Review-Rabbit Hole (1.27.06)

Rabbit Hole (Friday, 1.27.06)
Biltmore Theatre, New York, NY

By: David Lindsay-Abaire

Starring: Cynthia Nixon (Becca), Mary Catherine Garrison (Izzy), John Slattery (Howie), Tyne Daly (Nat), John Gallagher Jr. (Jason)

There is nothing perhaps so tragic as the loss of a child, particular a young child in an accident. In the aftermath of such a tragedy, how is a child’s parents to cope?

That’s the set-up of David Lindsay-Abaire’s new drama, Rabbit Hole. In this well-crafted play, Lindsay-Abaire refrains from stating the obvious, refrains from composing long speeches, and instead relies on situation and good acting to make his point. The play is filled with some great one-liners, especially coming from Tyne Daly’s Nat, who uses her tremendous comedic timing to great effect.

But the play is also filled with some touching moments, particularly provided by Cynthia Nixon and John Slattery. The play probably works and succeeds because of its ability to avoid being overly wrought or overly dramatic. Though the movie of the week may portray such a tragedy as being played out through a single big dramatic event, in reality, there is no such big drama. Lindsay-Abaire wisely avoids such big moments, satisfied instead with a series of more subdued scenes. There is also no epiphany, no denouement, no moment when everything rights itself. The characters go through a process, and while you sense that there is progress being made, you are never really entirely sure.

The result is also that none of the individual characters stands out either, and in this case, this is a good thing. It makes the play extremely well-balanced and relies on all of its actors and characters to build the story. There is no particular individual who stands out, and in this excellent, cast, no particular actor who stands out. Similarly, there is no weak link.

Cynthia Nixon’s performance is both touching and accessible on an emotional level. She is guarded, to be sure. But if there is a barrier between her and the audience, it is a necessary one. No woman who lost her young son in a tragic accident would ever simply invite outsiders in. Indeed, Nixon has difficulty even inviting her husband, her mother and her wife back into her world, let alone the audience. John Slattery works well with Nixon, pushing her boundaries, while at the same time dealing with his own obvious frustrations.

John Gallagher, Jr. also gives a nice performance as the young man who, by circumstance and through no fault of his own, perpetrates the accident which takes the boy’s life. Gallagher is self-conscious throughout, but yet he feels compelled to reach out. His discomfort makes sense, and it gives Nixon’s character a change to react and respond in a realistic way.Of course, what makes the play work so well -- it’s lack of a big moment -- is also what leaves the audience a little unsatisfied at the end. The drawback of this type of construction is that there is no “pay off” – no single scene which registers that feeling of emotional satisfaction. But then again, the play is so realistic, that it is still satisfying in its own way.