by Claire DeMarco
Traumatic events that happen in the past are rarely forgotten, nor are they often forgiven. Sometimes the participants are so entrenched in their interpretation of the grievance, it becomes difficult for either party to make the first move.
It’s the early 1940’s and Henrik (Sam Tsoutsouvas) lives at an old remote castle and has lived there his entire life. He’s retired from the military.
He has not seen or talked to his longtime friend, Konrad (Jack Wetherall) for over forty years. Konrad has lived in London among other locations for a long time. This is his first visit back to his hometown.
Henrik and Konrad meet about their past relationship, once close but now broken. Henrik has been waiting for this day for a long time.
Lots of innocuous banter ensues as the two discuss each other’s lives, rehashing old memories, catching up on recent events. Intertwined are serious discussions on the Russian Revolution, death (theirs) and at their age (in their 70’s) they don’t have much time to live.
But after lunch things get heated. Konrad is more disheveled – no jacket, hair messed, drinking a lot. Henrik finally speaks out, questioning Konrad on what happened years ago. In addition to his piercing questions, he also suggests what he believes are possible answers.
Will we fully understand how Henrik’s late wife Krisztina fits into the equation or does she? Does her detailed diary provide any solutions?
Is there more than one reason for Henrik and Konrad’s initial separation?
Is hunting for the truth finally revealed?
Tsoutsouvas is outstanding as Henrik. He is the aggressor as he pushes Konrad, using psychological tactics as attempts to bring out what really happened (or what he thinks happened) years ago. His obsession with this moment is intense.
Wetherall excels as he portrays Konrad with a more casual approach as he interacts with Henrik. His facial expressions often relay his emotional state.
Although there is one scene where Tsoutsouvas basically has a monologue for twenty plus minutes while Wetherall sits placidly in a nearby chair, our concentration is not only on Tsoutsouvas but Wetherall as well. Tsoutsouvas is forceful, constantly asking Wetherall questions, demanding answers, yet never getting any. He is authoritative and commanding. But it is Wetherall who also captures our attention as he sits without moving, with a facial expression that never changes. He is alert and aware of the interrogation from Tsoutsouvas but it’s also obvious that his mind is elsewhere.
Both actors have to be strong to pull this scene off and they reinforce one another’s performance brilliantly.
Susie McGregor-Laine is delightful as Nini, Henrik’s long-time nurse/housekeeper. Although she works for Henrik, it’s obvious that she has a lot to say about everything, even the upcoming reunion. Henrik listens!
This is an excellent production of a psychological drama.
“Embers” was adapted by Christopher Hampton from a book by Sándor Márai.
Scenic Design by Johnmichael Bohach is stunning, dark as befits an old castle but equally warm, filled with old world charm and opulence.
Lighting Designer Andrew David Ostrowski’s lighting effects complement the set design. Kudos to Director Andrew Paul.
-CED
“Embers” is a production of Kinetic Theatre Company and is performed at Carnegie Stage, 25 West Main Street, Carnegie, PA. Performances run from May 15th – May 25th. For more information, click here.
