NEW YORK—Faith, the need to believe in something, generational rebellion, and ghosts from the past all come together in a wonderful confluence of writing with Mick Gordon and AC Grayling's rich and multi-layered play, Grace.
Grace (Lynn Redgrave) is a 60-something professor who's an avowed atheist—a label she hates, preferring "naturalist." (She's an ardent follower of Charles Darwin.)
A figure of some repute, she's made it her life's mission to debunk the theory of intelligent design. A lot of her beliefs came about while rebelling against her father, a strongly devout and violent man who often made Grace's childhood a living hell.
Yet Grace's own inflexibility may be what prompts her son Tom (Oscar Isaac) to announce he is forgoing a career in law to enter the priesthood, a choice she simply cannot accept. (It's interesting to note that law, by its very nature, requires one to be impartial and concern oneself only with facts and what can be proven.)
Caught in middle is Tony (Philip Goodwin), Grace's husband who, somewhere along the line, put his own religious feelings on hold; and Ruth (K.K. Moggie), Tony's girlfriend, who is not quite yet sure what she believes in.
Fraught with ironies and circular in style, the play doesn't take sides on the question of belief, rather offering questions, points of view, and the ultimate realization that each one of us must find his or her own answer.
This is made especially clear when Grace participates in a scientific experiment that attempts to explain why people sometimes see, or sense, the presence of otherworldly entities. (Sort of an attempt to bring together the worlds of science and religion.)
Redgrave is fascinating in the title role, imbuing the character with an almost pathological need to be right and for those closest to her to follow the same path without questioning for themselves. When tragedy strikes, Grace's unbending resolve eventually leads to a personal (as opposed to religious) crisis of faith, culminating in one of the most heart-wrenching moments seen on stage in many a year.
Goodwin makes a perfect Tony, acting as a quiet counterbalance for Grace, and while almost overlooked in the story, he in fact provides the strength the other three draw from when needed. Isaac is good as Tom, the quiet young man who simply wants to follow his own path.
Moggie works very well as Ruth, someone who's not afraid to stand up to Grace (and Tom) and who wonders if she will she be second to Tom's new calling. She also gets to deliver a hilariously bitter and pointed speech at a memorial service.
Just as important is Joseph Hardy's strong direction, which takes this 90-minute work and brings it sharply into focus without making it too preachy, sanctimonious, or one-sided. Sets by Tobin Ost are good, as is the lighting by Matthew Richards. The sound design by Fabian Obispo is excellent. A powerful work, "Grace" should qualify for inclusion in everybody's list of best plays for the 2007-2008 theater season.
Grace
Presented by MCC Theater
Lucille Lortel Theatre
121 Christopher Street
Tickets: 212-279-4200 or www.ticketcentral.com
Closes: March 8, 2008
Running Time: Approximately 90 Minutes
Judd Hollander is the New York Correspondent for the London publication, The Stage.
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