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New Yorkers trying to decide if Seattle 'Cider House Rules' apply there

Wednesday, May 12, 1999

By JEFFREY ERIC JENKINS
SPECIAL TO THE SEATTLE POST-INTELLIGENCER

NEW YORK -- We all know that "you can't go home again." This week, though, the question for some Seattle theater artists is whether or not you can go "on the road."

It's been more than two years since both parts of "The Cider House Rules," based on John Irving's 1985 novel, premiered at the Seattle Rep's Leo K Theatre. Since then there have been text and cast changes, but the rich theatrical core remains.

The current production of "Part 1: Here in St. Cloud's," which opened Thursday at Off Broadway's Atlantic Theater Co., spins a yarn of epic proportions that never lets us forget we are both witnesses to and participants in the action. That participation, though, is an imaginative conjuring at the intersection of performance and reception.

Using a style of literary adaptation honed at Seattle's Book-It Repertory Theatre, collaborators Tom Hulce, Jane Jones and Peter Parnell deliver the intricate story about an abortionist who runs an orphanage and the evolving paternal relationship with one of his charges. Parnell's adaptation cleverly divides Irving's text among the performers, which provides shifting perspectives on the action as we are reminded of the storyteller's presence.

One moment a performer is involved in the action onstage, the next she may comment upon what is happening. These changing perspectives can disorient audiences (and critics) accustomed to kitchen-sink realism and "well-made" plays. For those willing to go along for the ride, though, the Book-It style has certainly pleased audiences in Seattle, Los Angeles and New York.

Covering more than 60 years in three acts (and 3 1/2 hours), "Cider House" demonstrates how a youthful indiscretion by Dr. Larch (Colm Meaney) in the 1880s leads him to a destiny of "doing the Lord's work" (running an orphanage) and "doing the devil's work" (performing abortions). Along the way, one of the boys in Larch's care, Homer (Josh Hamilton), repeatedly returns to the orphanage after bad matches with foster families until the doctor finally ac

cepts that this boy will remain at St. Cloud's.

Homer becomes a kind of big brother to the other kids, reading "David Copperfield" to the boys and "Jane Eyre" to the girls. He even learns some of the healing arts from Dr. Larch. But one of the girls, Melony (Jillian Armenante), doesn't get all dewy-eyed when Homer reads the stories, she has other ideas.

As played by Armenante, who originated the role in Seattle, Melony is a bubbling cauldron of malevolent (and sexual) intent. Obsessed with finding her mother so she can kill her, Melony enlists Homer's help by promising him erotic adventure.

The liveliest scenes feature Melony and Homer romping over the bare stage as they explore an abandoned logging camp. The youngsters hop from chair to chair as if they were rocks in a stream and we can practically see the water rushing past them. The elegant simplicity of John Arnone's set design features a weathered plank wood backdrop with several doors for quick entrances and exits; to one side a stairway rises to another open level that co-directors Hulce

and Jones use for theatrical effect. David Zinn's costumes still serve the production well as historical bench

marks.

While the lively and open-hearted Michael Winters is missed as Dr. Larch in this production, Meaney's raspy voice and distant demeanor add a needed dimension to the doctor's relationship with Homer. The likable, open-faced Hamilton projects a genuine boy-next-door quality that is emotionally affecting. Meanwhile though, it is Armenante who commands our attention onstage. And when she's off, we eagerly await her return.

Armenante's delicious force-of-nature performance drives much of the action in "Cider House," which is ultimately one of the drawbacks of the production. The central relationship between Larch and Homer evolves gently over time with only a few little bumps as things progress. While this gentleness may be true to the novelist's intent, it isn't particularly active or dramatic. But when Melony is on the scene, there is always conflict, if not utter, delirious chaos.

Undoubtedly, this style of theater, whether you call it "Book-It style" or "chamber theater", is not the sort of work for which most American actors are trained or prepared. The 1997 Seattle "Cider House" production is best recalled for the spell cast by the actors as they effortlessly switched from acting in the present to the narrator's omniscient voice and back again. There was a magical, almost ritual essence that made us -- after a marathon performance of both parts done on a Saturday afternoon and evening -- wish for more.

The Atlantic Theater Co. production has yet to reach that point. Clearly though, experience is the best teacher when it comes to this style of work. In addition to the strong performances of the leads, two actors from the original Seattle cast, James Chesnutt and David Wichert, throw themselves headlong into their multiple roles and succeed marvelously.

While there are plans to stage the second part of "Cider House" at the Atlantic, the first part remains the most expensive show the company ever has attempted and its success will affect the sequel's chances.

So far, critics have been kindsome even wrote of looking forward to the second part. The New York Times reviewer, however, decided that the Dickensian references in "Cider House" and the production's adaptive style invited comparison with the 1981 Broadway production of "The Life and Adventures of Nicholas Nickleby." In comparison, he found "Cider House" wanting.

But is it live theater?

Absolutely. Rough edges and all.

"Cider House" plays at the Atlantic Theater Co., 336 W. 20th St., through June 5. Tickets: $39-$45; 212-645-8015.

Jeffrey Eric Jenkins is a New York-based theater correspondent for the P-I. He can be reached at 718-789-5553 or Crritic@compuserve.com

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