Imagine waking up tomorrow to learn there were 20 people genetically identical to you roaming the Earth. The Studio Theatre's production of Caryl Churchill's "A Number" left audience members pondering this question, among a wide variety of others.
The thought-provoking plot revolves around Salter, who had his first son cloned in an attempt to get a second chance to raise the child. Life with the clone Bernard has gone smoothly, with Bernard living completely in the dark about his true identity well into adulthood. But Salter's great plan falls to pieces when it is discovered that scientists have created 20 additional Bernard clones, and the first Bernard returns to confront his father and "brother." The plot is revealed through individual conversations between Salter and each of his sons: Bernard One, Bernard Two and another of the clones upon their first meeting.
Over the course of the intense, hour-long production, there are many moments that leave the audience a bit confused. This is mostly because of Churchill's non-linear style, in which characters often finish each other's sentences, and circumvent the actual topics. In addition to this style,the many lies characters tell throughout the play requires close audience attention and careful thinking. If one can manage to actually concentrate on the striking performances of the actors, it is definitely a show worth seeing.
As Salter, Ted van Griethuysen delivers an intense and heart-wrenching performance. He portrays the complex emotions of a father who has made many mistakes. He is selfish but giving, and a liar trying to come clean. Griethuysen does an excellent job with the subtle alterations in personality that occur when Salter is confronting each of his sons.
Tom Story plays the Bernard clones who meet with Salter. Story succeeds at the very difficult task of portraying three entirely different people, who, despite looking exactly the same, have completely different personalities. Bernards One and Two each has his own set of idiosyncrasies and ways of relating to their father. Both Bernards encounter a range of emotions throughout the plot that were expertly portrayed and truly felt. Story also managed a startling contrast playing the third clone, a balanced and easy-going person, as opposed to the two emotionally embroiled Bernards.
The theater is small enough to remain intimate, while large enough to retain the "fourth wall," which gives the audience a degree of separation necessary to process the moral and emotional implications of the play. The relatively simple set design by Debra Booth was right for the production, because along with the direct lighting by Michael Lincoln, it kept the focus on the emotionally charged acting. In between scenes, the lights and sound that accompanied Story's entrance indicated a change in character. These transitions were very well done, and though the first was perplexing, it became logical after the initial character change. The costumes were very basic, with Salter in a pin-stripe suit and suspenders and the Bernards in T-shirts and jeans.
Director Joy Zinoman can be credited with the overall cohesiveness of the acting and design elements, and especially with the great performances of the two actors. Although not for everyone, the show will be relevant to actors, those interested in probing the ethics of science and anyone intrigued by interactions within the family.
For tickets, call (202) 332-3300 or log on to www.studiotheatre.org.
