However, onstage, a man and woman wearing bathrobes immediately diminish the relaxed feeling of their environment by admitting to each other that they don’t know who they are, who the other is, and how they got there.
They have apparently just shared a bed. Are they married? They can’t remember. After an intellectual discussion of trying to figure it out, they rather shyly but daringly open their robes to each other to see if a view of their private parts might awaken memories. But no. They still haven’t a clue.
They soon have a visitor, a younger woman. She exchanges a few pleasantries, then marches into the kitchen and brings the amazed couple their breakfast.
The young woman, named Wren (Laura Odeh), apparently knows them very well. They are called Moss (Michael Cristofer) and Avis (Christine Lahti). Wren gives them information of their past, but only sparingly, teasingly, finally informing them that they’ve committed a terrible act in the past, and is quite annoyed with them for not remembering it. In fact, Wren doesn’t believe that the couple doesn’t remember.
However, lest the audience struggle too much in trying to figure it out themselves, note that there are clues, perhaps more so in the production elements than in the writing. The chandelier appears to consist of upside-down light bulbs, creating a topsy-turvy, off-balanced feeling. Many elements smack of nature rather than of man: Water surrounds everything, blue and green hues permeate the costumes and sets, the characters’ names are from nature—sky creatures and the earth.
But one isn’t meant to take the play literally or to be able to understand it all in a crystal clear fashion. We’re apparently dealing with symbolism here. Playwright Lessing has stated to the effect that the play deals with the loss of memory, what happens to people if they for some reason forget their past, and that memory defines who we are. However, these points are not made clearly in the production. In fact, the playwright has written several different endings, for past productions of the play.
As for the present production, which marks the New York premiere, presented by Primary Stages, performances by Christine Lahti and Michael Cristofer are fine, supplying a welcome theatrical dimension. Laura Odeh has a tougher assignment, inasmuch as the character of Wren is not sympathetically drawn and she has the difficult task of presenting much of the exposition. But Odeh does well under the circumstances.
Director Maria Mileaf, who has directed Mr. Blessing’s work in the past, takes a rather cerebral tack, but that is perhaps what has been suggested by the playwright.
Design elements are excellent, with inviting sets by Neil Patel, Jeff Croiter’s warm lighting enhancing it, and Candice Donnelly’s costumes specifically designed to suit each character.
As for a final recap, perhaps two audience members expressed it best. One of two women sitting directly in back of me said, “I loved it.” Her friend replied, “How could you love it; you don’t even understand it.” The first woman: “I still loved it.”
In any case, A Body of Water contains some thought-provoking ideas and interesting theatricality.
A Body of Water
59 East 59 Theaters
59 East 59th Street
Tickets: (212) 279-4200 or www.ticketcentral.com
Closes: Nov. 16
Diana Barth reviews theater and film for various publications. She also writes and publishes New Millennium, an arts newsletter.
