Faith Healer Reviews — Page 2

I'm so glad this is getting positive reviews. I saw it last night (Wednesday night) and it has been on my mind all day today. Truly mesmerizing, a true testament to the power of words and brilliant delivery by all three actors.

Variety is a Rave:

"As the title character played by Ralph Fiennes in Brian Friel's "Faith Healer" intones the names of dying Welsh villages in the opening monologue, he speaks of "the mesmerism, the sedation of the incantation." Those place names become a hypnotic refrain for all three characters in this haunting drama about art and memory, life and death. In Jonathan Kent's illuminating production, the dark sorcery of language, of recitation and interpretation, powers a challenging play that stubbornly withholds its revelations as it explores the infinite nuances of truth and fabrication.

Friel's play premiered on Broadway in 1979 in a poorly received production starring James Mason that ran a mere 20 performances. Structured as four consecutive monologues from three characters who at no time share the stage, this "Rashomon"-style feat of complex storytelling examines overlapping events from conflicting perspectives. While that approach was audacious for its time, nontraditional narrative has since become more common in mainstream theater. But "Faith Healer" still requires its audience to work -- and is all the more enthralling for it.

In a production designed with meticulous precision, the three characters appear to be conjured by lighting illusionist Mark Henderson out of brooding darkness, hovering between flesh and spirit.

And Kent artfully harnesses the three distinct acting styles of the excellent cast to mirror Friel's multiple takes on the same events. In addition to the treacherous waters of memory, the playwright reflects with searching introspection on the creative process, on the making of art as a transformative release but also as a potential snare plagued by uncertainties of chance, weight and trustworthiness.
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Shifting gears once again from Fiennes' microscopically detailed intensity and Jones' raw emotionalism, McDiarmid gives the production's most astonishing performance, inhabiting colorful raconteur Teddy with more than a hint of Archie Rice. Looking elegantly tatty in his dusty red velvet tux, the winking vaudevillian showman cheerfully gulps beer after beer while reminiscing about his entrepreneurial past, proudly celebrating the talents of Miss Mulato and her Pigeons or Rob Roy, the bagpipe-playing whippet. Like his endorsement of those dubious novelty acts, Teddy seems unconcerned whether Frank's gift is chicanery or genius.

McDiarmid creates a tragicomic figure whose convivially conversational manner makes the cracks in his composure cut deeper. Failing to abide by his own rule of "strictly business," Teddy's love of Frank and Grace, his unrewarded devotion, loss and sorrow are searingly, heartbreakingly rendered.

Ultimately, however, despite the contrasting skills of these fine actors, it's the melancholy beauty of Friel's writing and the measured, cumulative lucidity of Kent's probing production that give this beguiling play its lingering resonance. As Fiennes steps slowly downstage in the final moments, there's a devastating sense of both a character and a playwright offering themselves up for judgment."




http://www.variety.com/review/VE1117930408?categoryid=1265&cs=1

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Updated On: 5/4/06 at 11:23 PM

NY1 is very positive

“Faith Healer” is the theatrical equivalent of spinach; it may not be to everyone's liking, but it certainly is good for you.

Brian Friel's long dramatic monologues require fortitude and patience to sit through. But for those who are willing and able to stick with it, the rewards are great. Beyond the gorgeous writing, there are the three performers who are, to quote one character, fantastic.

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Ralph Fiennes is exceptional in conveying the inner demons of a very complex man, and he subtly brings Francis to vivid life. Yet the faith healer's transcendence at play's end is not fully realized.

Cherry Jones, whose character Grace is supposed to be from Yorkshire, England, sounds awfully American and it's jarring at first. But her talent and commanding presence, particularly at the end, yields a shattering performance.

And finally Ian McDiarmid manages to put it all together in what is likely to be one of the most talked about performances of the year. In his 40 minutes on stage he makes us feel as if we've known Teddy, the philosophizing cockney talent agent, our whole lives. This is truly a tour de force.

I was fortunate enough to be given a copy of the script, which I eagerly dove into once I got home from the theatre, even though it was past midnight. And that in a sense sums up the experience of this remarkable production. Though it's tough to understand and even boring in spots, “The Faith Healer” is impossible to get out of your head.

http://ny1.com/ny1/content/index.jsp?stid=238&aid=59158

Updated On: 5/4/06 at 11:36 PM

So how much is Clive Barnes going to hate this?

Clive falls asleep at every show and three hours of monologues probably put him into a coma.

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I liked this show, but I didn't like it THIS much!

I just don't care for the play. The performances were all great, but, contrary to Brantley, I found Jones to be relevatory.

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Newark Star-Ledger is Mixed:

"Here's a consumer tip: Read the play before going to see it.

Not all of the play. Maybe three-fourths. Save the ending for a surprise.

Friel's rich, lyrical writing offers a very beautiful read.

In performance, director Jonathan Kent's staging doesn't quite get Friel's story over. The production is classy but not especially compelling.

Unless they listen up very, very intently, viewers unfamiliar with this 1979 saga of a sorrowful man of miracles and the two souls who love him may not grasp entirely how it turns out.
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All verbiage and very few visuals, the drama demands that its actors -- without ever interacting -- vibrantly bring to life a string of connected stories that all three characters experience. Much of the sad beauty found within the bleak drama is how Frank, Grace and Teddy differ in their details.

Depicting a convivial fellow, McDiarmid easily connects with viewers. In her follow-up role to the dour nun of "Doubt," Jones' vivid performance as heartbroken Grace is a touching portrait of anguish in an armchair.

Despite the dark glitter in his hooded eyes and a convincing note of pain in his whiskey tenor, Fiennes appears too distant and preoccupied a figure to grab much sympathy. It's an extremely challenging part, and Fiennes doesn't fully land it. (Perhaps he does better on other nights than the Tuesday preview witnessed -- and such is the joy of live theater.)

Although all three actors speak clearly, their monologues are spotted by monotonous passages. Stronger punctuation, perhaps with changes in lighting, might help to bring their subtle stories into sharper focus.

Prepared theatergoers who read the play in advance are likely to have a better time at "Faith Healer" than others who simply sit in the dark and demand to be entertained."

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I saw this last night and really enjoyed it very much, the play as well as the performances. I made it a point not to read it before I went so it would all be new to me.
I thought all 3 actors were wonderful, though I connected least with Cherry Jones overall. There were periods where I just didn't feel anything from her performance, but that was fleeting. And where was her accent?
I see why so many people single out Ian McDiarmid. It was a joy to finally see Ralph Fiennes onstage.

As we were leaving, the young woman in front of me with her husband (not so young) made a comment that she was still trying to figure out what had been going on.
I had a lady at the stage door asked me what had happened to Frank at the end.

Anyone else see kids when they went? I saw 3, roughly 10-12. I was curious how much they followed, if not all of it.

I have been going to plays 30 years ago since I was a child. I no longer go by any critics no matter where they come from. And I do not care if I am in the minority or majority.

FAITH HEALER is a nearly three-hour bore. A pretentious play that is a vehicle for the actors. Although Cherry is good and grim as a wound that cannot heal her lack of accent takes away from the overall perf. The two gentlemen are wonderful. The only positive effect from the play is the chance to watch fine actors do their best with a piece of pretentious drivel.

How about MY FAIR LADY with Fiennes as Higgins? I would like to see Cherry take a crack at PRIME OF MISS JEAN BRODIE if she can handle the accent. If not give it to Miranda Richardson who can do anything. :)

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