6/16/2010 10:35:00 AM 'Cider House Rules' revival apropos
Dr. Wilbur Larch (Peter Crook, far right) reads Dickens to the St. Cloud’s orphans each night. Photo by Adam Smith.
By Miya Cohen-Sieg
Revivals are rife in theater recently, often with no rhyme or reason beyond their money- making potential. An exception is Book-It Repertory Theatre's revival of "The Cider House Rules." Peter Parnell's adaptation of the John Irving novel was a groundbreaker for the theater as its first dramatization of a full-length novel and for the national critical acclaim the play garnered for Book-It from the initial 1997 production at the Seattle Rep. More praise came from a run at the Mark Taper Forum in Los Angeles. What more appropriate celebration of Book-It's 20th anniversary season than a production of the play that put them on the national theater map. "The Cider House Rules Part One: Here in St. Cloud's" tells the story of Homer Wells' (Connor Toms) early years and coming of age at the St. Cloud's orphanage operated by the gentle Dr. Wilbur Larch (Peter Crook), who delivers "not only babies, but their mothers, too" as both obstetrician and abortionist. After multiple unsuccessful adoptions, each illustrating various forms of abuse suffered by orphans at the hands of foster families, Homer, decides to remain at St. Clouds where Dr. Larch trains him as an obstetrician. Homer's growing discomfort at assisting Larch with abortions leads him to leave St. Cloud's for "other parts of the world," the subtitle for part two that will be Book-It's season opener in September. Given recent changes in individual states laws governing a woman's right to choose, the various sides of the abortion issue presented in "Cider House Rules" also make it a timely choice. Presented in Book-It's unique blend of narrative and dialogue, "The Cider House Rules Part One" begins with a somewhat hectic first act covering a span of 50 years. Actors enter and exit at an almost frantic pace, moving benches together and apart to suggest beds, operating tables, train benches and so forth in Andrea Bush's clever, minimal scenic design. Under Book-It co-artistic director Jane Jones' direction, the actors generate an appealing energy while still communicating a clear and detailed story. Act Two covers a shorter time span (10 years) and houses the poignant heart of the play: the orphan's search for identity; biological vs. adoptive parents; what truly makes a family; adolescent sexual exploration and its ever-present by-blow, unwanted pregnancy. Live musical accompaniment and simple, effective lighting design by Andrew Smith add depth to the production. Toms has the scope to successfully portray Homer from early childhood to young adulthood, and chemistry is evident in his scenes with both Crook as Dr. Larch, and Terry Weagant as Melony, the sexually knowledgeable orphan whose toughness covers a yearning for family and closeness. Crook's performance as Larch subtly communicates his love for Homer hidden under an intellectual outer shell. Weagant is a standout as Melony in this particularly physical role of an overall athletically challenging production. Other notable performances include Laura Kenny as the lilting Mrs. Grogan; Ben McFadden as young Larch; and comic turns by Joe Feeney as the bed-wetting orphan Curly Day, and Jon Lutyens as both the invalid Fuzzy Stone and the shrill Mary Agnes. Whether audience members have read "The Cider House Rules," have only seen the film version or know nothing about it, they should find the richness and detail of Book-It's play a highly satisfying experience.
"The Cider House Rules Part One" plays through July 11 at Book-It Repertory Theater. Visit www.book-it.org.
