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Roots of Abuse, Crime Shown in Play
Mark Evans
NEW YORK (AP) - Her father's dead, her mother's a prostitute
and home is a dingy room that doubles as Mom's workplace.
So it doesn't take much for Lisa, the teen-age protagonist
in The Glory of Living, an unflinchingly dark
off-Broadway drama, to be lured away by Clint, a rough
but somewhat charming older man who offers her a few compliments.
And it doesn't take long to realize she should have stayed put.
Playwright Rebecca Gilman, who based her play on a crime in
Alabama, delves into the roots of an unspeakably warped
relationship and the self-delusion that keeps it fueled.
It's a powerful and unnerving story, made more devastating
by the tiny confines of the MCC Theater and the taut direction
of Philip Seymour Hoffman.
Hoffman is best known for quirky acting roles in movies that
include Magnolia and The Talented Mr. Ripley,
and the Broadway hit True West. As a director, he
displays his keen appreciation of the art. Here, working
with a young cast, he creates an extremely skewed but
believable world, remarkably holding together the palpable
tension at the play's core.
It's a difficult line to walk. So wrenching are the themes
here - physical and emotional abuse, child molestation and
murder - that a less adept director might well have lost
the nuances in the two main characters that make the story
worth telling.
Hoffman is helped along by superb acting, highlighted by
the stage debut of Anna Paquin.
Paquin, who became a child celebrity in 1993 for her
Oscar-winning performance in The Piano shows
remarkable maturity in a challenging role. She maintains
a youthful, withdrawn innocence even while showing an
increasingly rough side - and the tugs of conscience - as
the effects of an abusive relationship wear her down.
Jeffrey Donovan, as Clint, balances a fine line as her
lover - she is 15 when they meet - and eventual husband.
A deluded drifter with colossal emotional problems,
Clint displays flashes of hair-trigger anger and
depravity mixed with playful charm and moments of
love for his wife. Donovan expertly and believably
evokes this twisted psyche.
Watching the pair carry on matter-of-factly as a
couple of happy lovers - amid bouts of physical
abuse and lurid sexual crimes - is both convincing
and disturbing.
Also showing remarkable maturity is Brittany Slattery,
a high school sophomore, who plays one of the couple's
victims. Erika Rolfsrud is convincing as Lisa's hardened
mother, Jeanette, as is David Aaron Baker, who plays a
defense lawyer frustrated at Lisa's lack of self-worth.
The play loses some of its focus only during the
second act, when Lisa finds herself explaining the
couple's crimes to the police and lawyers. The
interrogations drag on a bit, if only because it
is clear the legal chatter will never get at the
real, ambiguous motives at play.
Another Gilman play, Boy Gets Girl,
played off-Broadway earlier this year. An
uneven work about a man who ruthlessly stalks
a woman, that play suffered for its tendency
to sermonize. In The Glory of Living,
Gilman chooses instead to show us the complexities
at the root of twisted human relationships. The
effect is far more honest and powerful.
Associated Press, November 15, 2001
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