and Bailey Newman. Photo by James Rucinski.
translated and directed by Robert Greer. A proto-Freudian explanation
of the unreasonable hatred that can exist between husbands and
wife casts doubts as to whether her husband is father of her daughter,
in order to maintain control over daughter's academic and religious
education. The husband, an army captain, would have daughter educated
to be a teacher, while the mother would have her become a painter.
The mother manipulates the town Pastor (who happens to be her
stepbrother) and the newly arrived town Doctor for her purposes.
She uses her erotic influence over the doctor and her readiness
to claim that the family lawyer is her child's father to drive
her husband into the arms of his old trusted nurse, who straitjackets
Brad Fryman* as the Captain
Natalie Menna as the Wife
Daniel Lugo* as the Doctor
Gabe Bettio* as the Pastor
Bailey Newman as the Daughter
Jo Vetter* as the Captain's Old Nurse
Tyler Joseph as the Captain’s Orderly
design by Janet Mervin
Lighting design by Gilbert "Lucky" Pearto
in rotating rep with "#MeThree"
by Natalie Menna.
Brad Fryman" as the Captain, Natalie Menna as the
wife, Daniel Lugo" as the Doctor, Bailey Newman as the Daughter,
Toby Miller" as the Pastor, Jo Vetter* as the Captain's old
Nurse and Tyler Joseph" as the Captain’s orderly. Stage
manager Georgeta Seserman.
a titan of modern theatre on par with Ibsen, is finally getting
his due this side of the pond thanks to Robert Greer, the play’s
gifted director and translator. Greer has done an extraordinary
service for American theatre, directing eleven Strindberg plays
to date. I look forward to more...
The Captain is a punishing role, physically and mentally, and
[Brad] Fryman does it justice, showing admirable range and clarity
of intention.... And Laura does little else but scheme. Yet so
valiantly does the subtle and suggestive Natalie Menna defend
her character that she actually manages to win the audience’s
sympathy, even as she drives her husband to suicide and then deprives
him of the means to kill himself. Her performance is pitch-perfect,
never wantonly cruel, always grounded in an unshakable belief
in her right to the daughter she bore and raised.For all his alleged
or admitted misogyny, Strindberg gives Menna the material she
needs to defend Laura—up to and including the last word.
Her arms wrapped tightly around her daughter, her prize, she declares
“My daughter. Mine.” -- Joshus
Crone, Reviews from Underground
Menna plays Laura with the emotional complexity of a woman who
is in her sexual prime but confined by social propriety and repressed
in an unfulfilled marriage ... The Captain is a study in self-destruction....
As he tries to impose his will, he is undermined by his wife who
plants doubts about his sanity in The Captain himself and in those
around him. Mr. Fryman portrays his gradual mental demise through
insidious doubt about his fatherhood with subtlety and a well-paced
change from being the master of the household to becoming an infantilized
Hein Bennett, New York Theatre Wire