'Scotland Road' at Invisible Theatre Manages To Make Even The Titanic Disaster Seem Boring.
By Margaret Regan
NOW PLAYING ON the big screen is a Titanic that
brings viewers the 1912 disaster in all its horrifying visual
detail. In the watery holocaust brought to life in director James
Cameron's film, steerage passengers frantically claw the locked
gates that have trapped them below decks. Victims drop hundreds
of feet into the sea as the ship tips over. Survivors succumb
to freezing in the icy water, their frantic cries gradually dying
into silence.
The film's visceral spectacle is the polar opposite of the austere
Titanic play that's coincidentally now on the boards at Invisible
Theatre. Scotland Road is a mystery set some 80 years
after the fiasco, when a supposed Titanic survivor surfaces on
an ice floe in the North Atlantic, and it takes place not on the
slowly flooding ship but in a locked interrogation center. Where
the movie washes us in a torrent of Titanic images, the play's
only visual links to the actual ship are a slide or two of the
iceberg that ruptured the hold and a nice wooden reproduction
of a shipboard deck chair. Beyond these, everything else this
play reveals about the Titanic is through the spoken word.
It's not enough.
Billed as a Gothic thriller, this odd work is an unfortunate
combination of tedious and incoherent. Unlike the over-the-top
movie director Cameron, who gives us so much Titanic that he actually
films the ship's last chaotic hour in real time, playwright Jeffrey
Hatcher gives us hardly anything at all. His play floats aimlessly
along for 90 minutes until it evaporates in a non-ending so weak
one has to wonder whether it's really over: At the end of the
opening night performance, theatregoers surreptitiously checked
to see whether their fellow audience members were actually putting
on their coats to go.
The production's four players gamely try to make Hatcher's creaky
script sail, but they are ill-served by its choppy scenes, which
director Deborah Dickey makes even jumpier by blacking out the
lights between them. Emily Grogan plays the beautiful young woman
who's been found by a fishing crew. Dressed in the typical Edwardian
clothes of the 1910s, she'll say only one word to her rescuers:
"Titanic." But she's not a day over 22: Is she a survivor
from the ship who has somehow never aged? After the titillating
news of her rescue is broadcast over the world via the tabloid
media, a strange man from the Midwest (James Blair) somehow manages
to get hold of the young woman for interrogation in a remote location
on coastal Maine.
The fellow claims to be an Astor, a descendant of the real-life
John Jacob Astor who went down with the Titanic, in an apparently
honorable death. The latter-day Astor fiercely interrogates the
now-mute young woman. An Icelandic doctor (Amy Lehmann) has come
along to look after the young woman, and she protests his cruelty
with little effect. Blair's a fine actor who doesn't show to good
advantage here; his character is not only irritating, he's incomprehensible.
Francesca Jarvis has a bit part as a documented Titanic survivor
who's brought in briefly to help in the questioning.
For about the first half of the show, which runs without intermission,
the young woman doesn't speak at all, and her silence only compounds
the tedium. Grogan does wield her beautifully expressive face
to good effect as the others babble around her, but without fresh
information from her the play gradually sinks like a lifeboat
with a slow leak.
Scotland Road (the title refers to a passageway in the
great ship) is intended not only as a mystery but as a philosophical
inquiry. Hatcher wants to ruminate on the power of trash journalism
(it was to grab headlines that the ship's owners insisted on sailing
full speed ahead in dangerous waters), but he has nothing new
to say on the subject. And he proposes that disasters provide
ordinary mortals with the moral choices that can turn them into
great heroes. Astor is envious of his ancestor, who chose death
that others might live. He believes that only in such a transcendent
moment does one truly come alive. But Hatcher doesn't even make
this idea interesting. It's too bad that in his play, so concerned
with death on a grand scale, so little comes alive.
Scotland Road continues Thursday through Saturday,
February 14, at Invisible Theatre, 1400 N. First Ave. There's
a 2 o'clock Sunday matinee on February 8. Tickets are $14 to
$16. For other show times, reservations and information, call
882-9721.
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