After a now-widely known misstep presenting Philadelphia, Here I Come!as an adaptation, Asolo Rep and director Frank Galati bring Brian Friel’s script to the stage in its true, superior form. It’s still the story of Gar O’Donnell and his conflict over emigrating to America. Things come to a head in the last 24 hours before he’s to leave family and friends in Ballybeg, Donegal. (I don’t know the reason for the attempted “streamlined” version, but it missed why he’s bound for Philadelphia and why now. It also cut three acts to two, added some vaudeville-like songs and dancing, presented dining and religious customs strangely and subtracted three characters.)
The same two actors play Public and Private Gar. Christian Conn’s Public Gar is serious, self-deprecating, unsure of himself but maintaining a pleasant facade. He likes his pals but is disconnected from his father S. B., who owns the store they live behind and pays him for work there less than their housekeeper. (Peggy Roeder as Madge Mulhern invites sympathy for her disappointment as a mother-substitute to Gar and relative-substitute to a new baby.)
Private Gar (sprightly Bernard Balbot, forward, likeable though given to too much shouting) voices resentments of everyone and everything in Ballybeg. He heightens Public Gar’s sense of loss of his fiance (Amanda Lynn Mullen’s loving, dutiful Kate Doogan) from lack of financial prospects and inability to convince her father (Mark Konrad’s smug Senator Doogan) of his worth. Private Gar satirizes everyone from S. B. (Douglas Jones, wonderfully inhibited, regretful) to his card-playing buddy Canon O’Byrne (just-right ritualistic Andrew Sellon).
Private Gar even makes fun of Public Gar’s gusty Aunt Lizzy Sweeney (forward Anne-Marie Cusson, doing full justice to the restored role), who’s invited him to emigrate and be her surrogate son. She came recently with husband (agreeable J. Kenneth Campbell) to persuade Gar he was all they lacked in their Philadelphia prosperity that he’d inherit. A prosperous American friend (Sellon again) assured Gar of their message and a waiter’s job in a fine restaurant with chance for advancement.
Despite Public Gar’s unpleasant memories and new commitment, his decision needs constant Private buoying up. He’s affected first as alcoholic Master Boyle (convincing David Breitbarth) comes with goodbyes and recalls Gar’s dead mother (he loved and lost to an older, more prosperous man). When his pub buddies arrive with their stories of good times past, drinking and womanizing, Gar’s torn between loyalty and logic. First and second acts both end with upset Private Gar wondering if Public will change his mind and if his commitment should be pursued. The third is a toss-up right down to the finish.
Asolo Rep’s restored presentation of Brian Friel’s breakthrough play is notable for both artistic and technical work. The large, blue upstage projection of the neighborhood behind the O’Donnell shore and home seems clearer now but still unnecessarily big, if needed at all. There’s little talking through walls or joshing around to liven things. Religious observance is correct. Accents have improved, though most speak like southern Irish. I hope the controversy will attract full audiences to have a most worthwhile experience delivered by Asolo Rep.
