Seven months after the spectacular success of its revival of Peter Shaffer’s “Amadeus,” the Pasadena Playhouse has welcomed director Darko Tresnjak and Tony winner Jefferson Mays back for a production of Friedrich Dürrenmatt’s 1956 absurdist comedy, “The Visit.” Many cast and crew members from the previous hit have returned, creating a dynamic that resembles a resident company. However, while the production is lively, it is likely to prove more polarizing than its predecessor.
Written by the Swiss playwright, the black comedy belongs to the theater of absurdism and fatalism, exploring the inevitable corruption of society, government, and individuals. The story follows Anton Schill, a humble shopkeeper in postwar Europe, whose past returns to haunt him. Despite being billed as the protagonist, Mays plays Anton with restrained passivity, a stark contrast to his charismatic turn as Salieri in “Amadeus.” The actor recently admitted uncertainty about his fit for the role due to its demands, yet he effectively portrays a man who shifts from embodying human kindness to becoming a symbol of depravity.
The true center of gravity, however, is Melinda Page Hamilton’s portrayal of Claire Zachanassian, described as possibly the richest woman in the world. Hamilton brings immense presence and charm to the role, evoking a blend of classic Hollywood allure and darker intentions. From her entrance, she commands attention, delivering barbed banter that masks her sinister motives. Her character arrives with muscle-bound handlers and an empty casket, signaling the vengeance she seeks against Anton, her former lover.
Claire’s plan is revealed early: she offers the impoverished town one billion units of currency to rescue it from economic ruin, on the sole condition that they deliver Anton dead. While the first act provides a rollicking time filled with wit and humor, the drama becomes increasingly predictable once this ultimatum is issued. The reviewer notes that the play’s bleak vision of human venality may feel less transgressive today, as the audience can foresee the townspeople’s swift moral collapse.
Dramatic plausibility is questioned, particularly regarding how quickly the townsfolk abandon their principles. The production references “Invasion of the Body Snatchers,” highlighting the ease with which the community transforms into a mob. While a scene featuring a cleric’s internal debate offers a moment of tension, his quick capitulation reinforces the sense of inevitability rather than suspense.
Director Tresnjak, along with designers Charlotte DeVaux Shields and Alexander Dodge, incorporates surrealist and anachronistic elements to update the setting. Notable choices include the use of sneakers as symbols of complicity, with characters’ colorful footwear revealed through fluorescent lighting, and the inclusion of modern technology such as video screens and disco music. These elements aim to ground the fable in contemporary times, though some transitions may feel jarring.
Among the most unsettling figures are two aging, blind eunuchs played by Jake Levy and Lauren Worsham, who serve Claire and add a horror-tinged atmosphere to the narrative. Despite criticisms of the plot’s predictability and certain dramatic implausibilities, the stellar performances of Mays and Hamilton, combined with inventive staging, ensure that “The Visit” remains a compelling theatrical experience.
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