By Cory Bilicko
Entertainment Writer
Christening Cal Rep’s maiden voyage aboard the Queen Mary in the vessel’s Royal Theatre is Festen, the stage play adapted by English playwright David Eldridge from the Danish film of the same name (released in the United States as The Celebration). The ultimately disturbing story is a stunning portrait of denial, set during the 60th birthday party of patriarch Helge Klingenfeldt (Jeff Paul) at his family’s hotel. His wife Else (Nancy Bell), their daughter Helene (Anna Steers), and their two sons Christian (David Vegh) and Michael (Josh Nathan) have gathered with other family members to make merry, and, with the exception of Michael’s evident proclivity for making a scene and the fact that Christian’s twin sister Linda has recently committed suicide, everything is apparently pleasant and, well, celebratory.
That festive mood is abruptly and unsettlingly dismantled when Christian, the seemingly least tempestuous personality in the bunch, delivers his speech during dinner. Rather than saluting his father, Christian accuses Helge of having sexually abused Linda and him for years when they were children. The family initially dismisses the allegation as ridiculous, and loyal wife Elsa uses a toast to lay some backhanded compliments on her children, characterizing Christian as having an overactive imagination and demanding that he apologize for his accusation. Rather than offering contrition, he informs the group that Elsa had been privy to the wrongdoing and failed to protect her children. After Michael manhandles Christian out of the party, Helene reveals that she had recently found a suicide letter from Linda and reads it aloud. The family accepts it as evidence related to Christian’s accusation and acts accordingly and violently.
Joanne Gordon, Cal Rep’s artistic director who also helms Festen, said the repertory company’s choice of such a gripping story as Festen’s is aligned with its effort to present a season (its 20th) of productions that speak to the issues that roil our communities. “The plays in our season dare us to look into our own heart of darkness, challenge our certitudes, and stir the frightening stew of our complacency,” she said.
Festen is indeed a bold, compelling piece, and it offers an absolute catharsis that is absent in most modern, post-Brecht theatre. That purgation is indeed so manifest that it almost feels too perfect, and it might have been, if not for the complexities of the major characters. Although feeling “cleansed,” we’re still allowed the opportunity to feel pity on the guilty, consider forgiveness and be empowered to take action in our own lives.
The cathartic aspect of this production works so well, not only because of the commanding performances of the key players, but also because the script’s language is especially straightforward. Perhaps Eldridge wanted to capture the quintessence of the story and not risk its being lost among any attempts at poetic translations. It works, and with some “Last Supper” -style staging and enduring commitments to “staying in character,” this production has a chilling effect.
At the heart of Festen is the conceit that, in our family life, we can either forgive and brush aside the long-ago wrongdoings of our elders (and pay the psychic price) or confront the perpetrators (and be liberated). If Festen is indeed an emotional indicator of Cal Rep’s 20th year, we should brace ourselves for a rough (and satisfying) ride. Grab the Benadryl.
Festen will be aboard the Queen Mary in the Royal Theatre through Oct. 17. Shows are Tuesday through Saturday and begin at 8pm. There are Saturday matinee performances at 2pm, but there will be no matinees for Festen. All tickets for Cal Rep productions are $20 for general admission, $16 for students, military, seniors (55 and older), and children (12 and under). For tickets, information and exact show dates and times, call (562) 985-5526 or visit www.calrep.org.
