Sep '03 [Home]

 Other Arts: Theatre

The Three Faces of Sylvia

 Edge
 DR2 Theater
Written and directed by Paul Alexander


 by Sharon Olinka

. . .

The premise here is that Sylvia Plath speaks to us from the other world. She coyly tells the audience she's "not vengeful," but we know better. She relates the facts of her life, sometimes in a very Dickensian way, such as "I was sent to McLean due to my benefactor," and, to paraphrase, "I was an overachiever from Boston. What did I know about spells in Yorkshire?" I can't imagine that anyone would go to this play not knowing a blessed thing about Plath, but if someone does, there's a wealth of meticulously researched information pertaining to her life. [Alexander is the author of a biography of the poet.—Eds.] It's presented chronologically, from childhood on, right up to the ghastly suicide, at age 30, in February, 1963.

As written by Paul Alexander, Plath as a character is acutely self-aware, and obsessed with approval. When she fails her own high standards, punishment—especially self-punishment—is swift and keen. There is a great deal of material in Edge on the subject of her marriage to Ted Hughes, and Hughes, predictably, comes off as a womanizing bastard.

But more is implied in this character of Hughes. He, along with mistress Assia Gutman Weevil, eggs on poor Sylvia to commit suicide all along! They can't wait! And the phantom of Ted Hughes—that word "phantom" is actually used in the play—walks up the stairs to the flat on Fitzroy and stands right by Sylvia as she opens the oven door! A creaky plot device, if there ever was one. Right out of 19th century melodrama. Spirits be damned. Ted and his girlfriend might have hated Sylvia at times and wished her dead, but dragging in the spirit world is a bit cheap.

Despite the creaky plot device, the acting is superb. Angelica Torn is luminous as Sylvia Plath. She gives the part a rare intelligence, compassion, and wit. She wears the same simple but elegant gray dress throughout the two hours of the play (costume design, Gabrielle Hammil), and manages to become a 1950's-style diva. I was reminded, watching Torn, of young Joanne Woodward. Perhaps even Woodward doing Tennessee Williams. And why not? Plath was a Tennessee Williams character; just pick your favorite. And truly, someone should one day mount of a production of Edge in drag.

If the death-by-oven scene veers towards camp, the scene where Plath visits her father's grave is just plain mawkish, without any saving grace of style. The scene, however, where Plath talks to her psychiatrist is riveting due to Angelica Torn's acting skills. [Psychotherapist Elaine Schwager contributes a separate Article on this play.—Eds.]

The best scene in the play is when Plath recalls her early suicide attempt, when she was in college. The pacing is just right. The lighting design, by Joe Levasseur, has a sickening ochre cast to it that reminds me of some of Plath's imagery. A closing-in is simulated, a welcoming. Death seductive, like opened legs. Easeful death. And death as Plath wanted it.

Edge, at the DR2 Theater, 103 E. 15th Street from July 21 to September 20. Written and directed by Paul Alexander, starring Angelica Torn. Tickets:  $40. Tele-Charge: (212) 239-6200.




(1957)