Review: “High” – at the Booth Theatre, New York: April 2011
Matthew Lombardo’s “High” presents, in a tragi-comic context many of the issues surrounding the treatment of addiction; especially when the treatment is provided by members of religious orders. In a too short Broadway run that was prematurely closed, (perhaps because it was a victim of the practice of headlining talent over topic) three actors played out conflicts and dramas that anyone who has attempted to work with troubled youth and addicts would recognise. The added challenges around faith, guilt and forgiveness make for a rich a complex dramatic exploration. These are uncomfortable subjects, coming close to the audience’s own concerns around religion, family, drugs and alcohol; not to forget sexuality.
In the play a Counsellor , Sister Jamison Connelly (Kathleen Turner), is asked to treat a young man Cody Randall (Evan Jonigkeit) who falls outside the usual clientele of the Catholic institution by whom she is employed. Father Michael Delpapp (Stephen Kunken), her priest manager insists that she work with the young man, even though he is aware of some of the personal buttons this might push for Sister Jamie. She has her own demons and has turned to a religious order after difficult life experiences that have made her street wise, with a vocabulary to prove it. He also, has his own reasons for asking her to undertake this work – he has his own family issues that the young man represents, both in himself and as a relative. So, already the stage is set for a complicated three-way relationship where professional boundaries are challenged and breached.
Kathleen Turner plays Sister Jamie with just the right mix of comic bawdiness and the tough empathic confrontation that Cody needs. She has a strong voice that is well suited to the part and she uses it to good effect. The juxtaposition of the nun and the ex-addict makes for a conflicted character that requires a strong presence in both the counselling room and on the stage. She is the central character; a woman who has made vows of Chastity, Poverty and Obedience and who faces internal conflicts that have their origins outside the counselling room, and outside the religious order. She also faces conflicts between the roles of nun and counsellor, with a duty of obedience towards her priest that challenges her professional ethics; and also the conflicts with Cody that are part and parcel of the treatment of troubled and addicted young people.
Evan Jonigkeit’s performance as Cody was balanced and totally credible. He portrayed the tragedy of Cody’s life – its abusive past, confused present and uncertain future in a way that the audience could certainly react to, even if they might not relate to it. At one point he strips off and confronts Sister Jamie with both himself as a sexual young man and a representative of her past demons. Some in the audience might have been uncomfortable at this moment, not that they weren’t warned. But maybe they just came to see a star and not to feel awkward or embarrassed.
I found Stephen Kunken’s performance as Father Michael least sympathetic. He came across as weaker than his role required, partly the writing and partly the performance. Yes, he was placed in a difficult position with Cody, but the depth of his commitment to this remnant of his family did not come across well. He was more the fool than the conflicted priest.
This is a play in which Matthew Lombardo presents professional, ethical and religious dilemmas in ways that are authentic; emotionally, physically and intellectually challenging. I was struck by his thanks, in the Playbill, to his sponsor. Sponsorship is a central feature of twelve-step programmes for addicts and Father Michael’s sponsorship of Cody is a central feature of the play, providing the backdrop to the many traps into which the characters fall.
This play deserves further hearing. Its early demise might say more about its presence on Broadway, with a star performer and people’s consequent expectations that they be entertained and not challenged. I would value being part of a discussion with cast and author, especially after a performance to which interested parties, be they professionals, members of religious orders or addicts (or all three) formed an audience.
Eric Hathaway
EarthSouNZ 