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Review: Who Is ‘Harry Clarke,’ and Why Is He So Appealing? Review: Who Is ‘Harry Clarke,’ and Why Is He So Appealing?
(4 months later)
“Harry Clarke,” which was originally presented by the Vineyard Theater, has reopened at the Minetta Lane Theater; 18 Minetta Lane, Manhattan; 800-982-2787. Here is the original review, a New York Times Critic’s Pick, which appeared on Nov. 22, 2017.
When Harry Clarke humblebrags that the singer Sade is “about the most real person I know,” you believe him. If anyone’s an expert on real people, he is.When Harry Clarke humblebrags that the singer Sade is “about the most real person I know,” you believe him. If anyone’s an expert on real people, he is.
That’s because he’s a fake.That’s because he’s a fake.
Despite his sometimes posh, sometimes cockney accent, he’s not (as he tells people) from London. Nor is he married to a Frenchwoman named Sabine. Most disappointing, he did not work for 20 years as the “tour manager slash personal assistant slash whatever-else-was-needed kind of person” for the woman who sang “Smooth Operator.”Despite his sometimes posh, sometimes cockney accent, he’s not (as he tells people) from London. Nor is he married to a Frenchwoman named Sabine. Most disappointing, he did not work for 20 years as the “tour manager slash personal assistant slash whatever-else-was-needed kind of person” for the woman who sang “Smooth Operator.”
No, he’s just Philip Brugglestein, Illinois born and Indiana bred and very good at Google. Never been to London, works as a barista. But what a story he has to tell.No, he’s just Philip Brugglestein, Illinois born and Indiana bred and very good at Google. Never been to London, works as a barista. But what a story he has to tell.
That’s the delicious conceit animating “Harry Clarke,” the one-man, double-life play by David Cale that opened on Tuesday night at the Vineyard Theater. The conceit is also animating Billy Crudup, who after a four-year absence from the New York stage appears to be having the time of his life in a sly role terrifically suited to his gifts.That’s the delicious conceit animating “Harry Clarke,” the one-man, double-life play by David Cale that opened on Tuesday night at the Vineyard Theater. The conceit is also animating Billy Crudup, who after a four-year absence from the New York stage appears to be having the time of his life in a sly role terrifically suited to his gifts.
Among those gifts is the ability to build a performance from various angles at once, as if in a trifold dressing-room mirror. Mr. Crudup plays not only Philip — and Philip as his alter ego, Harry — but also dozens of people who pass through their lives. He doesn’t impersonate those people, exactly, but sketches them for us as they might be seen through Harry’s or Philip’s eyes. In other words, he uses the secondary characters to characterize the main ones.Among those gifts is the ability to build a performance from various angles at once, as if in a trifold dressing-room mirror. Mr. Crudup plays not only Philip — and Philip as his alter ego, Harry — but also dozens of people who pass through their lives. He doesn’t impersonate those people, exactly, but sketches them for us as they might be seen through Harry’s or Philip’s eyes. In other words, he uses the secondary characters to characterize the main ones.
In the first part of the play, those supporting characters include sad young Philip’s alcoholic father and overwhelmed mother, both of them bewildered by the emergence of their “pansy” son’s new persona at age 8. (Not many American third graders say “Don’t get your knickers in a twist, darlin’.”) Mr. Crudup gives the father, who is verbally and physically abusive, a flat Midwestern accent that seems all the more brutal in contrast to Philip’s jaunty Brit speak — and hints at why he adopted it.In the first part of the play, those supporting characters include sad young Philip’s alcoholic father and overwhelmed mother, both of them bewildered by the emergence of their “pansy” son’s new persona at age 8. (Not many American third graders say “Don’t get your knickers in a twist, darlin’.”) Mr. Crudup gives the father, who is verbally and physically abusive, a flat Midwestern accent that seems all the more brutal in contrast to Philip’s jaunty Brit speak — and hints at why he adopted it.
At other times, especially after Philip moves to New York City and lets the insouciant Harry off the leash, the characters we meet through him are rendered more satirically. (If you don’t know what a Hanukkah Brazilian is, go and learn.) It’s an especially neat trick that in portraying several members of one family — the wealthy Schmidts, whom Harry infiltrates — they in turn are portraying him. Their infatuation, based though it is on credulousness, shows us how confident and attractive he’s become.At other times, especially after Philip moves to New York City and lets the insouciant Harry off the leash, the characters we meet through him are rendered more satirically. (If you don’t know what a Hanukkah Brazilian is, go and learn.) It’s an especially neat trick that in portraying several members of one family — the wealthy Schmidts, whom Harry infiltrates — they in turn are portraying him. Their infatuation, based though it is on credulousness, shows us how confident and attractive he’s become.
Because we’ve seen where he started, we cannot disapprove too much of Harry as he attains comforts and companionship that Philip never could. One of the best things about the play is that for a long time it leaves us bamboozled into believing, despite the evidence of our senses, that they are different people.Because we’ve seen where he started, we cannot disapprove too much of Harry as he attains comforts and companionship that Philip never could. One of the best things about the play is that for a long time it leaves us bamboozled into believing, despite the evidence of our senses, that they are different people.
If you’ve ever seen Mr. Cale perform his own work, you’ll know that, in Philip, Mr. Crudup is doing a deft impersonation, with his wordless stammers, nervous smile and arms that dangle like parentheses at his sides. His Harry, though, has the randy swagger of a leprechaun.If you’ve ever seen Mr. Cale perform his own work, you’ll know that, in Philip, Mr. Crudup is doing a deft impersonation, with his wordless stammers, nervous smile and arms that dangle like parentheses at his sides. His Harry, though, has the randy swagger of a leprechaun.
The realization that the “two” men are actually one — a realization that they must face as well — eventually forces us to confront some rather large issues about the construction of identity. If Philip can become Harry just by acting like him, does that not mean Harry was always inside him? Is personality really so multiple and mutable? What about sexuality and morality?The realization that the “two” men are actually one — a realization that they must face as well — eventually forces us to confront some rather large issues about the construction of identity. If Philip can become Harry just by acting like him, does that not mean Harry was always inside him? Is personality really so multiple and mutable? What about sexuality and morality?
These questions keep the play leaping forward, as Harry tests the edges of his fabulous new life. But in the last quarter, when he goes too far, so does Mr. Cale. The minute you feel the action straining toward an existential climax, you start to resist any further manipulation.These questions keep the play leaping forward, as Harry tests the edges of his fabulous new life. But in the last quarter, when he goes too far, so does Mr. Cale. The minute you feel the action straining toward an existential climax, you start to resist any further manipulation.
This was probably inevitable. Born in England, Mr. Cale first became known in New York for the swift, dreamlike monologues he performed in the 1980s at downtown spaces such as Dixon Place and P.S. 122. (He started out as a singer-songwriter but, facing rejection, took to reading his lyrics instead.) The marvelous compression of works like “The People in Your Life for 30 Seconds” is hard to maintain in a play of 80 minutes. And perhaps having a star of Mr. Crudup’s wattage additionally encouraged Mr. Cale to turn up the heat.This was probably inevitable. Born in England, Mr. Cale first became known in New York for the swift, dreamlike monologues he performed in the 1980s at downtown spaces such as Dixon Place and P.S. 122. (He started out as a singer-songwriter but, facing rejection, took to reading his lyrics instead.) The marvelous compression of works like “The People in Your Life for 30 Seconds” is hard to maintain in a play of 80 minutes. And perhaps having a star of Mr. Crudup’s wattage additionally encouraged Mr. Cale to turn up the heat.
He needn’t have. Mr. Crudup has a natural sense of drama that needs no underlining. His vulpine charm — look out for those bright teeth! — makes it impossible not to like him, even as he grows alarming.He needn’t have. Mr. Crudup has a natural sense of drama that needs no underlining. His vulpine charm — look out for those bright teeth! — makes it impossible not to like him, even as he grows alarming.
The production, directed by Leigh Silverman, is just as masterly, playing quietly on the theme of making much out of little. (In that way, it’s a bit like a radio drama, so it’s no surprise that Audible, the audio entertainment arm of Amazon, plans to release a words-only version of “Harry Clarke” in January.) Alexander Dodge’s set consists of nothing more than a wooden deck, a chair and a wee table. Yet it is so lushly lit by Alan C. Edwards that it easily stands in for a yacht, a Gap, a beach and, in one memorable scene, a theater.The production, directed by Leigh Silverman, is just as masterly, playing quietly on the theme of making much out of little. (In that way, it’s a bit like a radio drama, so it’s no surprise that Audible, the audio entertainment arm of Amazon, plans to release a words-only version of “Harry Clarke” in January.) Alexander Dodge’s set consists of nothing more than a wooden deck, a chair and a wee table. Yet it is so lushly lit by Alan C. Edwards that it easily stands in for a yacht, a Gap, a beach and, in one memorable scene, a theater.
Of course, the whole play is set in a theater. One of the meta-delights of “Harry Clarke” is the way it applies the idea of performance to regular life. As Harry proves, we’re all actors, working with whatever rickety materials we’ve got. If only we were all as good at impersonation as he and Mr. Crudup are, we might even be happy.Of course, the whole play is set in a theater. One of the meta-delights of “Harry Clarke” is the way it applies the idea of performance to regular life. As Harry proves, we’re all actors, working with whatever rickety materials we’ve got. If only we were all as good at impersonation as he and Mr. Crudup are, we might even be happy.