By Joe Straw
Flashes of the film “Strangers on a Train” - screenplay by Raymond Chandler and Czenzi Ormonde directed by Alfred Hitchcock based on the novel “Strangers on a Train” by Patricia Highsmith - comes to me from time to time. Those images are unsettling in its development of created conflict by the simple act of exchanging information. One really wanted to see how the film/book would translate on stage and my reason for being here on this night.
Theatre Forty presents’ Strangers on a Train written by Craig Warner, directed by Jules Aaron and produced by David Hunt Stafford through February 18, 2024.
Charles Bruno (Michael Mullen) is definitively on the prowl and the excessive use of a drink in his flask doesn’t help him with life on the straight and narrow. A quick evaluation of his persona is ambiguous, his manner is slightly offset, and his dress reaches for the obsolescence, the dated taste of a man that attires well below the status of his family’s money.
Charles must watch himself given his lack of friends and knowing once he opens his mouth on this train the unpleasantness might grow like scum on a springtime pond. Naytheless, he flits around the aisles softly as though he were in his bed slippers trying to secure human contact.
Charles eyes a stranger reading, a drink near his being, a man by outward appearances appears to be educated, an exceptional taste in wear, and possibly middle-class upbringing. An unconscious tongue rolls across his lips to taste the last drops near his cavity as he purposefully eyes a pleasant morsel before him, ready to be devoured.
Guy Haines (Joe Clabby) appears younger than his experience, an architect, perfectly dress, somewhat tired, and a man of means. Guy tries to sufficiently avoid any contact with the man moving throughout the train. And then, possibly a glance, an eye-to-eye contact brings that man forward, inching closer desperately wanting to introduce himself if only to break the ice but, he thinks better of it, reaching for the words in his book, wanting the stranger to make the first move.
And when Charles makes his move, Guy is cordial, sets aside his book written by Socrates or Plato or some such, and speaks to Charles as one does to a newfound soul, polite but guarded.
Their introductions are informal, destinations are made clear, until Charles moves in directions Guy doesn’t want to go. Charles forces a little more drink on Guy, guards are let down, and Charles manages to acquire a lot of information in a short period of time. Especially, the information about Guy’s unfaithful and pregnant wife.
Charles is a man that collects material to suit his purpose because his hunger propagates every minute his father is alive. Inebriated enough to introduce a play on actions, nefarious in purpose to a stranger he has just met on a train. Charles laughs as he suggests that the police could never solve the crime of complete strangers carrying out the murder of each other’s undesirable family member, Charles’ father, and Guy’s wife.
Guy, now inebriated, thinks it’s all a joke, a fantasy, a playful time under the influence until later he finds that his wife has been murdered and Guy has thoughts that it might be Charles. Now Charles has the wherewithal to find Guy because his addlepated mind thinks he has been deceived. Charles won’t stop until he receives reciprocation.
Jules Aaron, the director, has his work cut out for him on this production well over 2 hours in length. Opening weekend may not be the best time to view a complicated piece, hardly through anyone’s fault, but more is needed in nuance, the movement and changes in relationships that make a production soar. Without giving too much away there is an embrace at the end but, what we don’t see are the moments, even ever so slight, that eventually defines that act. It is an ambiguous statement leading us to the ambiguous end. Also, movement is needed for those two travelling on a train which, as most train travelers know, is not a steady ride. Still, the play is filled with wonderful performances especially from the supporting cast which is outstanding.
Craig Warner, the writer, has written a terrific play and one can’t go wrong adapting a Patricia Highsmith novel.
One of the best reasons to venture out to Theatre 40 is the wonderful costumes in its productions. Michael Mullen, Costume Designer, elevates the night with costumes that are impeccable for the period and time (1950s). His work is outstanding, and his workload is tremendous given that he also performs as Charles Bruno in the play.
One is always impressed with Jeff G. Rack’s work as set designer. It is very imaginative and allows the actors to move from place to place with little interruptions and symbolically places us within the space using onscreen projections.
There was a very audible groan with the recrudescence of a man seemingly coming out to nowhere to be in a place where he wasn’t expected or invited. Michael Mullen as Charles Bruno pertinaciously makes that statement with his performance. Along with some very delightful moments there are also things that he could add as well. His relationship with his counterpart may not go far enough over the course of the play. His is a crime of passion and he does this for love. Money is a secondary motive. And love is the last thing we see from him. His relationship needs to be defined the moment he meets his counterpart and then grows from that moment on, building until the bitter end.
Joe Clabby is Guy Haines and does some fine work as well. More is needed for the backstory and necessary the moment he enters the train. That backstory concerns his current wife, and he must find a way to tell it in costume, and in the way he grabs a book and starts reading, all of this is a part of showing us his life without the dialogue. Also, his relationship to his counterpart must be stronger. Love plays an important part, their relationship demands it, and it spurs both to go beyond the ordinary. Also, Clabby must find a way to solve Haines’ problem while he is in the depths of his turmoil. Crying and obsessive drinking on stage leads an actor nowhere unless he finds a solution to his problem and not give in to the pareidolia hauntings he sees in every waking moment. Finding an answer gives the character truth and moves the play along.
Sharron Shayne is terrific as Elsie Bruno. She is a self-absorbed woman, holding on to her youthfulness as long as she can, and living a leisurely life from the fruits of her parents’ labor. Stylishly dress with all the finer things in life. She loves her son and will never give up on him. She is always loyal to the very end. Her performance is solid and not to be missed.
Anica Petrovic has a special kind of presence as Anne Faulkner. There is no doubt that she is a strong and intelligent woman who would do anything for her spouse. There may be more to add -when Bruno introduces himself as her husband’s friend – this is a moment where one possibly questions their relationship, because on stage, more life is given to one that questions that information rather than accepting it at face value. Probing their relationship moves a character forward and in many other directions. Also, more must be made of the moment, entertaining Bruno, Anne falls asleep on the couch exposing her neck. That said Anica is exceptional on stage and brings a powerful persona and a warm smile to the character.
Larry Eisenberg is extraordinary as Arthur Gerard. He is relentless as the detective trying to discern the killing of Charlie’s father, a good friend of his. Arthur is slow but methodical, measured in his speech, but powerful when it comes to making his point. His performance is wonderful throughout.
Todd Andrew Ball does well as Frank Myers, Guy’s friend, and colleague. He treats his friend as a business associate, always batting for him, but never getting to the heart of Guy’s problem. He knows Guy’s abilities and sticks with him thinking that things will sort themselves out. More must be made to find the conflict and then the imaginative ways to conquer the problem.
Michael Kerr plays Robert Treacher, a long-time friend. There may be a little more to add to this character than Guy’s other friend. Treacher’s relationship must have a lot more depth, more nuance as he discovers his friend is exploding inside. More must be made of the conflict between these two to make things right. Treacher has known him a long time and knows his intimate ups and downs. He must somehow get to the matter to help his friend. Kerr’s work is solid but may need a little more to put him over the top.
Derrick McDaniel, lighting designer, almost works in a film noir motif, but at times actor were not lit effectively or may have missed their mark stepping out of a perfectly lit situation.
Nick Foran, sound designer, has provided excellent sounds to accompany the play. One did not hear the sound of the train, during the course of the first scene which was odd given the title of the play.
Judi Lewin provided the hair, wig and makeup design which worked throughout the play.
Paul D. Reid was the stage manager.
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