The 'Proof' is in the acting The 'Proof' is in the acting (June 27, 2003)

TheatreWorks expertly stages promising, if flawed, Auburn play

by Jeanie Forte

D avid Auburn's Pulitzer Prize-winning play, "Proof," is the first offering in TheatreWorks' 2003-04 season, fulfilling two aspects of the company's mission -- to present quality new works, and to herald a season of excellence.

It's quite a coup for our Peninsula theatre to score performance rights to Auburn's much-touted play, beating out other Bay Area theatres in putting on the first regional production. "Proof" has created a stir, generating predictions and awards for its author, who has been compared to such literary greats as Arthur Miller and Eugene O'Neill.

"Proof" has a ring of authenticity to it, charting a warm, humorous and heartfelt path through the territory of genius and madness. The central character, Catherine, fears for her own sanity after caring for her brilliant but schizophrenic father for many years. Robert's phenomenal success as a mathematician was overshadowed by his dark years of scribbling incomprehensible codes in little notebooks, as he fell ever deeper into delusion. Now that he's dead, she worries even more that her own life will be cursed by the twin poles of genius and illness. Acknowledgement of her own mathematical gifts is cause not for joy, but fear -- what if she inherits the madness as well as the intelligence? How much are the two inevitably linked?

Having put her own life on hold caring for her invalid father, she now has to choose a new path. Several options present themselves, including a possible move from Chicago to New York to live with her sister, Claire. Another path concerns a former student of her father's, Harold, who intrudes on her grief in order to examine Robert's many notebooks, becoming something more in the process. Yet another path -- the possibility of success in mathematics -- holds much promise but also much trepidation.

Thrown into the mix is the long-standing disparity of gender in the field of mathematics. Can Catherine really be a mathematician, simply because she doesn't have the right chromosomes? Catherine's fear and ambivalence weighs heavily in the play, as she stands at a crossroads and wavers between advance and retreat. Harold, Claire and her father all pull her in different directions.

The father, Robert, is a vibrant presence, a jovial and loving man whom we see in flashbacks, but also in Catherine's mind, as if he were still alive and able to walk, talk, eat and make purchases. If Catherine indeed sees her dead father this vividly, holding lengthy conversations with him, we can understand her fears -- isn't she already a little balmy?

The play begs the question, but never answers it. There is no mention of doctors, medication, therapy or anything that might have relieved her father's or her own burgeoning illness. The only "relief" offered is a grim picture of institutionalization, including mind-numbing treatments such as shock therapy, all discussed as if they were Dark Ages torture. Where's the middle ground, the distinct possibility that benign relief from delusions might mean increased productivity and the ability to cope? Of course, there's no drama in that.

"Proof" raises lots of interesting issues, but never deals with them fully, instead opting for a predictable and audience-pleasing ending. Auburn is clearly a talent, from whom we hope to hear more in the future. Even his short plays and earlier works reveal an artistry and understanding of the stage that we need in contemporary theater.

However, "Proof" leaves me with a slightly hollow feeling. My mind and heart were engaged and stroked for two hours, but I wasn't transported. Catherine's journey feels incomplete. I'll wager that Auburn can do better, and that years down the road this will be seen as a promising but flawed beginning.

That said, there is little to fault in this handsome, well-acted show. TheatreWorks' imprimatur spells excellent production values and hand-picked actors from both local and national pools; this show satisfies on both counts. Sarah Overman as Catherine has an endearing Sandra Bullock quality, just right for the role. She's a sweet tomboy, with a touch of naivete and vulnerability, allowing her emotions just enough play to win us over. Mark Phillips is a wonderful math geek as Harold, with impeccable comic timing and appropriately understated emotion.

It was a joy to watch veteran local actor Robert Ernst in his masterful portrait of the father; his intelligence and sensitivity shine through in the character's likeable affability. I loved his easy presence on stage, the beautiful seamlessness of his craft. I enjoyed Aimee Nicole Lewis' portrayal of Claire overall, even though she veered dangerously close to caricature at times. She clearly has the talent and comedic instincts for the role.

The set is a marvel, and the sound design is particularly poignant and well-matched to the mood of the play. Director Robert Kelley delivers one of his finest productions to date, bringing it all together in a way that entertains and does ample justice to Auburn's interesting and controversial piece.

What: "Proof," written by David Auburn. The Pulitzer Prize and Tony Award-winner kicks off TheatreWorks' 34th season.

Where: Mountain View Center for the Performing Arts, 500 Castro St. (corner of Mercy) in Mountain View.

When: Through July 13. Show times are Tuesdays at 7:30 p.m.; Wednesdays through Saturdays at 8 p.m.; Sundays at 2 p.m.; Sunday at 7 p.m. on June 29.

Cost: Tickets are $20-$48; discounts are available for youth, students, seniors and members.

Info: Call (650) 903-6000 or visit www.theatreworks.org