by Gretchen Wirges
The Busy World is Hushed, a play about the dynamics of family and faith, is a new production at Tucson’s Invisible Theatre. Hush, written by Keith Bunin, is the story of mother and Episcopal minister, Hannah, her newly appointed assistant Brandt, and Hannah’s son Thomas. Thomas returns home after years of chasing adventure to seek answers in his deceased father’s writing and Bible annotations in the hopes that he can unlock the secrets to his father’s death. The divide between Hannah and her son is palpable and strained from Thomas’ first, energetic entrance.
The story that follows is rife with conflict, passion, pain, and theological debate. We quickly learn about the desperate need for connection that each character seems lacking.
The production was enjoyable, thanks to the talent of the amazing actors carrying the show. But the direction, by guest director Nancy Davis Booth, lacked glaringly in the areas of staging and pacing. The actors’ movement was often very static, cold, and inorganic, which lead to moments of fear, anger, love, or lust that weren’t as believable as I believe they could have been. This was only further stunted by the pacing. The dialogue is fast. Too fast. The spaces between the lines, the words, and the actors are just as important to the storytelling as the lines themselves. And there weren’t many quiet moments of reflection and care that the script begged for.
Before lauding the talented cast, it must be acknowledged that the set and lighting design of the production were on point. The set was perfectly dressed and added a warmth that truly gave you the sense of being in someone’s cherished office and living space. And the lighting added a depth of ambiance and welcomed realism.
Steve Wood’s portrayal of the thoughtful, serious, emotionally shut-off Brandt is charming and yet heart-wrenching. Wood brings a subtle undertone of pain, fear, and longing to this difficult role. The character is struggling with issues surrounding being the caregiver for a gravely-ill father. The audience roots for him. I know I did. Having lost my own father, I was touched by Woods’ deft ability to tap into the love, loss, and even moments of laughter this role required. Watching Woods is always a joy. This is no exception.
The questioning son is played by John Noble. Noble’s ability to find moments of levity with physical humor and responses to the dialogue. The character’s lack of depth on the page likely lead to the lack of depth in the performance. While there were a few weighty moments that allowed Noble to experience more range in emotion, there weren’t enough of these to showcase the obvious talent of this young actor. The moments I didn’t believe him were the fault of the speed of the delivery and the misdirection, not the ability of the actor.
And Cynthia Jeffery. Cynthia. Jeffery. She is a revelation. She is a beam of light. She plays a grounded, gorgeously flesh and bone character. I believed her. I listened to her. I wanted to know more of what she had to say about pain and loss and love. Her acting is sublime. She does something that I swoon for as a director myself, she listens. She leans in to her cast-mates. She leans in to the dialogue. She leans in to the emotions. The only thing that limits her performance is a script that stifles what she, and Hannah, have to say.
Hannah is set up as a scholar, counselor, and mother. Her initial dialogue is strong and confident. But by the end of the play, we hear less and less from her and more and more from her spoiled, angry son. The ending moments where we have an opportunity for reconciliation and for the punctuation of her final thoughts on pain and loss are swallowed up by her male counterpart’s summation. She says nothing of true value on this topic. She defers her pain. She defers her own discoveries about her past and about her future.
The Episcopal church began allowing women to be ordained as ministers in 1974. That’s only 44 years ago. And still women in the church encounter roadblocks to advancement, including bold-faced discrimination. This discrimination is felt by the dismissal of Hannah’s character’s thoughts and theories. It’s felt deeply. When pushed to renounce her faith, deny her studies, and reject everything she believes in to win the love of her insistent son, she shuts down and goes to bed. In my opinion, the playwright was working out his frustration with the church and, likely, his own mother. The vitriol cast on both were not confronted. Bunin intentionally stifled the primary, informed, sole female voice in this piece. And while I left The Busy World is Hushed feeling frustrated by the directing and annoyed with the story, I was excited and thrilled at the way the actors managed to shine through.
The Busy World is Hushed is playing Wednesday to Friday at 7:30 and Saturday and Sunday at 3pm through November 11th. There is an additional evening performance on Saturday Nov 10th, 7:30pm. Tickets are $35, and can be purchased at invisibletheatre.com or by calling 822-9721.