Tuscon, Arizona March 30, 2009
11 South 6th Avenue, Downtown Tucson
Director: Sheldon Metz
Cast: Jill Baker (Catherine)
Chris Farishon (Claire)
Jonathan Northover (Hal)
Roberto Guajardo (Robert)
Set Design: Sheldon Metz
No other designers included
"Beowulf Alley's production, directed by Sheldon Metz, doesn't play up Auburn's flashes of humor as effectively as the ATC effort did, but the character interactions are, for the most part, more supple and nuanced."
Tuscon Weekly (James Reel)
"Metz keeps the play's lines of communication as sleek and neat as one of those elegant formulas they talk about incessantly. All four actors move smoothly, making their stage personalities distinct, their thoughts clear. The tables of numbers they love may be multiplying themselves into infinity, but the actors keep their feet firmly planted onstage."
Tuscon Citizen (Chuck Graham)
Broadway Produ
ction
ctionWalter Kerr Theater
Oct 24, 2000 through Jan 5, 2003
Oct 24, 2000 through Jan 5, 2003
Director: Daniel Sullivan
Set Design: Jonh Lee Beatty
Costume Design: Jess Goldstein
Costume Design: Jess Goldstein
Lighting Design: Pat Collins
Sound Design: John Gromada
Cast:
Mary Louise Parker (Catherine)
Larry Bryggman (Robert)
Johanna Day (Claire)
Ben Shenkman (Hal)
''In math there's the idea of a curve that gets closer and closer to being a line,'' he said. ''As it gets closer it's just splitting the difference between itself and the line into smaller and smaller and smaller pieces, but it never quite gets there.''
The New York Times (MERVYN ROTHSTEIN)
"As elegant as the script and performances is Daniel Sullivan's direction which prevents the second act's tendency towards the pat and overly emotional from getting out of hand."
14243 Stuebner Airline Rd.
September 2008
Director: Craig A. Miller
Set & Light Design: Robert Eubanks
Costume Design: Fernando Zamudio
Cast:
Costume Design: Fernando Zamudio
Cast:
Kay Ann Allmand (Catherine)
Ryan Schabach (Hal)
Kim Tobin (Claire)
Jim Salners (Robert)
"Kim Tobin’s Claire pushed the edges of bossiness as the not-as-smart-as-Catherine older sister. Jim Salners (Robert) delivered an understated but moving performance as the dead mathematician. In addition to strong performances by all, it was the chemistry between various pairs that moved the drama along."
Arts Houston (Nancy Wozny)
"They realistically depict the back porch and yard of a somewhat tired looking, two-story home near the campus of the University of Chicago. There are pleasant French doors, hanging plants, wicker chairs, and dreamy lighting filters through the autumn trees that have already lost many of their leaves to the porch and yard."
The People's Critic (DAVID DOW BENTLEY III)
East West Players
Los Angeles California
2–27 February 2005
Directed by Heidi Helen Davis
Producing Artistic Director: Tim Dang
Producing Artistic Director: Tim Dang
Set Design: Victoria Petrovich
Costume Design: Dori Quan
Cast:
Kimiko Gelman (Catherine)
Dom Magwill (Robert)
Joanne Takahashi (Claire)
Joanne Takahashi (Claire)
David J. Lee (Hal)
"The all–AsianAmerican cast embraces this thoroughly Westernpiece, thereby abjuring the reductive images thathave too long exiled minority performers fromchallenging roles that seem to assume the need for so-called nonethnic casting."
http://muse.jhu.edu/journals/theatre_journal/v057/57.4lubin.pdf
http://muse.jhu.edu/journals/theatre_journal/v057/57.4lubin.pdf
Project Muse (CHERYL LUBIN)
"East West Players production of PROOF is an excellent opportunity to show the powerhouse of acting talent in the Asian Pacific American community and that minority actors do not need to be relegated to ethnic roles."
Asian American Theatre Revue (Roger W. Tang)
Donmar Warehouse
London
9 May to 15 June 2002
9 May to 15 June 2002
Director: John Madden
Cast:
Gwyneth Paltrow (Catherine)
Ronald Pickup (Robert)
Sara Stewart (Claire)
Richard Coyle (Hal)
Set Design: Rob Howell
Lighting Design: Paule Constable
"While the characterisation is good and some of the jokes funny, the second half of the play is something of a let down after a really satisfying build up. Everything becomes extremely predictable and the intellectual challenges set in the first half are not lived up to. Immediately before the interval a moment of shocking revelation is excellently delivered. Thereafter, the plotting becomes pedestrian. As we move backwards and forwards in time we learn no more about these potentially interesting characters. "
The British Theatre Guide (Philip Fisher)
"This production, directed by John 'Shakespeare In Love' Madden, for the Donmar's American Imports season, occasionally slips into sentimentality. Making the weathered porch (on which the whole play is set) revolve is a bit of a palaver too."
"This production, directed by John 'Shakespeare In Love' Madden, for the Donmar's American Imports season, occasionally slips into sentimentality. Making the weathered porch (on which the whole play is set) revolve is a bit of a palaver too."
What's on Stage.com (Terri Paddock)
Production Problems Posed by the Text
I think the major problem that the text presents is that in between Acts I and II scenes do not go in chronological order and it can present problem for the audience because they not be able to follow the play and be confused as to where they actually are in the show. When I saw the show for the first time as an audience member I was confused when it came to this part of the show. Jumping around without previous knowledge can be very confusing. I recommend that in the program an outline of scenes and dates in time be listed. Another problem that the text present is flash back scenes. There are flashback scenes with Robert in them and then there is also a present scene that Robert is in as a “ghost” or “memory”. If this is not addressed the audience will not grasp the full show, seeing how Robert visits Catherine after he is deceased and then his actual presence in the flashback scene at the beginning of Act II.
Problems Posed by Our Context
I know that it may come as a surprise given the types of shows and controversy that Sam Houston can create in the town of Huntsville, Texas (a.k.a “Angels in American”, “The Full Monty”) I don’t believe that this production would have the capability to cause an uproar in this town. The only reason that it would not be appropriate for audiences thirteen and under is because of the language. Four letter words are said in the play, but there is no nudity or controversial plot lines. I would think it would be a great production for the high school students of Huntsville to come and see. If I had to rate this play on a movie based scale I would rate it PG-13.
I know that it may come as a surprise given the types of shows and controversy that Sam Houston can create in the town of Huntsville, Texas (a.k.a “Angels in American”, “The Full Monty”) I don’t believe that this production would have the capability to cause an uproar in this town. The only reason that it would not be appropriate for audiences thirteen and under is because of the language. Four letter words are said in the play, but there is no nudity or controversial plot lines. I would think it would be a great production for the high school students of Huntsville to come and see. If I had to rate this play on a movie based scale I would rate it PG-13.
Productions’ Solutions
Lights and costumes were a big help in other productions to help distinguish the flashback scenes and the scenes that did not follow chronological order. With the flashback scene all that really needed to be changed to help show that it was not the present time of the play that is taking place were different costume choices. So productions did use different lights to give it that “flashback” feel. I don’t think that is entirely necessary to alter the lights but this could be a valuable means to help aid the audience. Now for the very first scene in which Robert visits Catherine after he is recently deceased most productions simply used a special (light instrument) to give the audience the feeling that something eerie was taking place.
Critical Response
Out of all of the reviews I read the acting was highly praised and the script was the object being criticized. Several reviews commented that the ending was very predictable and that the second act was “overly dramatic and got out of hand”. So maybe being cautious of that fact would prevent for another production. It has also been described as a let down since the first act of the show builds you up for a great discovery. I think the idea of the script to keep the audience on edge the whole time until the very end of the show is what gives way to the let down at the end. As long as the director is aware of the problem the text presents the show will have a fighting chance to avoid these kinds of critics. I was surprised that not of the textual problems I mentioned above were mentioned in the critiques, the reviews opened my eyes to more problems that can only be diagnosed by actually seeing the show.
Out of all of the reviews I read the acting was highly praised and the script was the object being criticized. Several reviews commented that the ending was very predictable and that the second act was “overly dramatic and got out of hand”. So maybe being cautious of that fact would prevent for another production. It has also been described as a let down since the first act of the show builds you up for a great discovery. I think the idea of the script to keep the audience on edge the whole time until the very end of the show is what gives way to the let down at the end. As long as the director is aware of the problem the text presents the show will have a fighting chance to avoid these kinds of critics. I was surprised that not of the textual problems I mentioned above were mentioned in the critiques, the reviews opened my eyes to more problems that can only be diagnosed by actually seeing the show.
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