A Two-Actor, One-Act Piece with Strong Portrayals and Amazing Lighting
Having different formats of work coincide is one of the highlights of my existence. So, I was glad to see this play was opening in parallel with reading the book “La ridícula idea de no volver a verte” (The Ridiculous Idea of Not Seeing You Again) by Spanish author Rosa Montero in which she dives into Marie Curie’s life through the diary she wrote after her husband Pierre’s death. I learned about the Nobel Prize-winning Marie in school; she won in Chemistry for discovering the elements radium and polonium. Montero’s book gave me a new perspective. It helped a great deal for Lauren Gunderson’s play The Half-Life of Marie Curie, which plot takes place around four years after Pierre’s death where Marie (Rachael VanWormer) is having an affair with Paul Langevin, a former student of Pierre. Their love letters are leaked to the press, and Curie is ostracized, overshadowing all her achievements by her relationship with this man. Her friend and colleague Hertha Ayrton (Leigh Scarritt), an electromechanical engineer, invites Marie to her British coast home to escape all the noise and relax. Marie, aside from the sadness all this gossip has caused, is also deteriorated and weak due to her exposure to radium. Hertha is sure of it, but Marie disagrees.
Directed by Kym Pappas, the play glides smoothly for almost 90 minutes. Pappas has that ability where the script just translates organically onto the boards. Leigh Scarritt is on her NVA stage debut and back on the stage, period! And what a comeback, embodying Ayrton’s strong will with great delivery and hilarious comedy. Leigh was a delight and gave the audience a charming Hertha, having a great rapport with Rachael VanWormer as Curie. Rachael goes deep into her characters. Marie was no exception, with an intense portrayal that would go from surrendering to the depression and sadness to enjoying her friend and the ocean. VanWormer also displays great physical ability throughout the stage. I even noticed grippie socks on her, which made it more exciting as it gave me a glimpse of part of the method. The time of this piece is in the early 1900s. Claire Peterson´s costume design embraced the period with long-fitted skirts, button-up booties, and blouses accentuated with lengthy coats.
Curtis Mueller’s lighting and Carter Vickers as the assistant scenic Designer are extraordinary. Punctually contouring the actresses during their monologues alternating with radium green for Marie in her moments with the chemical element. Another scene will not be spoiled but is well “illustrated” with shadows and wavy projections. I appreciated how Christopher Scott Murillo included a couple of short stairways in his stage design, giving the frame depth and making it dynamic for the audience. Hertha’s beach home has two back doors that lead to the water, and that, too, gave play to the show, with Rachael opening the doors to Harper Justus’s sound design that gave waves, seagulls, and air. Justus also incorporated a sound for radium, which paced some of the lines, providing momentum.
Kim Strassburger worked on the dramaturgy for this play, which definitely was reflected. This is the first time I have seen a production of it, and there were several Marie and Pierre Curie facts like their daughters, the relationship with Hertha, her work, and even Albert Einstein.
Some people do not even know about Marie Curie, so we have theatre doing justice once more. And this New Village Arts production is definitely fitting.
Currently playing until February 23. For ticket prices and performance times, please click HERE.
Remember, treating yourself to theatre doesn’t have to break the bank. There’s always a way to find great seats at a price that works for any budget.
