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Three mysteries in one
Hollinger’s “Ghost-Writer” at the Arden (2nd review)
Steve Cohen
Michael Hollinger's Ghost-Writer presents us with three separate mysteries.
One: What was the relationship between the novelist Franklin Woolsey and his secretary? We wonder how justified is the jealousy of Woolsey's wife. And when we see Woolsey once touch his typist's bare forearm, we feel a tingle of sexual excitement. But is it his, or hers, or ours?
Two: How much of Woolsey's posthumous novel recalls what Woolsey dictated to his assistant, and how much of it is her own original creation? Was Woolsey, when alive, the sole author of his works?
Three: How do ideas and words come to any writer?
That's a lot of content packed into a 100-minute play.
The time is the early 20th Century and the setting is the office where the fictional Woolsey dictated his ideas to Myra, a young female assistant whom he hired as his typist. After an esteemed career, Woolsey dies. The typist remains in the office, determined to complete his final novel, while Woolsey's widow seethes with both fury and envy.
Audience as journalist
Myra addresses the audience as if a journalist is interviewing her. Thus Myra (and Hollinger) involves us in the action. This involvement becomes personal when a member of the audience (like me) is, in fact, a journalist. (Myra makes clear her opinion that journalists are not "real writers.") I felt this personal bond most intensely when Woolsey spoke about the solitude and silence that he needed before words began to come.
Myra suspects that we've been sent by Mrs. Woolsey to discredit her. In flashback we see occasions when the wife came to the office to spy on what might be transpiring there. Mrs. Woolsey resents the fact that her husband chooses to spend most of his waking time away from home. And with another woman, alone in a room.
The hint of attraction between Woolsey and Myra is handled with extreme subtlety. The most palpable reference occurs when Myra remembers instances of his touching her arm: "Sometimes he left his hand there while we waited [for ideas] together, and if I was wearing a three-quarter sleeve, as I came to do more and more often, I could feel his pulse through the tips of his fingers. And perhaps he felt mine, too."
Echoes of The King and I
At a penultimate moment, the two come together even more intimately, when Woolsey asks Myra to show him how people dance. The chemistry is similar to the "Shall we dance?" moment between Anna and the King of Siam. Perhaps, in Woolsey's eyes, this was simply a demonstration to help him understand the characters in his novel. But"“ and here's the most intriguing part"“ perhaps he did feel some sexual attraction.
The wealth of these ambiguities enlivens the play.
These mysteries extend to wonderment about whose thoughts we're really hearing. Myra tells us: "One never knows when the words will come. Or how." Is she speaking about her wait to discern what Woolsey intended? Or was it Woolsey, waiting for ideas? Or is it Hollinger the playwright?
Taken as a whole, Ghost-Writer concerns the mysterious process of literary creation. That's quite a monumental task, but Hollinger handles it so well that the drama flows with energy and wit. James Christy directs in an economical, un-fussy manner that keeps the focus on the three players.
And in real life…
The script and direction keep us aware of all three characters, but Ghost-Writer is almost a monologue by Myra. Megan Bellwoar is mesmerizing in the part. This may be the greatest achievement on her already distinguished résumé. Notwithstanding her considerable acting skills, no doubt she plumbs extra layers of meaning because, in real life, she lives with the playwright and thus is aware of the text and sub-text of his story.
Douglas Rees and Patricia Hodges play the Woolsey roles with distinction. The handsome set by David Gordon creates the time period with its telephone, Victrola and typewriter. Charlotte Cloe Fox Wind provides the attractive costumes and the sound of those new inventions is channeled beautifully by Jorge Cousineau.♦
To read another review by Jane Biberman, click here.
One: What was the relationship between the novelist Franklin Woolsey and his secretary? We wonder how justified is the jealousy of Woolsey's wife. And when we see Woolsey once touch his typist's bare forearm, we feel a tingle of sexual excitement. But is it his, or hers, or ours?
Two: How much of Woolsey's posthumous novel recalls what Woolsey dictated to his assistant, and how much of it is her own original creation? Was Woolsey, when alive, the sole author of his works?
Three: How do ideas and words come to any writer?
That's a lot of content packed into a 100-minute play.
The time is the early 20th Century and the setting is the office where the fictional Woolsey dictated his ideas to Myra, a young female assistant whom he hired as his typist. After an esteemed career, Woolsey dies. The typist remains in the office, determined to complete his final novel, while Woolsey's widow seethes with both fury and envy.
Audience as journalist
Myra addresses the audience as if a journalist is interviewing her. Thus Myra (and Hollinger) involves us in the action. This involvement becomes personal when a member of the audience (like me) is, in fact, a journalist. (Myra makes clear her opinion that journalists are not "real writers.") I felt this personal bond most intensely when Woolsey spoke about the solitude and silence that he needed before words began to come.
Myra suspects that we've been sent by Mrs. Woolsey to discredit her. In flashback we see occasions when the wife came to the office to spy on what might be transpiring there. Mrs. Woolsey resents the fact that her husband chooses to spend most of his waking time away from home. And with another woman, alone in a room.
The hint of attraction between Woolsey and Myra is handled with extreme subtlety. The most palpable reference occurs when Myra remembers instances of his touching her arm: "Sometimes he left his hand there while we waited [for ideas] together, and if I was wearing a three-quarter sleeve, as I came to do more and more often, I could feel his pulse through the tips of his fingers. And perhaps he felt mine, too."
Echoes of The King and I
At a penultimate moment, the two come together even more intimately, when Woolsey asks Myra to show him how people dance. The chemistry is similar to the "Shall we dance?" moment between Anna and the King of Siam. Perhaps, in Woolsey's eyes, this was simply a demonstration to help him understand the characters in his novel. But"“ and here's the most intriguing part"“ perhaps he did feel some sexual attraction.
The wealth of these ambiguities enlivens the play.
These mysteries extend to wonderment about whose thoughts we're really hearing. Myra tells us: "One never knows when the words will come. Or how." Is she speaking about her wait to discern what Woolsey intended? Or was it Woolsey, waiting for ideas? Or is it Hollinger the playwright?
Taken as a whole, Ghost-Writer concerns the mysterious process of literary creation. That's quite a monumental task, but Hollinger handles it so well that the drama flows with energy and wit. James Christy directs in an economical, un-fussy manner that keeps the focus on the three players.
And in real life…
The script and direction keep us aware of all three characters, but Ghost-Writer is almost a monologue by Myra. Megan Bellwoar is mesmerizing in the part. This may be the greatest achievement on her already distinguished résumé. Notwithstanding her considerable acting skills, no doubt she plumbs extra layers of meaning because, in real life, she lives with the playwright and thus is aware of the text and sub-text of his story.
Douglas Rees and Patricia Hodges play the Woolsey roles with distinction. The handsome set by David Gordon creates the time period with its telephone, Victrola and typewriter. Charlotte Cloe Fox Wind provides the attractive costumes and the sound of those new inventions is channeled beautifully by Jorge Cousineau.♦
To read another review by Jane Biberman, click here.
What, When, Where
Ghost-Writer. By Michael Hollinger; directed by James J. Christy. Through November 7, 2010 at Arden Theatre Co.’s Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
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