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Unexpected
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t
h e a t r e
The Unexpected
Man
b a t e s xa r c h i v ex r e v i e w s
photo: Sara Krulwich/The New York Times
I saw the last preview of "The Unexpected Man"
before the opening, in a sold-out house. Alan told me afterward
that they've been having two sorts of audiences: those who laugh
a lot, and those who don't. They have adjusted to this, and no
longer worry that the quiet house is not enjoying the play. Ours
was the quieter sort, and I can confirm that the work was closely
followed and warmly received, though our laughter was thoughtful.
 December update:
Six weeks on, the production is even better -- more open and
spontaneous. One result of this, according to Alan, is that all
the audiences now laugh.
When I read Charles Isherwood's
sensitive Variety review I thought, "Wonderful
- now I don't need to write anything!" I agree with everything
that he has written about the play, performances, production
values, and he has said it far better than I could hope to. I
do, however, want to add a thought or two:
WATCHING AND LISTENING to this wonderfully dense, compact
play of ideas is much like listening to chamber music. It's an
active and rewarding experience that we're sharing with two especially
fine actors: it strikes me that 80 minutes of this sort of exercise
is just right -- a couple of acts could be exhausting. If an
audience can be at the top of its form, "The Unexpected
Man" demands that sort of involvement and attention from
us.
Both Bates and Atkins
have subtle, expressive voices, which they use to great effect.
Moreover, as others have noted, they act with their whole bodies,
creating real people, the sort you continue to think of later,
like friends. They make it easy for us to understand and accept
that we are hearing Martha's and Parsky's thoughts. We are omniscient
eavesdroppers, identifying at times with both characters, but
also enjoying the ironies their juxtaposed monologues create.
| Martha |
 Martha
recognizes her compartment-mate instantly, and most of her thoughts
are connected to him, and the way his writing has affected her
(her friends resemble characters in his novels). By contrast,
dour Parsky isn't aware of her at all; he is sifting through
his mental rubbish, self-absorbed, bilious.
The two characters
are beautifully counterpoised. We learn a great deal about Martha:
about her wit and intelligence, her life and loves, and the way
her favorite author has been her mind's close companion for years.
She's on red alert, as she strategizes about how to deal with
this surprising opportunity. She MUST make contact... but what
if, in reality, she doesn't like this man who is neither
friend nor stranger? Is banality tolerable? Isn't silence better?
Martha must speak, in spite of the risks. It's a good thing she's
wearing her new suit, she muses.
| Parsky |
 Parsky
is having a different journey, and we've been there, too. Examine,
if you can, the random bumf floating through your mind the next
time you're in transit, as you sit in public transportation knee
to knee with a stranger. You're in a Twilight Zone: you're anonymous,
you're bored, you're free to play with your mental blocks. Are
you observing the person facing you? Probably not; your eyes
have turned inward. In Parsky's case, his introspection takes
the form of a jeremiad: his unsatisfactory daughter and her distressing
fiance, his insensitive friends, his uncooperative bowels and
waning talent and lack of understanding readers. Bitter? Self-absorbed?
You bet! Parsky is absolutely wallowing: perhaps it's a purge,
his mental salute to the Ex-Lax he so misses.
| Adventure |
When he notices his
companion, our view of Parsky is gradually transformed. The moment
his imagination is engaged (why is the damn women not reading
something ... not even Marie Claire!) he's off: first
he creates a lover waiting for her in Frankfurt, something to
do with petrochemicals, perhaps. As he warms to the task, he
upgrades the lover to a conductor, and a flood of delightful
detail spills forth. As we're enjoying this new side of Parsky,
we realize that his earlier weltschmerz was simply his
mind spinning in neutral, rehashing old material. His apotheosis,
when Martha finally produces his novel, is hilarious and touching:
"I KNEW she was an interesting woman!"
Bates expands our
view of Parsky from curmudgeon to artist so delicately that the
alteration is natural, inevitable, alive with humor. As Martha
comes into focus for Parsky, Parsky is coming into focus for
us. At the end, we are charmed by him - by them - and
sense that they are at the beginning of a mutual adventure: a
friendship, no less.
| Fireworks |
 What
a superb achievement! The play is a literate and satisfying experience
that you measure in quality, not quantity - however long or short
it is, it's exactly right. Have a cappuccino next door, if you're
left with extra time.
When the present National
Theatre in London was built, Ralph Richardson proposed that a
rocket be sent up over the Thames to celebrate. "Ralph's
rocket" became an ongoing part of NT opening night festivities.
Similarly, New York theatre lovers can celebrate the welcome
return of these British imports, who on this occasion provide
their own fireworks.
Warmest thanks to
Yasmina Reza, to Christopher Hampton for his translation, to
Matthew Warchus and the creators of the splendid set, lighting
and sound. And especially to Alan Bates and Eileen Atkins."The
Unexpected Man" is a rare delight. Make every effort to
see it! |||
Karen Rappaport
1 November 2000
From our readers...
"...This play was the height of
my New York trip this fall! Alan Bates and Eileen Atkins are
consummate professionals and the performances were outstanding.
My
husband and I attempted to get tickets for a second performance
at the Promenade but were unable to obtain tickets. Alas, we
went home having only seen the performance once. We have long
been admirers of Alan Bates' art. We hope he will come to Broadway
or Off Broadway again very soon. What a rare treat to hear and
see such great acting. Everything about the production was wonderful."
A.H., Virginia, November 2000
* * *
"Dec 2 was the 4th choice of ticket
date, everything else sold out...
WONDERFUL
performaces, Elegant actors. Elegant in dress, use of their bodies,
elegant staging... Each element in this production was done by
a pro.
I
had seen Eileen Atkins in "A Room of One's Own" several
years ago... Both performances = impeccable. Bates was even better
than I expected - and my expectations were way up high, as you
can imagine. I especially loved his delivery of "neurotics
are the cream of humanity," and their laugh at the end.
Wonderful laugh.
I smiled all throughout the play. What a treat!"
F.W., Princeton, December 2000
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