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Theater Review (NYC): Forgotten by Pat Kinevane at the Irish Arts Center

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Every now and then you see something truly unique, and Pat Kinevane's one-man show Forgotten qualifies. A blend of Irish character studies and Japanese Kabuki theater, it is a superb showcase for this exceptionally warm and generous performer. Under the firm direction of Jim Culleton, he casts an effective spell, mingling the sadness of growing old without due respect (all four characters are over 80) with joyful recollections of youth and moments of high grief.

Some segments work better than others; for one thing, the female characters come across more richly than the male. And in spite of a helpful glossary in the program, some of the references to Irish culture and language will elude typical American audiences. Too, the beauty of the Kabuki movements Mr. Kinevane uses to transition between scenes doesn't seem quite enough to explain their existence. But on the whole, this disjunction didn't bother me; the happy temptation is to always give this work the benefit of the doubt, swept up as one is in its imaginative evocations of the lives of these aged survivors.

The insistent music (by Brian Byrne) and sensitive lighting function almost as characters in themselves. So does Mr. Kinevane's heaving, shiny, nearly naked body, painted in black Japanese figures. So does his face, gradually painted into a white mask by one of the characters, the make-up obsessed Eucharia, once scullery-maid to the other female character, Dora. But the real star of the show, besides Mr. Kinevane himself, is his language; he both captures and heightens the thrum and sigh of these folks' speech, from gruff Flor to mild Dora. All live now in separate nursing homes.

Flor sees visions: "Holy Mary is under me bed. She is, under. I saw her last Monday, over there in a long white coat and a blue band on her neck. Snowey skin, and a head of the darkest hair. She was crying like a girl and kept saying she was lonely." Later, Dora recalls the preamble to her youthful affair with man married to a woman perfectly named Petra: "…he positively altered the hue of the spaces about him. Absorbed everything. A piece of chess. Soot hair. Hands unspoiled. Face, flawless. But she teased him down the path of middle age and emptiness. Expertly."

More than a play, it's poetry, and it's an immersive experience. That's no mean trick for one performer to pull off. Forgotten runs through March 7 at the Irish Arts Center in New York, and then returns to Ireland, with further international dates to be announced. For tickets please visit Smarttix or call 212-868-4444.

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About Jon Sobel

Jon Sobel is an Executive Editor of Blogcritics as well as lead editor of the Culture & Society section. As a writer he contributes most often to Culture, where he reviews NYC theater; he also covers interesting music releases. He writes the blog Park Odyssey, for which he is visiting and blogging every park in New York City—over a thousand of them. Through Oren Hope Marketing and Copywriting you can hire him to write or edit whatever marketing or journalistic materials your heart desires. By night he's a working musician: lead singer, songwriter, and bass player for Whisperado, a member of other bands as well, and a sideman.
  • Narukami

    Based upon the description here, (the channeling of different characters by the protagonist, the spare stage setting and make-up/costumes) this sounds more like a fusion of Irish poetry and No theatre, with a little Hoichi thrown in for good measure. Nothing wrong with this in the least, but kabuki may not be the best descriptive for it.

  • http://jonsobel.com/ Jon Sobel

    Thank you for your comment, Narukami. I am in fact no expert on Japanese theater. I relied for my reference on some earlier press materials. You may well be correct.

  • http://irishstagenyc.blogspot.com/ Kate Shea Kennon

    Loved, loved this show. It resonates for a long time. Doing some (probably not enough!) research, it seemed appropriate for Eucharia to put on Kabuki makeup since it signifies aristocracy. In doing so, she was changing place with the aristocratic Dora. Noh does describe some of the other elements. I was so happy to sit on the aisle seat and be touched by the actor. It was a blessing! Thanks for the review.

  • http://jonsobel.com/ Jon Sobel

    Glad you shared my enthusiasm, Kate… and that you did some research I didn’t do. :-)