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REVIEW: Gravity
The Purple Rose Theatre Company
PRTC's new Gravity exerts powerful force
By D. A. Blackburn
In its latest world premiere production, The Purple Rose Theatre Company paints a surprisingly human portrait of one of history's greatest thinkers. Isaac Newton may have taught mankind that gravity is a relatively weak force, but David MacGregor's Gravity holds an audience with a fierce intensity.
MacGregor, a widely successful playwright and screenwriter, is a familiar artist for fans of The PRTC. The company has mounted two previous works by the native Michigander — The Late Great Henry Boyle and Vino Veritas — since 2006. But while Gravity shares many characteristics with these previous works, most notably MacGregor's flare for juicy dialogue and intricate, well-crafted plots, the production is likely to surprise patrons as a wholly fresh, entirely different theatrical experience.
The work is set in 1693 in the residence and laboratory of Isaac Newton at England's Trinity College at Cambridge, and much of MacGregor's script draws on well-known historical facts about the physicist's life, philosophies and work. But Gravity is not merely a bio-play. Rather, MacGregor has taken liberty to weave a dynamic narrative around biographical elements to reveal a Newton that's much more than just the theorems he's often remembered for — a tortured, neurotic recluse grappling with his life's purpose, his faith and his understanding of the world and people around him.
And while all this might sound a little heavy, Gravity never bogs down. Instead, the script delivers biting, honest witticisms and heartwarming mini-morals throughout its two acts — all of which are as relevant today as they would have been in Newton's time.
MacGregor's writing is strong and has an exceptional depth, but Gravity has forgotten the cardinal rule of its namesake force — that what goes up, must come down — and the work's rather ambiguous conclusion (where the playwright has taken the most license) leaves the audience with many an unanswered question. In the end, MacGregor's script feels unresolved. But remarkably, Gravity still holds a tight grasp on its audience, and - ultimately- is very satisfying theater, despite a lack-luster ending.
The PRTC has earned its reputation for presenting exceptionally polished world premiere productions, and Gravity is no exception. Guy Sanville's elegantly smooth stage direction is pitch perfect. His brisk, but thoughtful pacing moves the work along in a fine cadence, and his delicate touch draws out potent, credible performances from all who grace the stage.
The company has backed Sanville's efforts with a fine cast, lead by 2009 Wilde Award winner Alex Leydenfrost as Newton. As the physicist/alchemist/philosopher, Leydenfrost turns in a memorable performance, creating a quirky, uneasy scholar with a subtle charm. Likewise, Jim Porterfield and Will David Young craft distinctive, meaty characters as John Locke and Robert Hooke/Barnabus Smith, respectively.
Other highlights include Michelle Mountain's sultry and intellectual Brilliana Cavendish, and Rhiannon Ragland's Mrs. Grundy, who injects sly doses of humor in every scene.
Gravity's design staff also makes a superb showing. Daniel C. Walker's sets, Christianne Myers' costumes and Danna Segrest's properties combine to create a visually breathtaking production. Clever sound design by Tom Whalen and lighting by Dana White complete the package, making the sensory impact of Gravity simply stunning.
While MacGregor's latest offering is not the perfect play, it is exceptionally close, and a credit to the fine team The PRTC has assembled. Newton stated that an object in motion shall stay in motion, and true to the theorem, now that it's rolling, it's very likely that Gravity will continue engaging and entertaining audiences for some time.
SHOW DETAILS:
The Purple Rose Theatre Company, 137 Park St., Chelsea. Wednesday-Sunday through March 27. Tickets: $20-$38. For information: 734-433-7673 or www.purplerosetheatre.org.
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