What with arts politics and scratchy throat and other everyday interruptions I’ve avoided actually writing about any art since talking about Portland Opera’s The Turn of the Screw and the finale of the Fertile Ground new-plays festival a couple of weeks ago.
But I don’t want Artists Repertory Theatre‘s brilliant version of The Seafarer and Opera Theater Oregon‘s campy but gorgeous Camille/La Traviata to get any farther in the rear view mirror without picking up my virtual pen. Both shows have ended their runs, which turns this into something more of an afterglow than what’s sometimes known in the biz as a “money review.”
Still, darned near everything in The Seafarer was pretty much right on the money, beginning with Irishman Conor McPherson‘s multiply layered script and extending to Allen Nause’s precise yet lively direction of one of the best ensemble casts you’re likely to see in a long while.
McPherson broke on the scene in 1999 with The Weir, when he was still in his late 20s, and although he’s become a leading voice in contemporary theater he’s something of a classicist: The Seafarer, which was first produced in 2006, is an old-fashioned play in a lot of good ways. It revels in language (the way McPherson lobs curses is much funnier and, dare I say, humanitarian than the way Mamet usually does). It’s a “well-made play,” a form that’s fallen out of fashion but has historical staying power. It plays with checks and balances and dramatic weight, encouraging you to shift your view now and again about who the “central” character in this cosmic-showdown drama really is. It’s — hold your breath here — entertaining, a basic value that all too often gets lost in the name of cultural relevance and Art.