Scientific Discovery Van Griethuysen Is Bright Star in ëLife of Galileoí by Lisa Troshinsky If the idea of watching a personal, keenly acted, live version of the Discovery Channel turns you on, then youíll love ìThe Life of Galileoî at the Studio Theatre. Plus, you may never look at the galaxy the same way again. Written by Bertolt Brecht and adapted by screenwriter David Hare, ìThe Life of Galileoî is the story of the 17th-century Italian astronomer who was threatened by the Catholic Church for trying to prove that the Earth was not the center of the universe but instead revolved around the sun, not visa versa. The play shows how a moralizing society and institution can treat scientific evidence that threatens its way of thinking and very existence. The script performs the lofty task of teaching about an important genius and what happened to him and his ideas (Galileo was only recently exonerated by the Vatican in 1992). It stimulates the mindís juices with complex debates on science, reason, God and the meaning of existence. As an audience member, it is delightful to be reminded of basic scientific principles such as those demonstrated by Galileo to his young pupilóusing an apple and knife to show how one can be on a rotating earth and not turn upside down. Ted van Griethuysen, who stars in the title role, carries the production. A veteran of the Washington, D.C., theater scene, heís larger than life and overwhelmingly natural and spontaneous in a play that at times can beófor non-science enthusiastsóa bit dry. Galileo, though a scientific genius, is exposed with all of his faults. He cares more for his telescope than for his daughterís feelings, he passes off another personís invention as his own (for money, because he was poor), and he is surprisingly weak when it comes to standing up to the authorities. From the moment the play begins, Van Griethuysen fleshes out these multiple levels of his character with gripping dexterity. The playís downfall is that it is a bit too didactic and repetitive. The same discussions, though fascinating, are repeated to the point of monotonyóa fact that director David Salter, who last year directed Van Griethuysen in the same role in London, could not easily avoid. Aside from Van Griethuysen, Scott Wichmann, who plays the little monk, stands out among a host of charactersómathematicians, cardinals, astronomersówho, for the most part, are as indistinguishable as distant star constellations are to the naked eye on a cloudy night. The little monk sheds a more human light on the argument against Galileoís truths in favor of religious blind faith. He explains that embracing the new scientific beliefs would emotionally crush his peasant parents, who have tolerated a life of poverty with the conviction that suffering is a part of Godís plan. Hence, the monk doesnít want the unpleasant task of telling his parents that their anguish was merely incidental and that they just happen to be stuck on one star of many that orbit the space for no particular reason. The monk ends up supporting Galileo, but his speech is just one example of how the play conveys dichotomies. Bette Cassatt, who plays Galileoís long-suffering, loyal daughter, exhibits a subtle yet realistic and poignant performance. Major highlights of the production that almost make up for the scriptís tedious nature are the beautifully crafted set, costumes and props. Helen Huangís handsome and clever setóprimarily the inside of Galileoís studyóis an inviting world of polished wood and earthy hues. The backdrop is an abstract collage of scribbled mathematical equations and geometric shapes with a huge arc running through the figures, making it seem that we, in Galileoís world, sit inside a life-size model of the celestial bodies. The costumes, also by Huang, are elaborate, detailed period pieces. The visual icing on the cake are Michelle Elwynís props: numerous alluring toys including wooden compasses, models of the universe and scales. All form a recipe that allows us to delve comfortably into Galileoís different worldóbe it fascinating, confusing or hypocriticalófor one starry night. ìThe Life of Galileoî runs through Dec. 7 at the Studio Theatre, 1333 P St., NW. Tickets are $33 to $45. For more information, please call (202) 332-3300 or visit www.studiotheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.