The Illusionary Games of Edward Rye
Malcolm Stephenson (Edward) and Ashley Griffin (Claire), Photo by Steve Rogers
The Illusionary Games of Edward Rye, a new play by Ashley Griffin, directed by Elizabeth V. Newman and produced by Filigree Theatre is the best work of art that I've seen in a very long time. Writer Griffin (who also plays Claire,) has a Broadway pedigree as a writer and performer, and I'm far from surprised. This is the kind of work that theaters should be investing in, and it is a rare treat for regional audiences to have the honor of experiencing a world premiere of this caliber. Austin residents are in for a phenomenal evening and will get lifelong bragging rights of saying they were the first to see this fantastic work.
The piece is difficult to describe because, like the world of magic and magicians in which it is set, there are seemingly infinite layers upon layers of misdirection that, in this case, ultimately lead to a poignant truth. It is a meta show full of twists and turns that leaves a tremendous impact. It is that rare work of art that both emotionally strikes straight to the heart and soul, and will also leave you with deep, thought provoking questions to intellectually grapple with long after the show is over. It is timely and timeless, resonant, and deeply relevant.
The basic plot is this: Edward, a famous magician with an emphasis on mentalism, has become famous for pushing the boundaries of social experimentation. He describes himself as "a slightly more ethical Jigsaw" (of Saw fame) having, among other "experiments", gotten an "evil socialite" to donate a kidney to a stranger, and a young girl to drown a litter of puppies (you won't believe what happens to a bunny onstage later in the show... (SPOILER: don't worry, the bunny is fine. This show may push boundaries but there is no question that we are absolutely in safe, non-traumatizing hands...)). Edward is confident, and talented, with more than a "healthy" dose of a God complex (is there such a thing as a healthy dose?)
| Malcolm Stephenson (Edward), Photo by Steve Rogers |
But one night he runs into a young woman, Claire, at a bar across the street from his theater. Claire works front of house at his show and has seen it numerous times. Claire is neither an avid fan, nor a disgusted hater... indeed she is torn between admiration for Edward's skills/ultimate intentions, and deep concern over the ethical lines he seems more than happy to cross. Claire both calls Edward out on his B.S. and exposes her own deep vulnerability which his show has unearthed (she has a monologue in her first scene that is one of the most beautiful pieces of acting I've ever seen in the theater.) In essence, Claire is a brilliant enigma. THE person who can actually challenge Edward. At one point Claire says "It's like you're Sherlock Holmes without a Moriarty. Or is that the other way around, Moriarty without a Sherlock?" It's a fantastic analogy, and just who is who here is unclear right through the end of the show.
| Malcolm Stephenson (Edward) and Ashley Griffin (Claire), Photo by Steve Rogers |
Claire and Edward are my new favorite dynamic duo. Claire has Edward, God complex and all, absolutely pegged. At the same time, she has a history of trauma and can't quite shake the wish that Edward would turn his Svengali-like magic on her own psyche. Edward, for his part, is dazzled by Claire, and the more he revels in her ability to challenge and outdo him, the more he desperately NEEDS to control her. Griffin and Stephenson have brilliant chemistry and, while there are potential hints at flirtation (though you must always remember that nothing is as it seems in this piece), it is refreshing to have a fantastic female/male pairing that is not based in a romantic relationship - especially one that is rooted in intellectual one-upmanship
Things come to a head when Edward decides to use Claire as the subject of his next special. After all, it's been a long time since he had a real challenge and what could be more challenging than getting one over on an equal? Thus Edward begins a truly diabolical spectacle that, let's just say doesn't go the way anyone in the theater, including the smartest audience member, could have possibly anticipated... There's a famous idea that the value of a "twist" isn't in being shocked by it, but in going back, watching the story again, and realizing that it was utterly inevitable. That is very true of Illusionary... Thinking back on Claire and Edward's first scene together, you realize that everything you needed was staring you in the face. Griffin is a brilliant craftsman. If you like films like Inception, you'll love this piece. But wrapped up within all the "magic" is an important point: we have a collective moral responsibility to our fellow man, and, especially in this day and age, we need to be extremely wary of thinking we have a monopoly on moral certitude - doubly true if we haven't fully and honestly examined our own hearts.
| Malcolm Stephenson (Edward), Photo by Steve Rogers |
Edward is played with masterful perfection by British actor Malcolm Stephenson. He is truly giving the performance of a lifetime. The role of Edward is no joke - he is literally never off stage, and has an incredible amount of dialogue, including pages of monologuing, not to mention the fact that he is having to one moment perform actual magic and the next give us Shakespearian levels of emotion. It is a testament to his acting (and the writing) that we are at once repulsed by Edward, and incredibly attracted to him. As much as Edward has a "God complex," he also has a heart, and we are rooting for him to learn, not be destroyed. In fact, he might have a point about the good he's trying to do - it's just that he's long needed to take a strong dose of his own medicine. Stephenson deserves serious recognition and accolades for what he's achieved in this role. This is a career making performance and I hope the entertainment world takes notice.
| Malcolm Stephenson (Edward) and Ashley Griffin (Claire), Photo by Steve Rogers |
Ashley Griffin, as Claire, is a marvel. Claire is a tremendously hard part to play... by its very nature it's a character you can never fully get a grasp on, and while in lesser hands it could quite easily become unfocused and unrealistic, Griffin makes sure Claire is never anything less than fully realized. Griffin's Claire is almost otherworldly...as much a puzzle box as Patrick Anthony's set (Anthony's scenic concept is inspired, so much so that I don't want to spoil it). One moment Claire is an innocent, fragile creature - Little Mermaid-like (the figure of the original Little Mermaid plays an important role in the story and even Griffin's hair looks like she just stepped, perfectly, out of the sea) who we are terrified will be crushed by Edward's Mephistopheles-esque machinations for her. The next moment she is an all-powerful FORCE, in complete control of the stage and audience (let's just say I would have much preferred for Griffin to have been Isla Fisher's replacement in Now You See Me 2). And it's not just in her emotional shifts (which are incredibly nuanced and organic) - she physically changes right before our eyes. At times Griffin seems like a tiny, delicate Alice lost in a diabolical Wonderland. Then, all at once, she is larger than life, intimidating and powerful, in utter command of the room. How she uses her physicality is masterful - the way she can slightly alter the tilt of a glass to hit a subtextual point is staggering, and that's without mentioning the bolder, more obvious physical moments in the show (OMG the moments when it seems Edward has control over her body...) There is one moment in that beautiful monologue I mentioned when Griffin says: "I started to cry, just one tear"... and a single tear falls down her cheek. WTF?! Griffin herself is somewhere between a young Claire Danes (think Little Women or Romeo + Juliet) and ...House of Usher's Carla Gugino, an analogy of pairings I didn't think could be possible to make. Griffin OWNS the stage. You can't take your eyes off of her, and the piece comes alive whenever she is present. If this show was in New York I can't imagine her not getting all the awards for this performance.
I hope we see more from Griffin (this is her Austin debut), and the wonderful pairing of Griffin and Stephenson again soon. I would happily go and see anything they are involved in in the future.
| Malcolm Stephenson (Edward) and Michael Morse (Freddy), Photo by Steve Rogers |
Derek Byzinski plays Tim, a small role, but he packs a hysterical, and emotional punch.
Jack Baziuk is Edward's "second string" assistant and is a lovely presence.
Elizabeth V. Newman does a wonderful job - directing with clarity and purpose. I admire the fact that Newman has the (very justified) confidence in the piece, and her actors to allow the characters to just sit and talk to each other, knowing that they will be utterly engaging without a bunch of distracting "business." This is a piece that has to be pitched just right, and none of the characters ever go off the rails into being unlikable. Newman allows the performers and material to shine (though, as mentioned, there are a couple of things in the production that aren't as successful, such as Morse's interpretation, and a few puzzlements regarding some scenic/prop elements, and it's anyone's guess if that's down to assorted variables, or Newman's direction.) We feel very much in safe hands (important in a piece like this) and that is because of the writing and direction.
Speaking of the writing, it's a huge a testament to Griffin's literary talent that we can have such long dialogue sequences (the first scene between Edward and Claire is sustained for, I believe, practically a half an hour, with Griffin and Stephenson simply sitting at a table and talking) and be kept on the edge of our seats the whole time. Big dramatic moments might get the most attention, but it is our investment in moments when nothing overtly bold is happening that truly show the skill of a writer (and I haven't even mentioned how funny the play is! The reason it can go so deep is because it takes us so far in the other direction...) The very language of the show is a puzzle box and one could argue it is as good a magic trick as anything Penn and Teller have ever done. It would take graduate dramatic writing students several semesters to unpack all the detailed, brilliant layers she has constructed, and yet we experience it as if we are watching real people reacting with true naturalism to actual (if at times horrifying) situations. There are so many meta elements to this piece I'm not quite sure how Griffin conceived of it so successfully in the first place, or organized it in such a way that we are always caught up in it, but never feel "duped" or emotionally unsafe. The play itself is a magic trick and I am desperate to "figure out" how she did it!
The lighting (Patrick Anthony who, as mentioned above, also designed the literally applause worthy set), sound (Johann Solo), costumes (Maddy Lamb), props (Liz Tyson) and fight choreography (Mike Ooi and Jason Graf) are very good. Special mention has to once again go to the set - it is almost the third star of the show! Though, it must be mentioned, that as good as the scenic concept is, the scene transitions are at times...strained. There must have been a more efficient way to maneuver the scenery...and there are a couple elements that are confusing... (why is Edward's backstage chair also in the study where he has a meeting with Claire?) The blood design (also Liz Tyson) is brilliant. The way fake blood is used is wonderful and deceptively organic - and it takes a lot of talent (from the actors as well) to pull off what they're doing in this show.
This is a fantastic piece that I cannot recommend highly enough. I hope this is the beginning of a Griffin/Filigree collaboration - I'm already itching to see more. I plan on going to Illusionary... again - it is definitely worth a repeat viewing. It may deal with some darker subject matter, but it feels like required, human viewing. This is one of those rare shows that really makes an impact, and has a strong effect on how audiences move forward after seeing it. I know that may sound a bit dramatic, but Illusionary... deserves such praise.
Laura Sele
The Illusionary Games of Edward Rye is playing April 18 - May 4th at Factory on Fifth in Austin, TX
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