In “The Rembrandt, a 90-minute work playing at Curtain Call Theatre” through October 29, there is enough thoughtful content to fill four plays.
Actually playwright Jessica Dickey did write four short plays that could and should be enlarged into full plays. Well, really three out of four, as the second scene is not nearly as strong as the others.
As it exists now, “The Rembrandt” is a very provocative, tender and wise work that is sadly too disjointed to be fully appreciated. Nevertheless, there is a lot to enjoy in this production starting with the acting. The two leads are beyond terrific and the three supporting roles are solidly played.
Rocky Bonsal is Henry, a former college art teacher who now works as a security guard in a museum. He is still an instructor when speaking about the paintings by which he is surrounded. He enthralls us as he explains why he is devoted to art and its creators. Bonsal is able to deliver these insights with a gentle passion that in lesser hands, could seem a lecture.
In the final scene spent with Simon, his older husband of 9 years, Henry loses his reserve and is able to express his devotion to the dying poet. It’s a delicate transition that Bonsal accomplishes with skill as he expresses his feelings about a long love that is as comforting as it is sad.
Playing Simon is John Noble, who with few lines - most of them vulgarities - defines the independent, free-thinking man who has lived a long, creative life. It’s a joy to experience two superior actors touch our hearts.
As good as Noble is in the role of Simon, he is astounding as he delivers a long eight page monologue portraying the ancient Greek poet Homer. Noble captures every nuance in the writing and transmits to the audience the essence of the piece.
It’s a remarkable performance as it and Noble’s skillful delivery illuminates the essence of the play. Because almost everyone in “The Rembrandt” is dealing with loss it is easy to define the work as being about death. It is not. Actually Noble makes it clear that it’s a play about immortality.
With the two characters played by Noble, playwright Dickey connects the beauty of art to the eternal nature of love. It says beauty is immortal and asks - what is more beautiful than true love?
Noble is the perfect actor to make the connection between love and art. As an octogenarian, Noble is still acting long after others have given up trying to memorize lines. In both roles he is able to make the notion of death a positive reflection of a life well-lived.
The play opens in a museum where Henry interacts with three others. Madelene is a young art student who is copying a Rembrandt painting. She is an unassuming young woman who has just lost her grandmother. Played by relative newcomer Tiffaney McWilliams she is a sweet, innocent lover of art.
Dodger, a new security guard, flirts with her and encourages her to break the rules and touch the painting. David Quinones brings a lot of charm and energy to the free-spirited young man. Which, perhaps, explains how this rebellious individual ever got past the screening process. His opposite is David Orr who, as another guard, brings some humor to the play by creating Jonny as a cross between Barney Fife and a wannabe Rambo.
There is also a rather awkward scene when, after touching the painting, Bonsal becomes Rembrandt in his own studio in the 1500’s. It’s probably meant to show the less idealistic side of genius but having things like the older Quinones play Rembrandt’s pre-adolescent son is out of synch with the rest of the material.
Director Steve Fletcher does what he can to bring the scene up to the extremely high standards of the rest of the work. He excels in the unspoken element of directing; that is, helping the actor serve the playwright’s intent.
If “The Rembrandt” doesn’t always work to perfection, it reminds you that every work of a master artist, though good, is not a masterpiece.
“The Rembrandt” continues at Curtain Call Theatre, 1 Jeanne Jugan Lane in Latham until October 29. For tickets and information go to curtaincalltheatre.com
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
