Not a Steeple in Sight- a review of “Painting Churches”

The Iron Horse Theatre Company made the bold choice to produce the complex “Painting Churches”, a 1984 Pulitzer Prize finalist, Tina Howe play that digs deeply into the impactful mother/daughter, father/daughter and husband/wife relationships. It explores familial love frequently clouded by hurt, anger, frustration and disappointment.

The play begins with Gardner Church (Patrick Conner) and Fanny Church (Lynne O’Meara) excitedly anticipating a visit from their daughter Mags (Sarah Brunner), a successful portrait painter who will be arriving in Boston from New York City, where she lives. She’s planning to not only help her parents pack up their belongings in preparation for their upcoming move to Cape Cod but to paint their portrait, as well. (Get it–Painting Churches)

It becomes glaringly obvious that this is a family that doesn’t listen to each other. They talk over each other, none of them hearing a word the others are saying. They often don’t bother to even look at each other when they “converse.” They take the “fun” out of dysfunctional family dynamics.

Brunner’s Mags wants nothing more than validation from her mother and approval from her father. Her moods swing from childlike, giddy  giggling when she’s feeling validated to anger and despair when she’s not getting the reaction that she so desperately wants from her parents. She’s as disappointed in them as they are with her.

O’Meara’s Fanny and Conner’s, increasingly demented, Gardner have an intricate relationship where they sometimes slip into their own silly, imaginary world excluding Mags.

O’Meara fluctuates from showing a demonstrative, fawning, lavish love for her husband to cruelly ridiculing him for his incontinence. She is self-absorbed, often cold and narcissistic. Her fascination with garish, quirky designer hats is a welcome humorous depiction of one of her many idiosyncrasies.

Conner has the difficult task of portraying a man with dementia. He’s sometimes very clear minded—especially when it’s time to enjoy drinking a glass of Dubonnet! At other times he’s frustrated, angry, confused, clownish and childlike. Conner shines in a beautiful moment of clarity when he lyrically recites, from memory, a poem by Yeats. Moving and memorable scene.

The sweet, tender last scene with Conner and O’Meara slow dancing makes it clear that although tenuous, the two are still clinging to their fragile humanity. Touching and heartwarming.

Note: This was my first visit to the Iron Horse Theatre. It’s a charming intimate, newly remodeled space. The cozy lobby is decorated with a few candlelit high top tables. The lovely outdoor courtyard adjoining the theater is the ideal place to relax and have a drink before the play or during intermission. Upstairs, the welcoming lounge features comfy sofas and a bar area stocked with snacks, soft drinks and wine. The art work and hanging photographs displayed throughout add to the warm, inviting, ambiance.

*An added bonus is the free large parking lot across the street from the theatre, in addition to plenty of on street parking in a quiet residential area.

-LTL