SHINING CITY

SHINING CITY by Conor McPherson, directed by Amy Glazer; SF Playhouse, 588 Sutter Street #318, San Francisco, California 94102. 415-677-9596 or www.sfplayhouse.org. October1- November 22, 2008

STRONG ACTING AND A TERRIFIC PRODUCTION

“Shining City" is set in the therapist's office, with the stark silhouettes of Dublin’s church steeples visible through large multi-paned window in need of cleaning. Since a therapist is a major character, it is appropriate to confess I have no love for Irish plays since they talk and talk and talk. Further, Conor McPherson’s “The Weir”, the recipient of the Olivier Award for best play in London, did not warm the cockles-of-my-heart. However, after seeing this terrific 100-minute production under Amy Glazer’s astute direction with Paul Whitworth in the lead role, that aversion has been tempered.

At its heart, "Shining City" is a ghost story. Paul Whitworth plays John, a widower who seeks help from a therapist after he sees his wife's ghost. The therapist, Ian (Alex Moggridge), a former priest, takes on John as his first patient. As with most therapists, they have their own problems that influence their relationships.

It is a five-scene play and although there are four characters, only two are on stage at any time. The second scene is the conflict between Ian and his girlfriend Neasa (Beth Wilmurt), the mother of his baby daughter. The penultimate scene involves Laurence (Alex Conde), an impecunious hustler that Ian has brought to the office for an assignation. Each scene is meticulously written and beautifully acted.

You may feel like a voyeur but you will be unable to avert your eyes or ears as the fascinating tale is being spun, at the same time trying to tell John to “Get on with it!” One can visualize John pacing nervously while talking, but Glazer has chosen to have John sit, legs crossed, sipping a glass of water relying on Whitworth to use expressive voice and facial gestures to portray meaning. And he does this to perfection with natural projection of McPherson’s exasperating unfinished sentences that end in “You know.” Alex Moggridge handles the most difficult role of being the listener displaying interest and giving only perfunctory comment, often just the ubiquitous “I, know.” Beth Wilmurt is a joy to watch. Her questioning diatribes convey anger, hurt and truth. Alex Conde with few words and gentle forwardness creates an individual deserving our empathy.

It is a ghost story and Bill English’s detailed, gray, spare setting contributes to the play's ghostly element suggesting there is something out there larger than ourselves. You may become a believer when you see the most spine chilling ending of any play you will ever see. Highly recommended.

Courtesy of TheatreWorld Internet Magazine