In its latest incarnation, Austin Pendleton's, "Orson's shadow, opens with Jason Marr as Kenneth Tynan, seeking Orson Welles, played by Steven Barkhimer ,on the stage of a theatre in Dublin, where the maestro been performing "The Chimes at Midnight", his Falstaff play adapted from Henry IV, Parts 1 & 2. The ambitious young critic is about to propose to his old friend that Welles should direct Laurence Olivier, played by Tuck Milligan, in the London premiere of Ionesco's "Rhinocerous" opposite his soon-to-be wife, Joan Plowright, played by Helen McElwain. Of course there are problems; Sir Larry's still married to Vivien Leigh, played by Debra Wise, who's descending further into madness, neither theatrical legend really likes the play, and Tynan has a further agenda of becoming Olivier's literary assistant for the soon be National Theatre.
What makes the play all the more interesting is, as the playwright freely admits, is that the action comes largely from his imagination. Tynan had nothing to do with the production of "Rhinocerous" though he did become part of the National Theatre. How and why Olivier chose Welles to direct him in the play is a bit of a mystery. The strained relationship between the Olivier's was evident, perhaps bases as much on her having gone back to Hollywood to do "Streetcar..." for Kazan after having been directed by Larry in London. Plowright did play Daisy in the piece after her success in both "The Chairs" and "The Lesson" made her "up and coming."
Pendleton began his acting career as the young nebbish in Arthur Kopit's "Oh Dad, Poor Dad..." and was invited by Vivien Leigh to repeat to role in London. He declined. He encountered Welles when they both appeared in "Catch-22". He's since done a variety of T.V. and movie roles and regional theatre, appearing here for the New Rep as a senile King Lear, the Marquis deSade in "Quills", and of course as Vladimir in "Waiting for Godot" which he did on Broadway where he played Estragon. "Orson's Shadow" has been gestating for quite a while. After a few years of development it was first produced by Steppenwolf in Chicago, where Pendleton is a member. After several regional productions the play had a limited run of Broadway last season. And he's still working on it, tuning the level of Absurdity to exploring the potential madness of the theatre.
This current cast, directed with finesse by award-winner Adam Zahler, places each character in their own story. Barkhimer gives us Orson fighting for his career hoping to somehow film "The Chimes at Midnight." Milligan, another Steppenwolf member, gives us Larry at the height of his career in a domestic turmoil. Wise gives us Vivien acutely aware of her fragile mental condition but a star to the end. Marr gives the critic, sure of his opinions but not of himself. McElwain gives us a down to earth Plowright, determined to get Larry to go beyond the energetic and old-fashioned approach to acting with which he's previously prospered. The play has no real plot but rather a series of collisions between personalities, resolved only by the fate of each principal. The ensemble work orchestrated by Zahler achieves the conclusion.
The set by Janie E. Howland features a false proscenium, a purpose built collection of scenic odds and ends and a faux plank floor. Molly Trainer's 1960's costumes capture the characters, from Larry's conservative gray suit to Welles' magisterial black. Jeff Adelberg's lighting, Scott G. Nason's sound, and Matthew CW Page's period props combine to achieve the New Rep's usual quality production. The last show of their season will be Andrew Lippa's "The Wild Party."