The Shadow Of Greatness
31 July 2000

Richard Chamberlain is smooth, relaxed, and comfortable with his role of a celebrity playwright in "The Shadow Of Greatness."

Gary Socol's script, in world premiere through August 12 at the Berkshire Theater Festival, labors during its first hour but is fully engaging by the time the final curtain falls. Socol, through his characters, poses several intriguing questions. For the theatergoer, the challenge is to stay with the show until it begins to really hum.

Appearing to be pompous, self-absorbed, and only superficially concerned, Alan Perry (a most charismatic Chamberlain at the age of 64) has invited three of his rabid fans to his swanky Manhattan pad for the evening. The naive Elle (Kellie Overbey), jittery and absolutely star-struck, has been thrilled to correspond with Perry, whom she views as positively heroic.

On the other hand, older, seasoned Roxanne (Jan Maxwell), knowing full-well the price exacted by booze and substance abuse and subsequent rehabilitation rigors as well, sees through Perry's surface veneer.

Scott (Ross Gibby) has a hidden agenda behind his decision to take Perry up on the offer to gather for the evening. Perry is denigrating, early on, toward Scott and the younger man, later, is volcanic in response.

The problem with the play, during its first act, is that Socol does not effectively create dramatic impact. It is up to the viewer to wait and wade through with the characters until the pacing accelerates and the action grows heated. The four players are certainly contentious and the plot becomes far more intense —but, alas, eventually. Minor conflicts yield to larger ones and pressure builds. Socol's play becomes an intricate puzzle as Perry's fans and the protagonist struggle.

One important plot line involves Perry's failure to ever recover from the death of Miranda, whom he calls "the love of my life." He has moved laterally but not forward with his life. Roxanne, having survived a number of traumas, understands.

Perry continues his love/hate relationship with his adoring public. In the process, Socol wisely layers story and theme. Perhaps Perry has based some of his own fictional characters upon the lives of fans with whom he has communicated. Turn that question inside out and there's the thought that those who have seen Perry's plays have taken on the behavior of the writer's created people.

The implications of such a discussion hold huge import. Suppose that a theater patron commits a violent act soon after having watched a specific play. Some may claim the author's work provided impetus. Perry, through Chamberlain's dexterous performance, struggles with issues of responsibility and obligation confronting a playwright.

All four of the actors comprising "The Shadow Of Greatness" turn in excellent performances. Overbey must get outside of herself to become the adoring then disillusioned Elle. It is imperative that Maxwell's Roxanne step up to (figuratively) slug it out with Perry and the actress is up to the task.

Martin Rabbett directs proficiently, allowing Chamberlain center stage, but affording his guests plenty of prime time, as well.

With plush looking contemporary couch and chairs, computer, nifty sound system, and large rear windows which yield to an inviting city scene, Rob Odorisio's set is suitably handsome.

"The Shadow Of Greatness," ultimately, is complicated and affecting. Moments of recognition, however, occur relatively late in the proceedings. One is left with a final meaningful image which is, perhaps, of resolution.

© 2000 Fred Sokol