With a title like “The Subject Was Roses,” the Pulitzer Prize winning play written by Frank D. Gilroy remains true to its name in a modest, heart-felt production directed by Neil Pepe. The production opens the new season at the Mark Taper Forum, where it runs until March 21.
Set in post-World War II, 1946, the three-actor play is an intimate portrait and exploration of the middle-class Cleary family. The play begins with the advent of Timmy’s homecoming from the war and takes place entirely in the family’s apartment.
The attraction of the show may be its stars, Martin Sheen, known for his role as the president on the television series “The West Wing”, Frances Conroy, of the HBO series “Six Feet Under”, and Brian Geraghty, who starred in the recent film “The Hurt Locker.”
And while star power generally does not make for the best reason to rush to the theater, in this case, it’s really the three actors and their three superb performances that make this production worth seeing.
With a weathered, understated voice on screen, Sheen is surprisingly animated and high-energy on stage, with strong voice projection. Having portrayed the role of the son Timmy in the play’s Broadway opening in 1964, this time Sheen takes on the role of the father John, perpetually at war with his wife and son as he struggles to hold onto his patriarchal authority.
There is little plot-driven action ““ the discovery of a dozen red roses sitting in a vase by Nettie, the mother, will lead to certain other events and circumstances, but the real drive of the play lies in the reveals and development of the three individuals and their relationships with one another, by way of how they behave and what they choose to say or not say.
The poignant, sentimental moments throughout the play and the characterization of Nettie as fragile were reminiscent of Tennessee Williams’s plays. But the production fell short in fully reaching that sensationally affecting place, where Williams’ works can often take us.
It was a quiet production that seemed satisfied with providing just a snippet in the life of the Cleary family. But because the play wasn’t pushed in any direction, it felt a little timid.
The old-fashioned vibe of the show, due in part to the convincing recreation of the ’40s by the show’s visual and sound components, also made the Clearys’ story seem like it belonged to a bygone era.
However, the production did contain some psychologically powerful moments that stunned even while they were quiet. One scene in particular that sticks in the mind is when Nettie sits alone in the living room, recalling a conversation as a little girl with her father on why he loves her. Conroy’s chilling delivery gives the sensation that she is clutching and rocking herself, as she says, “Because I’m a nice girl.”
While a well-cast Geraghty brought out the complex emotions in the role of Timmy, it was Conroy who created the most engaging character on stage. With her meek talk and shuffle of a walk, Conroy expressed more pain and more love through her silences than any words could. The play’s own quiet moments, though, fell just short of achieving the same impact.
““ Erica Zhang
E-mail Zhang at rzhang@media.ucla.edu.