NEW YORK—Back in the early ’60s, the Broadway production of Brendan Behan’s “The Hostage” was a major hit with critics and audiences alike. Simultaneously, however, Behan had hit the skids. Battling inner and outer demons, the gifted writer was literally fighting for his life.
In “Brendan at the Chelsea,” Behan’s niece Janet Behan has created a paean to her beloved uncle, disclosing warts and all. The production, imported to New York’s Acorn Theatre in its entirety by Belfast’s Lyric Theatre, stars and is directed by Adrian Dunbar, who gives a knockout performance.
Forced to leave New York’s swankier Algonquin Hotel because of his uncivil behavior, Brendan has taken up residence in the less attractive Chelsea Hotel. But it’s not that bad a choice, for in this bohemian environment, he counts as one of his neighbors playwright Arthur Miller (only mentioned in the play).
The bottle is Brendan’s constant companion; alcoholism is obviously his ruination, and he’s only about 40 in 1963 when the play is set.
Furthermore, liquor has paved the way to painful diabetes, and he is fortunate to have the sometime presence of a neighbor, attractive dancer Liane (Samantha Pearl), who performs errands for him and sees that he takes his medicine.
Another friendly visitor is a composer, George (Richard Orr), who tries to lift Brendan’s spirits.
A plus in Brendan’s situation is that he loves New York. His own Dublin has lost its appeal for him; he no longer feels welcome there. But New York is “a rich, juicy raisin … you could never feel lonely or afraid in [this] most astonishing, fabulous place.”
Too bad then, that among several demons plaguing him are the frequent phone calls from his publisher. Brendan, behind schedule on his deadline for a novel he has promised, makes repeated empty promises. Furthermore, Brendan confides in George that he can’t return the advance he’s received because he’s already spent the money.
Adding to Brendan’s emotional pain are the women in his life. He is married to Beatrice (Pauline Hutton), who is momentarily on her way to him from Ireland. Her imminent arrival is not something our hero anticipates with joy. He’s anxious because they always seem to be fighting, although Beatrice must love him because she keeps coming back for more.
To add to the complicated mix, another female has urgent designs on him. It’s his girlfriend Suzanne (not seen in the play), who has borne a child for him. What to do? Both happily and unfortunately (he had not much longer to live), the bottle seems to hold forgetfulness.
Janet Behan’s familiarity with her subject undoubtedly helped create this rich, full portrait. The writing is good and the play is full of humor, which helps soften the sometimes dark content.
Of course, Brendan Behan was a lusty, vibrant personality, and actor Adrian Dunbar fills the bill. His large persona and mellifluous Irish lilt keep up the interest.
The other players supply excellent support, particularly Pauline Hutton, as well as Samantha Pearl, Richard Orr, and Chris Robinson.
The creative team of lighting designer James McFetridge and set and costume designer Stuart Marshall round out the entertaining and enlightening entity that is “Brendan at the Chelsea.”
“Brendan at the Chelsea”
Acorn Theatre
410 West 42nd Street
Tickets: 212-239-6200 or visit Telecharge.com
Running Time: 2 hours, 20 minutes
Closes: Oct. 6th
Diana Barth writes and publishes New Millennium, an arts publication that features theater, film, art, and more. For information: [email protected].
