The Rembrandt, running at Theaterworks Hartford through May 14, begins with a thought many of us have probably had - touching a masterpiece hanging on a hallowed museum gallery wall. Maybe it’s the texture of the paint that fascinates us. Or will this dubious behavior somehow connect us with the past portrayed in the work? In playwright Jessica Dickey’s uneven play, the action of reaching out and making contact with Rembrandt’s “Aristotle Contemplating the Bust of Homer,” is the pretext that drives the plot forward. There are ruminations on the nature of love, connections we make, philosophy, and our own mortality. Much of the dialogue during the four separate scenes come across as forced and their relationship to each other not always clear.
In the first part of the play we are introduced to Henry (Michael Cornelius Chenevert), a former college instructor who has become an administrator at a major art museum. We meet him just as the institution opens for business. He has a brief conversation with the brusque, by-the-book security guard, Jonny (Brandon Espinoza), a friend who is concerned about his well-being since his partner Simon (Michael Bryan French), is dying of cancer. When Jonny departs, a newly hired gallery guard, Dodger (Ephraim Birney), a Millennial with atypical views on his job responsibilities, enters the picture. In addition, a young, would-be art student, Madeline (Amber Reauchean Williams), has come to the museum to copy the masterpiece as part of a class assignment. When Henry leaves, Dodger and Madeline skirmish over views about art, death and the propriety of touching a painting. Enter Henry. More thoughts and musings about fingering the artwork. Enter Jonny. The idea of becoming one with the Rembrandt, much to the horror of Jonny, proves too overwhelming and the other three protagonists do the deed. Blackout and we are transported to the Netherlands of the mid-1600’s and Rembrandt’s home. More musings about art, philosophy and passion, this time with his former servant, now lover Henny (Amber Reauchean Williams) and his son Titus (Ephraim Birney). The connection between the first two scenes is not totally apparent as we view an earthy Rembrandt and his family - regular folks with regular desires and problems.
Next stop ancient Greece where Homer (Michael Bryan French) expounds on his philosophical notions, thereby keeping the slim threads of the play somewhat relevant. The final portion of the show returns to the present as Henry, sitting by the bedside of his dying partner, muses over the long, loving relationship.
While there are moments in The Rembrandt which are heartfelt and make you ponder, primarily, our relationship to art, the 90 minute, intermission-less production feels only sporadically meaningful.
Director Maria Mileaf works had to make each aspect of the show interesting and coherent, but is not always successful.
The cast is game playing multiple roles throughout the show and do so with professionalism and aplomb. Michael Cornelius Chenevert brings a fully rounded portrayal in the dual roles of Henry and Rembrandt. It was entertaining watching him bring forth the contrast of the two characters. Broadway veteran Michael Bryan French, filling in as a last minute replacement for the ailing Bill Buell, offered an admirable performance as Homer and Simon.
Scenic Designer Neil Patel deserves special mention for creating four distinct set pieces for the intimate Theaterworks stage. They went a long way in defining the distinct characteristics of the show.
The Rembrandt, playing at Theaterworks Hartford through May 19. Click here for dates, times and ticket information.
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