Wednesday August 10, 2011 “Tryst” at The Irish Repertory Company
Author: Karoline Leach
Reviewer: David Roberts for Theatre Reviews Limited
 
"Tryst,” currently in performances at The Irish Repertory Theatre, first opened off-Broadway at the Promenade Theatre in Manhattan on April 6, 2006. At The Irish Repertory Theate, “Tryst’s” current home until August 21^st, play-writing wins the upper hand in this timeless tight-knit cat-and-mouse psychological thriller; however, stagecraft (including acting) is a formidable opponent!
 
Andrea Maulella and Mark Shanahan portray two disturbing and disturbed characters that collide in a relationship that leaves them and the audience grabbing for moral and mental stability. Those characters Adelaide Pinchin (Maulelle) and George Love (Shanahan) are both beleaguered by self-loathing stemming from horrific psychological and physical abuse. Both are oppressors and both are victimized, a disquieting observation typically not proposed in reviews of this stunning script and, in this case, in its equally stunning production.
 
Ms. Maulella’s Adelaide pinches every ounce of sympathy from the audience as Mr. Shanahan’s George loves to taunt her and ensnare her into his grifter’s game of greed.
 
Both actors live their characters and the games the characters play with one another, subtle as they seem, are identified by one another and that recognition ramps up each character’s game to a dizzying climax.
 
Almost everything about the production is on target. Michael Schweikardt’s simple rotating set serves the script well. Alejo Vietti’s costumes are spot on. Lighting design by Martin Vreeland and sound design by Johnna Doty weave wonderful shades of visual and aural magic to complement the script. Thanks to Stephen Gabis for keeping the actors honest about their dialects. Joe Brancato’s direction is on target throughout except for the odd moments during the opening of the play. Actually the exposition provided in this opening is not necessary so one understands that it is difficult to direct abstract thoughts fired from charaters’ pasts. There was just too much running about on stage for this critic: there would have been much more power in performance had the actors been able to stand still, even stand close to one another though distant in place and time.
 
But that is a small matter indeed. “Tryst’s” clock is ticking, so see it before it closes. Who know when we will have the opportunity to see this gem again?
 
For production information, including dates, times, and running time, please visit the company’s website at http://www.irishrep.org/tryst.html