MARK AUERBACH
HARTFORD – The must-have theatre tickets of the year go to Hartford Stage’s world premiere production of Rear Window, the thriller based on the Cornell Woolrich short story which inspired Alfred Hitchcock’s film of the same name. As soon as Kevin Bacon was announced as star, the performances sold out (although some standing room and cancellation tickets may be available). Rumor has it that Rear Window will follow A Gentleman’s Guide to Love and Murder on the road from Hartford Stage to Broadway. Quite frankly, it’s almost Broadway-ready, it’s thrillingly designed and directed, and Alexander Dodge’s phenomenal set design is Tony Award ready.
Keith Reddin’s script is a balanced adaptation of Cornell Woolrich’s story, which is set in New York City in 1947. Hal Jeffries (Kevin Bacon), a one-time hot shot crime reporter, is now housebound because of an accident, and depends on the help of his caregiver, Sam (McKinley Belcher III ). Jeffries is fixated by the activity in the apartment windows he can see from his living room window, and he sees, or imagines he sees, a neighbor (Robert Stanton) murder his wife (Melinda Page Hamilton). He seeks the help of a detective buddy (John Bedford Lloyd). But, since it’s a thriller, and Reddin’s script provides some incredible OMG! moments, I won’t provide any spoilers. You may be tempted to want to watch the Hitchcock movie beforehand, but Reddin’s script has some major differences. Save the movie comparison for later.
Kevin Bacon (Photo by Joan Marcus)
I liked Reddin’s script, and director Darko Tresnjak stages Rear Window at a fast clip, giving the principal actors one playing area, and an ensemble of apartment dwellers a constantly-moving voyeuristic tableau. The direction is brilliant, and Tresnjak has pulled together an equally brilliant design team. Alexander Dodge’s set is astonishing, and the first set change is one of the most thrilling I’ve ever seen at Hartford Stage. Linda Cho’s costumes capture post-War New York, and York Kennedy’s lighting is artistry at its best. Jane Shaw’s sound design and scoring both set the pace and the suspense.
Kevin Bacon’s performance is solid and nuanced, and he makes a nice transition from screen to stage. The nuances don’t always reach the last rows of the house, and with more performances, ought to balance nicely. (The opening night audience’s entrance applause for Bacon, although well-intended, broke the mood for fellow audience members). The principal actors, especially McKinley Belcher III and John Bedford Lloyd are exemplary. The two gentleman play a tough series of scenes as a conflict between an African American man and a racist detective–uncomfortable words and tensions smoothly blended.
Those lucky enough to see Rear Window will experience an excitement that only live theatre can provide. For those who can’t tickets, it’s best to order tickets now for two upcoming Tresnjak productions, Romeo and Juliet, and the world premiere of the musical Anastasia.
Hartford Stage presents Rear Window. Adapted for the stage by Keith Reddin. Based on the story Rear Window by Cornell Woolrich. Directed by Darko Tresnjak. Scenic design by Alexander Dodge. Costume design by Linda Cho. Lighting design by York Kennedy. Sound design by Jane Shaw. Cast: Levin Bacon (Hal Jeffries). McKinley Belcher III (Sam). Melinda Page Hamilton (Mrs. Thorwald/Gloria); John Bedford Lloyd (Boyne) and Robert Stanton (Thorwald). With Erik Bloomquist, Caitlin Harrity, Dan Bender, Roy Donnelly, William Squier, Barbara Gallow, Ashley Croce, Jon Garrity. Through November 15. 2015. Hartford Stage, 50 Church Street, Hartford, CT. . For tickets: 860-527-5151 or www.hartfordstage.org
Mark G. Auerbach studied theatre at American University and the Yale School of Drama. He’s worked for arts organizations and reported on theatre for newspapers and radio.
