By
Sheila Barth
BOX INFO: Naomi Wallace’s adaptation of
William Wharton’s novel, “Birdy”. Two-act, two-hour play presented by
Commonwealth Shakespeare Company, directed by Stephen Maler, March 15,16, at
7:30 p.m.; March 17, at 3 p.m., at Carling-Sorenson Theater, Babson College,
231 Forest St., Babson Park, Wellesley. Contains adult language and brief
nudity.
Slim actor Will Taylor perches on a chair, his weight settling on his toes. His head flutters slightly, his arms enfolding himself, like a bird tucking in his wings. Other times, he’s on the floor, waiting, his eyes and head alert, his body quivering. Theatergoers, mesmerized, are also on the stage, nearby, on three sides, seated in two rows at Babson College’s Carling-Sorenson Theater.
Just watching Taylor exquisitely manifest every silent, birdlike nuance is breathtaking, in Commonwealth Shakespeare Company’s production of “Birdy”. Taylor’s artistic performance is uncanny, graceful, and well worth the price of admission.
A trained dancer since his childhood in North Carolina, Taylor, the New York-based actor- director-choreographer-musician, has appeared in three Broadway plays and others nationally. In a brief, informal post-show chat, Taylor told the audience that he had to draw upon himself to figure out how to portray the emotionally-damaged young adult soldier, whom a hospital doctor concludes is unable to function anymore as an adult human being.
Portraying Dr. White, longtime award-winning, always
stellar, Boston actor Steven Barkhimer, badgers Birdy’s injured, best friend,
Al, a sergeant hero, (Keith White) to gather information about brain-damaged
Birdy, and “put him away”. In last
Saturday afternoon’s performance, replacing James Ricardo Milord, Damon
Singletary delivers a moving, low-key portrayal of non-combatant, caring
hospital nurse Renaldi.
Scenes and spotlights shift, at times simultaneously, in rapid, jarring,
flashbacks (kudos, lighting designer Jeff Adelberg, sound designer
J.Hagenbuckle and the accomplished cast), from the boys’ pre-World War II,
tough youth in Philadelphia to a post-war hospital.
Youthful Birdy (Spencer Hamp) and young best pal Al (Maxim Chumov), portray
Birdy’s obsession with birds and their ability to fly. He desperately wants to
fly, too, and has constructed a retractable set of wings. When he jumps off
set/costume designer Clint Ramos’ magnificent four-tiered, open structure that
resembles the set in “Rent,” theatergoers gasp. “I’m no longer a boy!,” he
cries exultantly.
Several touching, tender, emotional scenes punctuate the play throughout, including when young Al prepares awkward, teen-ager Birdy to go to their prom, with a girl!; fragile, intelligent Birdy’s escapism from life through his aviary of pigeons and canaries; and contrasting young Al’s declaration he can’t wait to be a fighting soldier over there (his father beats him mercilessly at home, his back laden with large welts and bruises).
Besides being an overall magnificent production with layers of emotionally-charged, interpretative subplots, “Birdy’s” relevance in today’s uncertain military and civilian world is daunting. This is one play you mustn’t miss.
