Seattle Review: Burning Bridget Cleary

History has influenced theatre from day one. From Julius Caesar to Marlyn Monroe, real-life events have given us some of the most thrilling moments ever witnessed on stage. There are oodles of factual stories ripe for the boards. Set in Ireland in 1894, the tale of accused faerie witch Bridget Cleary seems a perfect fit for the stage. Allison Gregory's ambitious but lackluster Burning Bridget Cleary illustrates that execution is essential to great theatre. Even when the plot is spelled out for you, it is a tricky task to turn intriguing fact into meaningful fiction.

Gregory's text has the potential to be quite compelling. She provides an intriguing start and a riveting end, but the middle never lives up to its bookends. Instead of showing us the details of the story, we are informed mostly through dull exposition and lengthy monologues that never seem necessary. Theatre has had its share of witch stories, and Gregory never convinces that another one is necessary. With the genius of Arthur Miller and Caryl Churchill looming over her, Gregory is unable to negotiate plot and character as seamlessly as the masters.

There is a distance to Gregory's text that never allows us to empathize with Bridget Cleary. We are told verbally what has happened, but we are never shown. There are so many moments told through narrative that would have worked marvelously in real time. One continually longs to see everything that we are told about repeatedly. The history of faerie witchcraft in the Cleary family constantly intrigues throughout. Showing us some of these incidents would aid the text greatly. There is too much muddled mystery to Gregory's treatment, and eventually one gives up caring about the fate of our heroine.

Ladykiller's production tries its best to rise above Gregory's confused treatment. There's an awful lot of yelling and screaming throughout that often seems to function as a tool for waking us up from another pointless story of Irish folklore. Still, director Sheila Daniels does her best to flesh out Gregory's dull script. She puts her trademark style on the proceedings, and moves things along as briskly as possible. Her gift for stage choreography is put to great use here, and adds a much needed layer to the limp text. Daniels and company struggle amiably to flesh out something that is equal parts confusing and misguided.

As Bridget Cleary, Kate Wisniewski's performance has the potential for genius. But despite being the center of the story, she isn't given much to say. She spends most of the evening being thrown around rather than providing empathy for her plight. By choosing to have those on the outside tell Bridget's story, Gregory does a disservice to her talented leading lady. Still Wisniewski shows that she is a capable, game, and versatile actress.

The remaining ensemble impresses despite thinly conceived roles and inconsistent Irish accents. Michael Patten gives a solid performance as Bridget's tortured husband Michael. He offers an intelligent portrayal of a man haunted by a past full of scandal. Patten and Wisniewski work together like gangbusters, and provide an anti-chemistry that is quite marvelous. Kate Czajkowski gives a heartbreaking portrayal of Bridget's confidant Johanna Burke, and proves that silent acting is powerful stuff. The always reliable Charles Leggett and Darragh Keenen do their best to make their throw-away roles memorable.

Peter Dylan O'Conner's set design places the action in the round, which constantly reminds us that Bridget's situation is inescapable. Having the audience surrounding the small acting space from all sides allows Wisniewski to feel even more trapped by her character's persecution. A pit in the middle of the playing area provides great tension as Michael Cleary's insane pursuit of purity reaches its demonic conclusion. Jodi Briscoe's lighting adds appropriate mood throughout.

At the close of the play, this writer's companion (who is an expert on everything Irish) remarked that she didn't recognize this familiar story until the last 10 minutes. Allison Gregory's Burning Bridget Cleary emerges more as a sketch for a great idea than an important theatrical event. The potential for a stunning evening of theatre is present, but there is an unfocused touch that never allows the material to sparkle. There is so much in this story that is topical in a society where uniqueness continues to be punished. But Gregory's History 101 approach to a timeless and mysterious story only pushes us further away from the truth.

Ladykillers' production of Burning Bridget Clearly runs through March 18th at Capitol Hill Arts Center. For tickets call (800)838-3006, or visit www.capitolhillarts.com

Photo by Peter Dylan O'Conner. Pictured: Kate Wisniewski as Bridget Cleary

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