WHAT: Pain[t]
WHERE: Players' Ring
BLURB: A Seacoast Premier of a Most Engaging Story
HIGH POINT: A Number Of Impeccable Performances
The look emerging on artist Rawls' face, as he processes the possibility he'll lose use of his hand, will likely haunt you for some time to come.
Most everyone has experienced fear at the thought of losing a livelihood, or the capacity to pursue a passion, due to loss. And it's that recognition that grabs and holds Pain[t]'s viewer, as they witness Tomer Oz deft portrayal or Rawls in this emotional roller coaster of a play.
Pain[t] is a study in perceptions, family dynamics, communications, challenges and the personal, internal world.
Artist Rawls has broken through the noise of fine art, and made a name for himself. Heck, he's actually making his livelihood at his passion.
After a fall off a ladder that requires an operation he learns there is a chance the accident will cost him the mobility of his dominant hand.
His father (Jim Sears), a surgeon, chooses not to conduct the procedure. And though dad brings in one of the best surgeons in the field to handle it, Rawls holds him partly responsible for his circumstance, believing his father would have had a positive outcome.
The relationship between the dad and both his sons, Rawls, and his brother and roommate Richie (Christian Maurice), were strained long before the occurrence. The accident, along with a lifetime of difficult family dynamics, bring things to a boil.
Through it, Richie is Rawls constant, also a light to his darkness. So too is Maggie (Hannah Heckman-McKenna) the physical therapist, as she and Rawls develop a more personal relationship.
This outline doesn't service this piece, which does a beautiful job at telling a complex story of its individuals and collective dynamics. - The piece has heart.
Let's just say, there will be tears. Tears and lots of laughs (you'll want to take Richie home).
Director Christopher Savage's first positive step was finding this lesser known title and bringing it to the local audiences. There's no flash, no razzle-dazzle, just an authenticity with all the emotional trappings, and a majority of actors directed to bring a resonant truth to their characters.
Savage's second stellar step is his principle-actors selection. This play just doesn't allow an actor to hide. Luckily Savage front-loaded his cast.
Oz's performance as Rawls is just immaculate. Even patrons familiar with Oz's past work will be hard pressed to see anyone but the visual artist, lost in a not so quiet panic, standing on stage. It's a beautifully nuanced, touching piece of work - truly perfection.
Maurice's Richie is sublime. Everything about him, the concern, exhaustion, anger, humor and love feels real. Richie is endearing, funny, pained and full of light and Maurice the actor is a joy to watch. You'll leave wanting to be his best friend.
Sears, as the father, does what Sears has done for decades on the stage - bring his character to life. It's a tough role, a hard character to like. Still Sears' genuine depiction, and carefully portrayed emotional trajectory, colors his humanity.
Heckman-McKenna is a new performer, and as such they hand in an adequate performance. Their facial gestures are largely spot-on and show promise, though their inexperience at the art of sitting naturally in their body hampers the character.
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