The Real Thing
at the Cleveland Play House

What is "The Real Thing" anyway?

Tom Stoppard is a man unabashedly in love with words. They complicate his life in more ways than can be easily counted. This situation can be very hazardous when one is a playwright, and Mr. Stoppard is one of the very best such writers in existence.

One is almost tempted to ask "Do the words he puts on the page represent the real thing? Are they Reality? Are they his wish for reality?"

Whatever. Love is real. Trust is real. Fidelity? Maybe.

It isn't an overlong play and director Jerrold Scott keeps the action zipping right along. But you'll need to hurry a bit, as the final scheduled performance is Saturday February 19.

It helps to keep in mind the 1980s/English sensibility: Maggie Thatcher was in charge, and there are several allusions to this era. There are even bits of pop records from the time to help you remember this. But most of all, you'll have to pay attention as the words go flying around the intimate Studio One stage area.

My biggest quibble is with the British accents, which vary greatly from actor to actor. They don't really add anything, even at the best of times, except for Brodie, who is on-stage for all of about five minutes at the very end of the play. At times, this unevenness hinders comprehension.

All of the actors are second-year Master of Fine Arts students in the CASE/Cleveland Play House program. In the role of the playwright, Henry, Joshua John McKay portrays the man in love with words, who still wants the 'real thing'-passionate love with the woman of his choice.

He is a complete contradiction in terms: a self-professed intellectual, he yet loves the popular music he plays on his phonograph. Although he is married to an actress, Charlotte (Nicole Hedges), he is engaged in an affair with a different actress, Annie, wonderfully brought to life by Elizabeth Davis.

Sparks do fly between Henry and Annie in these very real portrayals, sometimes to the surprise of both of them. The character of Annie's husband Max (Jason Michael Miller) seems rather superfluous to the play, although the actor certainly isn't.

The other three actors all have very small parts, but perform very well, none the less. Lelund Durond Thompson is Billy, a young actor on the way to Glasgow to appear there with Annie (they meet on the train); Bailey Varness is Henry and Charlotte's daughter Debbie, and Samuel Holloway is Brodie.

The first of the two acts is much the meatier, when just the two couples appear. Henry expounds on his love for words as well as their value; music of various kinds-he's been invited to participate in 'Desert Island Discs' and must choose eight records to accompany him there; love, trust and fidelty, whether real or imagined, and all the ramifications thereof. (The script reflected Stoppard's 'real life' as he ended up leaving his wife to marry the actress who first played Annie in London.)

It is the hapless Brodie who is the catalyst for much of the action in the second act: in prison for participating in a demonstration, he has written a play to bring attention to himself and his cause. Unfortunately (according to Henry) 'He can't write!' Too true.

Annie, a member of the committee seeking justice for Brodie inveigles Henry into re-writing the script, an act that nearly brings the roof down on all their heads. It forces them all to look deeply within themselves to find their own 'real thing'.

It's a very worthwhile trip for anyone to undertake, especially in understanding the values one holds most dear. Sometimes, this examination can be most painful!

The young actors are well-served by members of the resident technical staff at the Play House; sets by Jill Davis; lighting by Maureen Patterson; costumes by Kristine L. Davies; sound by James C. Swonger and Props by Andrew Farrell.

For tickets or information call the Play House Ticket Office (216) 795-7000 or visit the web-site

Remaining performances are Wednesday, February 16 through Saturday, February 19, 2005.

-- Kelly Ferjutz