BROADWAY SNAP-SHOT
by Russell Bouthiller
Dateline: December 20, 2005
A TOUCH OF THE POET
The Roundabout Theatre Company fills the majestic sprawl of Studio 54 with a play that is equal in size and scope. Starring Gabriel Byrne as the pompous Cornelius Melody, Eugene O'Neill's A TOUCH OF THE POET relates a tale of overweening pride while exploring class stratification in Nineteenth Century Massachusetts.
Destined to be part of O'Neill's 11 play cycle, "A Tale of Possessors Self-Possessed," A TOUCH OF THE POET is one of two existing installments of what might have been the playwright's greatest achievement (the other: MORE STATELY MANSIONS; the remainder of the works was burned at O'Neill's request). This grand saga was intended to follow the Harford family of New England as the author examined the veracity of the American Dream.
A TOUCH OF THE POET opens with an earthy fellow seated by the fire at an inn outside of Boston. He's playing a folk tune on the Uilleann pipes. The story quickly focuses on the owner of this establishment, Melody, a self-styled gentleman who is regarded as a portentous snob by his Irish brethren and an upstart by the native Yankees. The year is 1828 and the day marks a salient moment in Melody's puffed-up existence: the anniversary of a famous battle he fought under Wellington during the Napoleonic Wars.
Known as "Con" by family and associates, the one-time major is most aptly named, having built himself a life of blarney fueled by daily doses of whiskey. As proprietor, he fancies himself too grand to soil his hands with the daily chores while sharply berating his wife, Nora (Dearbhla Molloy), for smelling of stew and onions. Eager to instill in his daughter, Sara (Emily Bergl), his notions of high birth, his impecunious ways have removed her from school and forced her to wait tables at his struggling establishment.
Though Sara may not have inherited her father's flair for magnificence, she has acquired his temper and throws it lobs it back at him with his every insults. She also manages to do something Cornelius has failed to accomplish his many years in America. Daughter Sara has gained the acceptance of at least one of the Yankee class, a scion of the prominent Harford family.
A romantic young fellow with a penchant for Thoreau, young Harford—whom we never see—has been living in a remote cabin, but has recently taken a room at the inn to nurse a fever. Harford has fallen for Sara and vice versa. Con concedes the young man has "a touch of the poet," but oppose their union after the young man's mother, Deborah (Kathryn Meisle), pays a visit and Con makes an awkward pass at her while parading around in his dashing red uniform.
Directed by last year's Tony-winner, Doug Hughes (DOUBT), A TOUCH OF THE POET moves crisply from scene to scene. O'Neill presents a fascinating figure in Melody and Byrne captures his smoke and nonsense with a thrilling intensity. Preening in front of an ornate mirror that hang's over the massive fireplace which dominates Santo Loquasto's stupendous set, Byrne's Melody exudes the torment of a man who validates his shortcomings with delusions of grandeur. Even his rugged looks lend to the image of a proud, but broken facade.
Molloy is sensational as the time-worn Nora who sees her husbands failings, but is wedded to her wifely role. Meisle offers an alabaster purity as the refined Yankee lady. The peaches and cream complexion of Emily Bergl provides a convincing cover for her steely conviction. Daniel Stewart Sherman seems straight out of the old country as the thick-necked barkeep and Byron Jennings bellows nicely as the old soldier, Jamie Cregan. A TOUCH OF THE POET, a touch of class.