Why would violin virtuoso Erica Morini, at the age of ninety-one, seek out the relatively unknown violin maker and repairer Brian Skarstad to maintain her priceless Davidoff Stradivarius? This is ostensibly the subject of Willy Holtzman’s new play “The Morini Strad” now in performance at 59E59 Theaters. This final offering in Primary Stages’s 2011/2012 Season is a brilliant fictional retelling of an historical slice from the lives of these two intriguing characters.
The answer to the question posited above comes after ninety-five delicious minutes of near flawless acting by Mary Beth Peil (Erica) and Michael Laurence (Brian). Ms. Peil and Mr. Laurence enter the ring of artisan (Brian) vs. artist (Erica) and spar for the coveted prize of unconditional and non-judgmental love. With each verbal punch, Erica and Brian release each other’s repressed and suppressed “music.” Erica is able to work through her anger at the male-dominated classical music industry which never gave her the recognition she deserved, and Brian is able to confront what he really wants to do with his life and craft.
Although it is somewhat easy to understand why Brian would be enthralled with the feisty Erica (especially when he faces the prospect of receiving a life-changing commission if he sells Erica’s Strad), it is less transparent why Erica would court Brian’s favor, especially since he assumes “violinists were necessary evils.” And that is the delectable secret of this play. Erica wants something for Brian that even he does not admit. It is only through her transforming life, death, and spiritual resurrection that Brian is able to achieve his life purpose, his “music.” Indeed, Erica’s passion heals all wounds visible and invisible.
Despite its distinguished performances and accomplished writing, “The Morini Strad” is not without a minor shortcoming. If there is any issue with the play it would be the presence of the much talented Ms. Stuart. She, or any violinist, is not necessary and actually detracts from the mental gymnastics/workout between the two protagonists (who serve as one another’s antagonist). Let the two actors do the work they can do to “hear” the violin music and “see” it as well. This is in no way to diminish the talent of this young violinist; it is to affirm that she simply is not needed. “The Morini Strad” is a script that can be trusted. And both Mary Beth Peil and Michael Laurence are actors whose craft can be trusted.
When Erica re-lives her Carnegie Hall debut (or any other memorable performance) from her hospital bed, the audience does not need a physical stand-in to understand the importance of that event. Erica could get up from the hospital bed and stand before the audience (the real audience, not the projected one) and listen with the audience to the sheer brilliance of that performance in recording. Let the suspension of disbelief happen! Trust the material; trust the actors; trust the audience! Also, when the stage hands assist Erica into her hospital bed near the end of the play, why not wear white coats and be physicians and nurses? And when Brian planes his block of wood at the very end of the play, why not caress that wood in the same way he caressed the Morini Strad?
This amazing piece of theatre closes on April 28th. See it before then; in fact, see it more than once, There is a treasure trove of meaning to be unearthed.
The Morini Strad
Presented by Primary Stages (Casey Childs, Founder and Executive Producer, Andrew Leynse, Artistic Director, Elliot Fox, Managing Director) in association with Jamie deRoy, Barry Feirstein, and Dan Frishwasser. Written by Willy Holtzman. Directed by Casey Childs. Set design by Neil Patel; costume design by David C. Woolard; lighting design by M. L. Geiger; original music and sound design by Lindsay Jones; projection design by Jan Hartley. Prodiction Stage Manager: Sarah Melissa Hall. Plays a limited engagement through April 28 at Primary Stages at 59E59 Theaters, 59 East 59th Street, between Park and Madison Avenues. Performances are Tuesday through Thursday at 7:00 PM, Friday at 8:00 PM, Saturday at 2:00 and 8:00 PM with Sunday matinees at 3:00 PM on April 8. Tickets are $65.00 and may be purchased by calling Ticket Central at 212-279-4200, online at www.primarystages.org or in person at the 59E59 Theaters Box Office.
With
Michael Laurence (Brian), Mary Beth Peil (Erica), and Hanah Stuart (Violinist)
Permalink | Posted by David Roberts on Tuesday, April 3, 2012
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