Studio Production Examines Complexities of Father-Son Relationship
by Anna Gawel
Angst, ethics, family ties, genetics and the complexity of the father-son relationship are just some of the powerful themes examined by British playwright Caryl Churchill in “A Number,” now showing at the Studio Theatre.
It’s the classic storyline frequently told and retold in books, film and theater: Father neglects son, irrevocably altering son’s future. Son feels betrayed. Son confronts wayward father, and from there, an emotional roller-coaster ride ensues. But in “A Number,” the age-old struggle between father and son comes with a twist—add 21 other identical sons to the mix thanks to the advent of genetic cloning technology and you have this thought-provoking, if somewhat incomplete, production.
“A Number” raises a number of important questions, both political and personal. What constitutes a family? When does science
cross the ethical boundary? When does genetics end and environment begin? And how much can or should a person be willing to forgive?
Churchill is known for her experimental and provocative style, which has made her one of Britain’s top writers. And although the points that the play touches on strike a nerve with the audience, as the mystery of the plot slowly unravels, it simply raises more questions than answers, almost as if Churchill crammed a Pandora’s box of emotion and pain into an all-too short time span.
And in the end, you’re left with an amalgamation of perspectives that only scratches the surface of an important issue, without any one overarching sentiment ever hitting home for the audience. The relatively short running time and the rather abrupt ending reinforce the feeling that the storyline was somehow lacking and could have been fleshed out a bit more. I for one would’ve liked to see a few more of the sons come forward.
Nevertheless, it’s an intriguing emotional journey made all the more palpable by the skillful performances of the play’s two leads. Studio Theatre veteran Ted Van Griethuysen certainly won’t win any Father of the Year accolades for his hard-hitting portrayal of the disheveled father who can’t quite get his act together when it comes to raising his sons. Tom Story takes on multiple roles as the cloned sons who have had to pay the price for their father’s high-tech transgressions.
Story, who was trained at Juilliard, holds his own as he switches gears between vastly different personalities. However, he is somewhat overshadowed by Van Griethuysen’s forceful stage presence, even when Story is the one doing the ranting and raving. Perhaps it is his inherent role as the father figure or his theatrical experience, but Van Griethuysen always looms large on stage with his successfully nuanced performance.
At times too it’s as if Story tries to overcompensate during some of his more intense moments, notably in his representation of the “original” abandoned and discarded son, which felt more like an overdramatic caricature of the James Dean-esque misfit. Story shows more finesse in his quieter, more subtle portrayals, such as the favored son who bears the burden of his father’s love and the fear of what his father’s choices will ultimately cost him.
The scenery, lighting, sound and costumes work seamlessly together to highlight the emotional turmoil of the situation and to transition between the different father-son confrontations. Debra Booth’s set is simple but functional, and works well with the ’60s-inspired light and sound effects. Similarly, Brandee Mathies’s costumes are simple yet to the point, serving to emphasize each characters’ distinct personas, particularly Van Griethuysen in his rumpled suit, which gives him that distinct aura of having just walked out of a pub after a few hours of drinking.
These details also lend credence to the relationship between the father and his sons. Although the father forges very different bonds with his first two sons, the chemistry between the Van Griethuysen and Story is strong and as a result, the authenticity of their father-son connection is evident is each encounter.
Although the play tries to grapple with science, genetics and other weighty issues, in the end, it’s the gripping portrayals of this enduring, if flawed, father-son bond that ultimately bring Churchill’s vision to life.
“A Number” runs through Oct. 16 at the Studio Theatre, 1504 14th St.., NW. Tickets are $32 to $52. For more information, please call (202) 332-3300 or visit www.studiotheatre.org.
Anna Gawel is the managing editor of The Washington Diplomat.
