One of the few downsides of being a theater critic over a long period of time is that we often review the same play multiple times – albeit in different venues and with other faces on stage. So when the rare opportunity arises to critique a rarely produced work by one of the medium's masters, it's like dangling a juicy steak in front of a starving pit bull: We salivate profusely and jump in line for tickets.
Such was the case last Saturday night as I found myself at Detroit's Matrix Theatre eagerly anticipating Dr. Shaun Nethercott's production of "Happy Days" by Samuel Beckett. Then, about an hour and a half later, I left exactly as I figured I would: filled with questions, but impressed with Nethercott's production.
An absurdist tale first staged in 1961 – and referred to by the playwright as "another misery" – "Happy Days" opens with Winnie (Stephanie Nichols), a middle-aged woman, performing her early morning rituals: She says her prayers, brushes her teeth and tries to wake her husband. The day is "no better, no worse," she says, than any other – and that's true, since she's buried in a mound of earth up to her "big bosom" (and later, her chin) and can't get out.
Why that's so, Beckett never explains. And for the rest of the two-act play, the audience watches as the immobile Winnie survives yet "another heavenly day" under the hot sun – with no one to talk to except for her lethargic, mostly sight-unseen (and only occasionally heard) husband, Willie (Dan Jaroslaw).
So what does the play mean? To be honest, I'm not sure – yet. Is it a reflection on the trappings of a longtime marriage? A statement on the role of women in mid-20th century America? Or an examination of the human spirit under the most hostile of conditions?
What I DO know, however, is this: Beckett scholar Nethercott has combed the script (and other documents) for clues and delivers a tightly crafted production. (She had access to much of his papers. And Beckett gave very specific notes in his script regarding how he wanted certainly things handled.) Every move is precise, and every vocal inflection delivered by her actors is well planned. Even Eric Maher's almost imperceptible light changes on his desert-like set are carefully plotted and executed.
But it's Nichols who truly stands out – or up, as the case may be. The script is basically a one-person monologue with a few brief interruptions. Yet Nichols – without benefit of feet to move about the stage (or in Act Two, her arms and neck) – creates a fascinating character upon whom all eyes are riveted from start to finish. Her eyes DO tell the story – but so too do every muscle on her face and the vocal chords in her throat.
Jaroslaw has the ideal job as an actor: few lines, brief appearances – but when he's needed, the work is top notch.
Personally, I enjoyed the production (yet realize others won't) – so I commend Matrix and Nethercott for taking a major risk by producing an absurdist work when laugh-out-loud comedies and musicals are all the rage. Beckett is a tough pill to swallow for some people, and only time will tell if "happy days" will be forthcoming at the box office – or not.
REVIEW:
'Happy Days'
Matrix Theatre, 2730 Bagley St., Detroit. Friday-Sunday through Nov. 15, plus Monday, Oct. 19 & Nov. 9; no performances Halloween weekend. $15. 313-967-0599. http://www.matrixtheatre.org.
