Toward the end of Flat Earth Theatre’s ENIGMA
VARIATIONS (playing @ Arsenal Arts through April 27th) the principal
character, a noted writer, complains that a work of art needs more than
“flashes of brilliance.” Director Sarah Gazdowicz tries to increase the “light”
by casting three actors to play the mercurial novelist—and another three to
play the curious journalist who has come to interview him.
It’s a clever gambit: All the players appear on
stage at the same time, creating soft ripples and reflections, as if a chard of
mirror were amplifying the characters. Alas, despite the inspired iterations, ENIGMA
VARIATIONS displays only momentary heat.
Jeremy Sams’ translation of Eric-Emmanuel
Schmitt’s weighty play takes a long time to percolate (with ponderous speeches
as if this were Ibsen) before it gathers the emotional momentum to fuel a
meaningful ending. (Perhaps something was lost in translation?)
Until you trip to the reason for all the
philosophical embroidery, you’re (at least I was) left wondering why all the
meandering about art as “forgery of life” and love at its best as a long
distance relationship and whether it’s possible to really know another person
or not. It’s a lot of talk and practically no action, without much “variation” on
the theme—and precious little connection, to boot, to Elgar’s famous orchestral
divertimenti (referenced in the title).
I kept thinking it would work so much better
as a novel—although I must admit that the last moment of the play is quite
satisfying. My hat is off to Flat Earth for undertaking such a difficult and
dense drama. Judging by what they bring to a script (like last year’s IRNE
nominated PILLOWMAN) they’re a company to watch.
