of a terrorist attack in Israel. Michael Friedman (Andrew Polk) is disconnected from his work, Jewish heritage and family, particularly his homosexual son, a devout Jew. Michael's son, Isaac (Ben Kahre), sees through his father and reminds him that a chef without passion and reason does nothing more than just plain cooking.
Michael's competition, Elena Constantine (René Augesen), dives into her work and throws away her original designs after meeting Israeli Jacob Stein (Alexander Crowther), whose father died during the terrorist attack. Jacob and Elena connect in an incredible way, but for Elena, much of their relationship remains business-oriented and nothing else. As she becomes more and more involved in the lives and heritage of the people she encounters in Israel, she begins to realize that she needs to put as much of herself into a design as she does her clients. Her focus turns toward the heart and grief of those affected by the terrorist attack, and architecture suddenly becomes just as much about people as it is about design.
Facilitating the design competition, Valerie Rifkind (Concetta Tomei) wants to sponsor the memorial, as it would also stand as a memory of her husband who died in the attack. Rifkind provides plenty of laughs with her opulent personality and affluent society, which Tomei plays with strong charisma and amusing spunk. Augesen stands out as the clear highlight of the play. Her very real tears and down-to-earth tones entrance onlookers, making her the glue that holds the play together. Her scenes with Crowther are notably moving as Jacob shows Elena the dirt of Israel as a symbol of his people's, and his own, grief. Crowther uses a convincing Jewish accent and leaves audiences undoubtably attached to his character.
Polk makes his generally dislikable character relatable, while Kahre's character, Isaac, is easy to admire, especially for women who like good looking bodies. For some reason, those behind the production thought it best to put Kahre in nothing but tight, short underwear in one scene. Rifkind, too, wears short underwear in a bedroom scene with Augesen, but at least he wears a shirt. That bedroom scene may feel awkward to those who prefer not to watch two people that close to each other on a bed, but director Mark Rucker has staged the scene to look natural and to help develop Michael and Elena's complicated relationship.
The script has an equally natural feel. The scenes flow well, and Perloff's descriptions make it easy to picture each architect's designs, in addition to immersing audiences in the characters, their histories, and their futures. Apparently, however, a modern masterpiece play requires an F-word in almost every scene. One or two bad words might add to the intensity, but 10 or 20 will cross the line for some patrons.
Still, there's no denying Perloff's knack for the written and spoken word, nor questioning her ability to create an intriguing and thought-provoking work of art. Add to this A.C.T.'s flawless cast and simple, yet visually marvelous sets, and the result takes the form of a high quality play that lifts audiences "Higher" and "Higher" into theater heaven.
Higher
American Conservatory Theatre
The Children's Creativity Museum
February 3-19
Photo: Architect Elena Constantine (A.C.T. core Acting Company member René Augesen) conducts research in Israel and encounters memorial judging committee member Jacob Stein (A.C.T. Master of Fine Arts Program student Alexander Crowther). Photo by Kevin Berne.
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