THE BUSY WORLD IS HUSHED

BUSY WORLD IS HUSHED, by Keith Bunin, directed by Robin Stanton. Aurora Theatre Company , 2081 Addison Street, Berkely, CA 94704. 510-843-4822 or www.auroratheatre.org. June 13 – July 20, 2008.

MOTHER, SON, GOD & GAY LOVERS

This Keith Bunin two hour, three-hander play on Aurora Theatre’s intimate stage is being given a taut production that at times is eye opening, thought provoking, tedious and timely. Anne Darragh, Chad Deverman, James Wagner perform admirably under the Robin Stanton’s direction and astute blocking on Eric E. Sinkkonnen’s set that includes stained-glass windows above an multi-paned arched window through which a gray New York skyline can be seen. The floor is a marvel of rich inlaid wood set in geometric patterns with piles of books and boxes lining the outer perimeter and a central table/desk dominating center stage. The characters will circle this desk like wary fighters in a boxing ring. Physical blows are not forth coming but the emotional blows are rampant.

The scene is the church office of our protagonist, a widowed Episcopalian Priest/Scholar, simply named Hannah (Anne Darragh), interviewing Brandt (Chad Deverman) a potential ghostwriter for her book about a newly discovered gospel that may be the truest depiction of the life of Jesus. Though Brandt is totally unqualified for the job and readily admits that he is homosexual, Hannah hires him. Her motivation becomes apparent in the second act and we are given a hint when Thomas, her gay son, comes in dirty with porcupine quills stuck in his leg and there is a suggestion of sexual attraction.

Thomas, aged 27, often disappears for weeks playing a game he calls “Get Lost,” where he will take off to the middle of nowhere, with only enough food for a day, and see if he can find his way home. Hannah has kept his room intact and hopes the Brandt will give Thomas a reason to stay as she encourages Brandt, without Thomas’s knowledge, to form a love relationship.

Ostensibly, Thomas has returned to build bookshelves promised to his mother. Actually, he is searching through old texts reading his father’s writing and Bible notations hoping to understand his father’s death that may have been a suicide when Hannah was still pregnant. The schism between mother and son is not fully defined but Bunin builds some explosive verbal battles between the two that, to Thomas and some of the audience is infuriating when she spouts Biblical platitudes to defend God and her unshakable beliefs.

Brandt’s beliefs in a benevolent God are strained as he watches his father whom he deeply loves slowly and painfully die from a brain tumor. His desire to have a meaningful homosexual relationship with Thomas is expressed with pathos knowing that Thomas’ wayward nature will not permit it. Brandt: “Once you sleep with someone you’re married.” Thomas: “I guess I’m a Mormon!”

No real chemistry is forthcoming between Deverman and Wagner even though the second act is replete with passionate kisses. Darragh’s quoting of the scriptures has the ring of a true believer. The title of the play is voiced by Brandt in the opening scene:

May the Lord support us all the day long,
Till the shades lengthen and the evening comes
and the busy world is hushed,
and the fever of life is over,
and our work is done.

When Thomas has departed and Brandt’s father has died, Hannah is asked by Brandt to give the final benediction. After, asking the inevitable questions about the whereabouts of Thomas, the play ends as Hannah intones with finality, “Yet us bury the dead.” We have been given an evening of questions about mothers, sons, God and gay love.

Courtesy of TheathreWorld Internet Magazine.