Review: Caryl Churchill's A NUMBER at Studio Grand Central

"In our days we will say, What our ghosts will say, We gave the world what it saw fit, and what did we get?" (Iron & Wine lyrics from Resurrection Fern)

"Any number is a shock..." (Salter)

"So when you opened the door, did you recognize me? Do you recognize me now?" (B1)

A Number written by British Playwright Caryl Churchill first premiered in September of 2002 at The Royal Court Theatre in London, England. The play starred Michael Gambon in the role of Salter, and Daniel Craig in the role of Bernard (Et al.). Under critical reception, Churchill's play was lauded for its use of "significant intellectual depth while imploring an effective economy of style." Told in a series of five vignettes, the story is set in the near future, where a relationship/conflict between father and sons comes to a head when conflict about the use of human cloning becomes the topic of conversation. The play expresses the deeply divided differences between nature vs. nurture, and the idea that "if we had a do-over, could we atone for our mistakes?"

In an article for the New York Times, Ben Brantley described Churchill's work as, "stunning" and a "gripping dramatic consideration of what happens to autonomous identity in a world where people can be cloned."

In each vignette, we meet Salter's sons, or "clones of sons," as they discuss the ups and downs of their lives/relationships. In the first vignette, we meet Bernard 2, as he discovers he is one of a number of clones. Not only is this a shock for Bernard 2, but also for Salter as well, as he discovers the Doctors made several more clones outside of his knowledge. Following that, B1 visits his father for the first time since his last visit as a young child. B1 learns of his transfer to a clinic, following the death of his mother. Surrounded by a feeling of neglect, B1 vows to ruin the one thing Salter loves most. B2 decides to leave the country for an extended period of time, to remove himself from his father, and his fears that he might die if he stays. Following multiple visits from B1 and B2, Salter meets with Michael (another clone).

Studio Grand Central, home of the Off-Central Players and Director Alan Mohney, Jr. bring Churchill's searing and intellectual dialogue to life in an expertly paced 60 minutes.

The set itself is functional in simplistic form, and does not take away from the actors inhabiting the space and telling the story. The intricate use of L.E.D lighting creates almost a character all itself and adds a beautifully rendered layer to the story.

For all intents and purposes, and ability in which to convey the world she has written about, Churchill provides no stage directions and no significant setting or indication thereof. Often lending itself to the ideas of "domesticated realism," without pulling distraction from its true purpose, in this case, the dialogue.

This production for our purposes feels very current and true to life, even if life has progressed a few years to the distant future at this point, and Alan Mohney Jr.'s concept and the overall staging prove relevant, and kinetic, and cuts a clear through line from beginning to end.

"What is the value of human life?"

"What is the source of our individuality?"

From a technical standpoint, the production is beautifully rendered and conceptualized. Featuring expert lighting design by Michael Horn, that as I said before almost creates a character all its own. The different textures created just in lighting allows us as audience to take in the highs and lows of the story. With Scenic and Sound Design by Director Alan Mohney Jr., the world created is almost "Dystopian," in concept and Clinical/Sterile in texture. If unsure what I mean look into a 2015 film entitled "Equals," starring Nicholas Hoult and Kristen Stewart for a point of reference. With the stark contrast of the lighting amidst the grey on the walls, and otherwise muted textiles on the stage, it allowed the vibrancy of the emotions of the performers to shine through, while still maintaining a future-esque quality to the world. The Sound Design added an interesting layer to the story featuring an instrumental version of Nirvana's Heart Shaped Box, played on an electric cello. The lyrics of Heart Shaped Box cling to the framework of the world in which was created beautifully, and helps set up the structure, for the dialogue to be laid out before us.

"Hey, Wait, I got a new complaint,

Forever in debt to your priceless advice... your advice....your advice..."

-Nirvana's "Heart Shaped Box"

For a two-hander to work, your first mission as a producer, should be to find two performers who are compelling enough, and interesting enough, and layered in every facet of the word to carry a story for as long as needed. I can say hands down that with Ward Smith in the role of Salter, and Anthony Gervais as Bernard (Et. al), one cannot go wrong. There is something so intricate about their back and forth, and their chemistry on-stage. You get a real sense of the strained relationship between father and son. We have all experienced films and tv shows where the dichotomy between father/son is structurally apparent and really well acted, but it's a whole other means to an end when you experience the tension in person. The emotional tug-of-war between the two performers is so structured, and so gripping, and the pacing is so crystal clear that 60 minutes seems like mere seconds.

Having never experienced Anthony's work on stage, it was a breath of fresh air watching him tackle not one, but three different characters. Each character has its own distinct way of moving, way of speaking, and its own mannerisms, you can fully see three separately-thought-out people in Salter's life. Definitely have taken notice of the power he brings to the stage, and will be looking forward to seeing him again very soon.

Ward Smith, Producing Artistic Director of the Off-Central Players is exceptional here. From beginning to end, you feel not only the love, but also the pain in a father's heart. Not only that, but you get a true sense of his want to atone for the mistakes he's made. Having enjoyed Ward's previous performances throughout the bay area this is no exception, and Ward is in his element here.

It always intrigues me when a piece of art such as Churchill's piece is done. The old adage is you must do the classics to pay for the risky, however, in the world in which we've seemingly grown accustomed to, I say take a page from Field of Dreams. "Build it and they will come." There is something about taking a risk in hopes it pays off, and with Alan Mohney Jr. at its helm, risky, intriguing, thought-provoking, and just damn right, is exactly what should be ordered. With A Number, the folks at Studio Grand Central, are sparking the right kind of conversation. So what are you waiting for? If a thought- provoking discussion is something you seek, look no further than the compelling work being produced at Studio Grand Central, I have a feeling you'll find just what you are looking for. Tickets can be purchased by visiting studiograndcentral.com. A Number must close November 20th, and this is one production you definitely don't want to miss.

"There's a lot of wicked people...you see them all around you."

Photo Credit: @DOWNTOWNCAROL

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