Hartford Stage, Hartford, CT
through November 15, 2015
by Shera Cohen
You’ve seen the movie (Hitchcock, Stewart, binoculars,
wheelchair) – a classic. Now see the play. Well, that really can’t happen
because Hartford Stage has the casting and marketing genius to achieve a
complete sell out.
The movie and play share the same title, not much else. Yes,
there’s a murder, body parts, voyeurism, and snippets of lives of obscure
people. We have our erstwhile hero. Jimmy’s everyman charm has been replaced by
a reclusive alcoholic. Where is Grace Kelly or any swell-looking smart blonde
to match strategies and banter cute witticism with Jimmy? Albeit, an attractive
young African-American man fills that void, but for a completely different
purpose that strains the story line. “Rear Window” should stand alone as
near-perfect as it is or how it is remembered, without adding broad subtexts of
racism, police brutality, power or lack thereof of the press, and
homosexuality.
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| McKiley Belcher III & Kevin Bacon |
If only Hartford Stage’s play had a different title, the
audience would have different expectations. This “Rear Window” is essentially a
compilation of the movie’s script and the life of its writer, Cornell Woolrich
– a man with more than his share of demons. Since few know of Woolrich, the
main character is a man who even fewer care about because the text does not
give the audience enough to decipher about this man.
It is painful to write any derogatory words aimed at Kevin
Bacon -- T.H.E. movie star of the memorable “A Few Good Men” and “Apollo 13,”
his award-winning “Taking Chance,” and the hysterically funny “Tremors.” Yes,
“Tremors.” Bacon throws himself into the role of Hal Jeffries as much as any
skilled actor can possibly do. As hurting as Hal is, he is superficial. Bacon
needs dialogue to express his character that just isn’t there. It is only in
some scenes with McKiley Belcher III (a promising actor) as Sam, that the people
onstage become…well…real people.
“Rear Window” is film noire set to stage, delivered loud and
clear as the screeching rush of trains on railroad tracks and dingy neon
marquee against dirty grey bricks create the period. The set is amazing (such
an overused word), but no synonym suffices. As the play quickly moves from
scene to scene, the staging becomes even more amazing if that can even be
possible. The star of “Rear Window” is scenic designer Alexander Dodge, who can
share the accolades with sound designer Jane Shaw and lighting designer York
Kennedy.
