Theater Review: ‘Freud’s Last Session’

NEW YORK—What would transpire if the noted psychoanalyst Sigmund Freud were to meet C.S. Lewis? It was known that Freud met a “young Oxford professor.” Could it have been Lewis? This speculation has resulted in Mark St. Germain’s interesting play, Freud’s Last Session.

The encounter pits Freud’s atheism against Lewis’s theism.

Set in Freud’s London studio in September of 1939, Lewis, who has arranged to visit Freud for a psychoanalytic session, arrives late. Freud, piqued by the younger man’s tardiness, criticizes him. Lewis, who is half Freud’s age, is appropriately chagrined.

The pair spars intellectually about the existence, or nonexistence, of a deity. Provocatively set around the room are statuettes of various deities of Eastern religions, a Buddha for example, brought back by Freud’s daughter Anna from her trips.

War is raging in Europe at this time. Hitler has invaded Poland. Freud frequently turns on the radio; speeches by Churchill are heard. At one point, planes are heard overhead and Lewis, obviously frightened, inquires if there is some nearby shelter where they can go. There is none, Freud replies, and casually remarks that he is not afraid to die.

It is known, of course, that Freud is dying of cancer of the jaw—his 30 surgeries attest to that fact. This does not stop him from reaching for a cigar, the cause of his medical problem; he is dissuaded by his concerned visitor. A removable device has been installed in Freud’s jaw. It causes him enormous pain and, at a crucial point in the play, brings on a severe choking attack, making for a high tense point in the drama.

The evocative set by Brian Prather captures what appears to be an accurate depiction of Freud’s study. It is somewhat somber but contains idiosyncrasies that might be associated with a man of Freud’s intellect and stature. There is the obligatory psychoanalytic couch, a desk, and chairs—an environment that is modest yet complex.

Under Tyler Marchant’s sensitive and detailed direction, the two actors give stunning performances. Martin Rayner’s Freud is particularly effective as not only is his resemblance to the famed therapist remarkable, but his behavior and vocal delivery would seem to convey Freud’s personality. It is a very, very rich portrayal.

Mark H. Dold’s C.S. Lewis is also excellent. He conveys a genuine respect and concern for the older man, who at the time the play is set is 83 years of age, while Professor Lewis is 41.

Freud’s Last Session is a thoughtful and fascinating play, beautifully presented.

Freud’s Last Session
The Margery S. Deane Little Theater
10 West 64th Street
Tickets: 212-352-3101 or www.FreudsLastSession.com
Running time: 80 minutes
Closes: open run

Diana Barth writes and publishes “New Millennium” an arts newsletter. For information: www.diabarth@juno.com.