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Regional Reviews: Minneapolis/St. Paul The Illusion Also see Arty's review of Putting It Together
Pridamant, a lawyer of standing in the community, has not seen his estranged son for 15 years. A confrontation with his own mortality leads Pridamant to seek out the services of a conjuror, Alcandre, to learn how his son has fared and if they might be able to reconcile. Why? Pridamant offers a range of reasons, from making him feel guilty to making him his heir. Alcandre miraculously produces images of episodes in the son's life, though to Pridamant's confusion, his son goes by a different name in each episode. Likewise, the names of others who are in his son's company keep changing. These include a young lady, born into wealth, for whom the son has romantic yearnings, designs on her family fortune, or both; a number of rivals for the young lady's favor—one of whom, Matamore, is a buffoon who postures himself as a heroic nobleman; and the serving maid to the young lady, who entangles herself in the affairs of all the others. Briefly, the young lady's father appears as well. Pridamant observes with keen interest, commenting on his son's various foibles, character flaws, and occasional good qualities. When he sees his son in distress, he begs Alcandre to use his powers to alter the course of events. Alcandre points out what they see has already happened—he is merely producing images of the past, but the past cannot be changed. To describe more about the son's travails, his present condition, and Pridamant's reaction to all that, would spoil much of the fun, and undermine the effect of being uncertain throughout what is illusion and what is real... a guessing game that applies to both circumstances and feelings. Suffice to say, the conclusion provides a satisfying place to take leave of this puzzlement, if not completely solid answers to the questions raised. Carin Bratlie directs the piece in a wonderfully interlocking manner. Even as the focus of plot seems to be on the romantic life of his son, Pridamant is actively engaged in observing those escapades. Alcandre consistently watches Pridamant, taking note of the effect the images from his son's life are having upon him. The Amanuensis, Alcandre's captive assistant, reads his master's intentions in order to serve him and avoid such devilments as pierced eardrums and ripped out tongue. Meanwhile, the tryptic of episodes played out between the son, his rivals, the young lady, and the serving maid bounce around from satire to melodrama, from passion to farce, like a pinball game where the action is the steel ball, hitting various targets, each one in turn lighting up and gaining points. The construction of The Illusion is both complex and fragile, requiring actors who can maintain focus as tone, emphasis, and relationships change. Theatre Pro Rata has culled a cast that scores in every roll. Paul de Cordova is a wonderfully priggish Pridamant, who at times can earn our sympathy, though his pomposity always wins out. As the conjuror Alcandre, Charles Hubbell combines a mysticism with a sharp sense of irony, and a twinkle of mischief. Michael Fell, as the son (in various guises) moves persuasively back and forth between exuberant innocence, earnest seeker of truth and love, and opportunist scoundrel. As his several rivals in romance, Ben Tallen delightfully constructs cardboard heroes, full of swagger and smarm, but not substance. Bryan Grosso is hilarious as Matamore, the egotistical, yet underwhelming braggart soldier. As the young maiden for whose favor the men compete, Abby DeSanto deftly travels a transition from scorn, to flirtation, to desire, to obsession. Kelsey Cramer is wonderful as the serving maid who in various turns nurtures, supports, vexes, schemes, undermines and swindles. She has a delightful ability to resolve moral conundrums in ways that happen to serve her own needs. Tim Uren as the Amanuensis says little, but when he does speak, makes the impact all the greater. The play is performed on a thrust stage on Park Square Theatre's Boss Stage, with scenery consisting of elements moved in and out as needed, such as a garden gate, a large bush (suitable for hiding behind), a prison cell grate. Mandi Johnson's costume designs are a far more elaborate affair, fancifully illustrating each characters personality and station in life. The lighting design helps to differentiate spaces on the open stage, and reflects the changing moods of the scenes. The sound design provides important effects such as the call of birds, and occasional lush background music provides an aural wink. A sword fight offers some rousing fight choreography, courtesy of Aaron Preusse. The Illusion provides a wonderful time, with a quirky and surprising plot, outsize characters that amuse and engage, high quality stagecraft, and an invitation to ponder the possibility of getting beyond illusions to really know what we want, who we desire, or where we are headed. The Illusion, a Theatre Pro Rata production, continues on Park Square Theatre's Boss Stage through June 28, 2015. 20 West Seventh Place, Saint Paul, MN, 55102. Tickets: $23.00. Discounts or seniors, students and Fringe button holders are available. For tickets call 651-291-7005 or go to parksquaretheatre.org. Writer: Tony Kushner, based on L'Illusion Comique by Pierre Corneille; Director: Carin Bratlie; Scenic Design: Sadie Ward; Costume Design: Mandi Johnson; Lighting Design: Julia Carlis; Sound Design: Topher Pirkl; Prop Design: Amy Pirkl; Fight Choreography: Aaron Preusse; Dramaturg: Christine "kit" Gordon; Stage Manager: Clara Costello; Producer: Carin Bratlie Cast: Kelsey Cramer (Elicia, Lyse, Clarina), Paul de Cordova (Pridamant), Abby DeSanto (Melibea, Isabelle, Hippolyta), Michael Fell (Calisto, Clindor, Theogenes), Bryan Grosso (Matamore), Charles Hubbell (Alcandre), Ben Tallen (Pleribo, Adraste, Prince Florilame), Tim Uren (The Amanuensis).
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