Theater Online - New York Theater Reviews

Almost everybody likes a good "ghost story." Shakespeare, a pretty fair judge of what appealed to audiences, pleased both the groundlings and the upper crust by having a few of his characters-Julius Caesar, Banquo and a former king of Denmark, among others--make guest visits to the living after being assigned to what Hamlet characterized as "the undiscovered country."

But those guys just have fleeting appearances and are only a mere shadow of their former selves. Another genre of "ghost story" uses Spiritualism, the principle that spirits can communicate with their loved ones, usually at a séance, through a medium. The belief won a degree of credibility, gained social celebrity and set up profitability for individuals in America and Europe from mid-1800 to the 1920s.

John Chatterton uses facets of the history of the phenomena as a basis for his "Beyond the Veil," which he also directs. Many elements for an intriguing evening of theater involving encounters from the netherworld are present: a mansion in Victorian England, a young gentleman-scientist, a skeptical vicar, and an ingénue accompanied by her mother who promises séances with extraordinary results. The title "Beyond the Veil" also adds a degree of mystery with its multiple meanings. Is it referring to the real veil that is part of the set, the state of departed souls, or a guise used to mask the truth“

The story develops quickly upon the arrival of the medium (Florence) and the mom (Mrs. King) at the home of a natural philosopher (William Royce). With hands being held and lights dimmed, Florence makes a prediction that immediately proves true, thus, motivating Royce to invite the two women to move in so that he can conduct experiments for the sake of obtaining scientific proof. More séances ensue.

Although I had problems with the logic of what was happening on stage (the methodology of the spiritual communications, the lighting variations, and believability within my "suspension of disbelief"), the dramatic piece was somewhat successful. The designer Roi Escudero's contributes a stately set, excellent period costumes and interesting special effects. But more importantly, the actors' performances are what stand out.

James Arden is a believable seeker of truth and discoverer of passion, Naama Kates is appealing as both an innocent Florence and a sometimes scantily clad Trudy (the romantic element), and Nora Armani is a notable guardian, who one can never be quite sure of. Sean Dill as the Vicar and Gregg Lauterbach as Lord Darnley also serve the play well by adding some theological and social commentary to the evening's machinations.