In “Beyond the Horizon,” currently at the American Century Theater, Eugene O’Neill was playing with ideas that he explored throughout his career. Two themes stand out: The despair associated with an individual not being able to follow his heart’s desire and man’s need to connect with nature.
‘Beyond the Horizon’
| On stage |
| Where: American Century Theater, Gunston Theatre II, 2700 S. Lang St., Arlington |
| When: 8 p.m. Thursday to Saturday; 2:30 p.m. Saturday and Sunday. Through Feb. 12 |
| Info: $27 to $35; 703-998-4555; americancentury.org |
“Beyond the Horizon” begins by envisioning a comfortable, happy family. Two young men, the brothers Andrew and Robert Mayo, are close but very different types. Robert is frail, fond of reading and dreaming of distant places. Sturdy Andrew delights in taking care of the family farm. Both love Ruth Atkins, a young girl who lives nearby.
At the beginning of the play, Robert is about to depart for a world voyage on a ship owned by his uncle. When at the last minute he professes his love for Ruth and she returns his feelings, Robert gives up his dream of sailing and decides to stay home. When Andrew realizes that Ruth will marry Robert, he decides to sail in Robert’s place.
In the A.C.T. production, the personalities of Robert (Joshua Drew) and Andrew (Felipe Cabezas) are neatly drawn and convincing. Their mother (Jane Petkofsky), father (Chuck Young) and uncle (Joe Cronin) are equally credible.
Yet director Kathleen Akerley has divided up the role of Ruth, having her played in three different acts by three different actresses to illustrate Robert’s “perception of Ruth,” as per the director’s notes. At the beginning of the play, Ruth (Ashley DeMain) professes to love Robert; she wants him to remain at home, rather than to go to sea.
By Act II, which takes place three years later, Ruth (Eli Sibley) is a grumpy mother and dissatisfied wife who no longer loves Robert and tells him so. In Act III, Ruth (Amy Quiggins) is a burned-out woman just waiting for Andrew to return. Although all three actresses perform well, the switches in their roles are perplexing rather than enlightening.
There are also a number of vocal and physical oddities imposed on the actors throughout the play, from words spoken aloud to hand gestures. When Andrew is about to leave, for instance, his mother and brother whisper “home” and “judgment” like a mini-Greek chorus. When agitated, Ruth II moves her hand rapidly around her head. These verbal and physical tics clearly exist to indicate emotional distress, but in fact they distract from, rather than enhance, the text.
Still, for all its imperfections, this production beautifully delivers O’Neill’s clear, spare writing illustrating an intense bond between brothers. The set creates an appropriate background for the play: Above a raised platform, seven horizontal hanging panels offer an abstract blue/black mountain design, suggesting the horizon that Robert is always striving to go beyond.
