By
the 1970s, the British Empire had begun to crumble and South Africa was still
in the throes of Apartheid - and it is against this backdrop that all of the
action in Jon Robin Baitz’s remarkably insightful play, The Film Society, takes place.
Set in Blenheim, a boys’ boarding school in Durban, South Africa in late
1970, the play revolves around the inevitable changing of the guard at Blenheim
and the conflicts and contradictions faced by Jonathon Balton (Euan Morton) as
he attempts to balance his nascent youthful liberalism and his loyalty to his friends,
Terry Sinclair (David Barlow) and Nan Sinclair (Mandy Siegfried) against his
love for his school, his devotion to his mother, Mrs. Balton (Roberta Maxwell),
and his obligations to the school’s owner and Headmaster, Neville Sutter (Gerry
Bamman) - and all within the context of his own personal loneliness and self
interest.
Originally
produced in Los Angeles in 1987, when Baitz was still only in his mid-20s, and
making its New York debut a year later, The
Film Society is now enjoying its first New York revival in an excellent off
Broadway staging by The Keen Company at The Clurman Theatre at Theatre Row on
West 42nd Street in midtown Manhattan.
Directed by Jonathan Silverstein, the play effectively captures the
ambivalent spirit of the times and the inevitable conflict between
generations.
On
the one hand, we have Neville Sutter who has sought to navigate a gradualist
course, modernizing the school’s philosophy by hiring younger, idealistic
teachers like Jonathon, Terry and Nan while not fully abandoning the school’s
traditional values. In his camp is his
Assistant Headmaster, Hamish Fox (Richmond Hoxie), a retired military officer, who
has clung even more tenaciously to the school’s old values – including cricket,
penmanship, and caning, not necessarily in that order. And finally there is the wealthy Mrs. Balton
whose deceased husband provided Neville with the funds he needed to purchase
the school in the first place.
On
the other side are the mildly activist Terry, whose invitation to a black
priest/educator to participate in Blenheim’s centenary celebration enraged the
parents of the school’s students and threatened the school’s very existence;
and his wife, Nan, even less radicalized than her husband but still much more aware
than Neville, Hamish or Mrs. Balton that, indeed, ”the times they are
a’changing.”
And
then there is Jonathon, whose sympathies well may be with Terry and Nan - it is he, after all, who seeks to expand his
students’ horizons by exposing them to classic films, whence the title of the
play – but whose ties to his mother, his headmaster, his school, and his own
self-interest are what create the tensions that make this play so well worth
seeing.
What
is seen as betrayal and “selling out” by one man may be interpreted as “becoming
an adult,” or “facing reality” by another.
That is the question that confronts us in judging Jonathon. Depending upon the choices he makes, will he
be betraying his friends and “selling out”
- or simply “growing up” and “facing reality”? Or is there even more (or less?) to Jonathon
than meets the eye? Might his actions
simply be a matter of his own self-interest or self-preservation – or even just
a reflection of his own insecurities?
All
of the actors in this revival of The
Film Society have been well cast and all deserve praise for their
performances. In particular, Gerry Bamman, in the role of Neville Sutter, perfectly
captured the essence of an uptight controlled traditional British Headmaster; Richard
Hoxie was absolutely delightful as Hamish Fox - the retired British military
officer now serving as Neville’s Assistant Headmaster; and David Barlow
portrayed the mildly activist but ultimately submissive Terry Sinclair with
beautiful precision. Most outstanding
was Euan Morton who succeeded admirably in pulling off the most challenging
role of all, that of the lonely, ambivalent and conflicted Jonathon Balton,
The
symbolism which permeates The Film
Society is sometimes quite heavy-handed. Blenheim, itself, a declining
boys’ school clinging to the past, may be taken as a proxy for all of South
Africa in the days of apartheid. When
Jonathon orders a copy of the film “A Touch of Mink” to show to the students in
his “Film Society,” he receives a print of “A Touch of Evil” instead - a
harbinger, one might suspect, of the unexpected consequences yet to come. Neville is going blind - reflecting, perhaps,
his refusal to see the changes coming to South Africa - although they are all
around him. And Hamish is suffering from
terminal spine cancer – about which no further explanation would seem
necessary.
The
heavy handedness of all that symbolism might best be explained by Baitz’
relative youth when he wrote the play and, had he been a bit more subtle, the
play might have been even more effective..
But that is a very minor quibble over what is otherwise a very
stimulating production and one well worth seeing.
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