SHAW'S "THE DEVIL'S DISCIPLE"

THE DEVIL’S DISCIPLE, by George Bernard Shaw, directed by Barbara Oliver. Aurora Theatre Company, 2081 Addison St., Berkeley. (510) 843-4822 or www.auroratheatre.org. October 31, 2008 - December 7, 2008

Judith Anderson (front, Stacy Ross) prays as the British (l. Warren David Keith, c. left, Michael Ray Wisely, c. right, Trish Mulholland, r. Anthony Nemirovsky) prepare to hang Richard Dudgeon (c. Gabriel Marin) Photo by David Allen

“HISTORY, AS USUAL, WILL TELL LIES”

“The Devil’s Disciple” is the second play in Aurora Theatre’s American Trilogy project and from the reaction of the opening night audience they a have another winner following on the heels of Gore Vidal’s “The Best Man.” The original New York production in 1987 featured thirty-three actors and a military band and was billed as a melodrama. Director Barbara Oliver has cut the cast to nine playing 14 parts, dispensed with the military Band and emphasizes satiric humor to replace melodrama. George Bernard Shaw’s words lend themselves to such an interpretation and the superb local cast gleefully joins in the transition.

Those who have read historian/novelist George McCullough’s “1776” are familiar with the suggestion that because of great ineptitude the Revolutionists did not “win” the War but the British just gave up and sailed back to England. It is prophetic that late in the play, General Burgoyne’s (Warren David Keith) reply to Major Swindon’s (Allen McKelvey) question “What Will history say?” is a droll but telling truism, “History, as usual, will tell lies.”

“Devil’s Disciple” is Shaw’s only play to be set in America. It is 1777 in a New England village that has been invaded by the Red Coats (costumes by Anna Oliver) who are the habit of hanging rebels as a means of intimidating the locals into cooperation. Dick Dudgeon, Shaw’s protagonist, relishes his reputation as “the devil’s disciple” because of his open challenge to the church in general and his mother’s (Trish Mulholand) scathing religious fervent. Her admonition to Reverend Anderson (Søren Oliver) that he will be punished for marrying Judith (Stacy Ross) for love is emblematic of her twisted personality for which she gets her comeuppance when a deathbed will deprives her of her inheritance.

Dudgeon, while visiting the home of Reverend Anderson and Judith, he is left alone with Judith when the Reverend is called away. Physical attraction between the pair is palpable but is bilaterally denied. The Redcoats, mistake him for the Reverend who is wanted for treason, and Dudgeon goes along with the false identity knowing he will be hanged. Was his motivation love for Judith, love of country, a sense of duty or, to quote comedian Flip Wilson, “the devil made me do it!”

There are many delicious cutting and satiric lines that are voiced with perfect timing and authenticity by the entire cast. Although Gabe Marin, as the protagonist performs up to his usual professional standard, he is upstaged by Keith as General Borgoyne with his complete mastery of Shavian wit. The chemistry between Marin and Ross is palpable but does not reach the level displayed in their previous dual outings. Trish Mulholland radiates religious rigidity justifying her son’s withdrawal from her home.

The other members of the cast, Allen McKelvey (Uncle Titus/Swindon), Anthony Nemirovsky (Christy/Chaplain), Tara Tomicevic (Essie) and Michael Ray Wisely (Hawkins/The Sergeant) add depth to the play with special mention to McKelvey for his pompous repartee with Keith and Wisely for his underplayed humorous antics.

Unlike most of Shaw’s plays, this production runs a scant 2 hours including intermission and is well worth attending. Be assured you will leave with admiration for Oliver’s directorial skills and Aurora’s continued ability to be a major player in the Bay Area theater scene.

Kedar K. Adour, MD

Courtesy of TheatreWorld Internet Magazine

www.theatreworldinternetmagazine.com