Luigi Pirandello, Italy's greatest playwright of the twentieth century, tapped into the despair, skepticism and war-weariness of WWI Europe. As seen in his famous Six Characters in Search of an Author, as well as the magnificent script currently being produced by the Arizona State University Department of Theatre, Enrico IV, Pirandello was a firm believer in the adage Così è (se vi pare) which translates to "It is so if you think so." In Pirandello's work, fantasy and reality intermingle to the point where reality finally seems like a less relishing choice within fantasy. His characters are philosophically presented, but are also filled with very real rage and pain, allowing the audience to understand Pirandello's intellectual point while retaining their empathy for those onstage.
Marshall W. Mason's translation brings Enrico IV from it's original 1922 authorship through the twenty first century without losing any of the playwright's intentions. Enrico is the sufferer of a delusion. While in the midst of a seething battle for the woman he loves, he is stricken in an accident that leaves him believing himself to be the 11th century German ruler Henry IV. With his fabulous wealth and the help of his relatives and friends, an elaborate charade is established involving sets, costumes, and actors. Everyone plays along with his madness for twenty years, until his former love and his best friend, married soon after the accident, bring their daughter and a doctor to the castle in an attempt to cure him. Ultimately, though, as the 11th and 21st centuries collide, and each player's plans come to fruition, the absolutes of sanity and reality come under fire.
Mr. Mason has directed this work with loving attention to detail. He has wisely created a new character, Julietta, to guide the audience through the depths of Pirandello's textual vagaries. This character, intensely and remarkably played by bree williams, is a silent clown who borrows bits of Commedia and Chaplin to excellent effect; she mirrors the onstage drama through humor and mimicry and seems to be the touchstone of Enrico's addled mind. Mr. Mason also infuses each of the centuries with a specific detail and tone. Even the bulky-though-necessary initial exposition has a specific energy that propels the play into its action. While there are moments that drag, and others that feel overwrought, it is not from Mr. Mason's efforts.
The strength of the cast comes from its main characters. Besides the agile performance of Ms. Williams, the power of this piece resides in the insightful and balanced presentation of Enrico by Greg London. Mr. London is a gifted performer whose depth of character study as well as his natural intuition is evident with every word he speaks, and every thought his character leaves unspoken.
There are standouts in the ensemble as well. Richard Perez is a perfectly haughty stuffed shirt as Doctor Genoni, while Randy Noojin's Baron Belcredi is strong and slimy. There seems to be hesitation on the part of Darby Winterhalter Löfstrand in the role of Enrico's former love, Countess Spina. Her performance lacks the depth of emotion that has driven her to bring this charade to its crisis, and she seems hesitant. The remaining cast members, especially the four courtiers, speak their lines rather than live them, a sharp contrast to the leads.
Jeff Thomson's set-like set is perfectly established, and Marc Riske's lighting is expressive and has its surprises. Nic Ularu's costumes are excellent examples of both centuries, and Nathan Crane's sound design is solid.
This is a deeply intellectual show, and one that is rarely produced. Mr. Mason's work is very impressive on this piece, but ultimately the reasons to see this production are Ms. Williams and Mr. London, as these could be their last performances in the Valley of the Sun.
Production Details:
Enrico IV Written by Luigi
Pirandello, Translated and Directed by Marshall W. Mason
Arizona State University Department of Theatre
The Lyceum Theatre, Tempe
(480) 965-6647
April 13th - 29th, 2001