Theater Review: 'The Au Pair Man' at the Raven Playhouse

Sitting in the front row of the in the N0H0 Arts District five minutes before the beginning of , one is struck by the paneling, woodwork, deeply textured chairs and the art on the walls. The ornate drapes and clocks are much like the play that follows: delicate, detailed and daunting.

Starring Virginia Morris (Elizabeth Rogers) as the mysterious and attractive middle-aged Englishwoman of position and wealth and Joe Corgan (Eugene Hartigan) as an ambitious young Irishman, the play concerns Hartigan’s quest for a better life and how that, for better or worse, brings him to the door of Mrs. Rogers, from whom he accepts the offer to be the family Au Pair Man.

What ensues is an ominous dance of wits, wills, philosophies and courtly manners that leads to the question: how much of your soul are you willing to give up for material gain?

As directed by Joe Praml, this dance in the devil’s disco speaks as much to the attitudes between England and Ireland as to that between men and women and older and younger people.

Leonard is astute at dramatizing and heightening the tensions, the very tight lassos, between frustrated, lonely and bitter characters. Nowhere is that more effectively done here than in the second act where Rogers tortures Hartigan by using his nickname from childhood. Indeed, Leonard is not afraid to examine the shadows of the human heart. Like it or not, he dissects, examines, and often manipulates, each pinch and pop to its fullest extent.        

Truly, Rogers’ emotional, spiritual and sexual seduction of Hartigan is an unforgettable feat by an actress whose presence, serenity and sense of humor rules the stage. Her act within an act toys with Hartigan as a cat would a mouse. She plays his every violin string until he descends into madness.

Morris, in feel, rhythm and cadence, is a supremely gifted actress who this critic hopes will make more appearances on the marquees of N0H0’s Arts District. She could easily be acting on Broadway or London’s West End.

Corgan is also a great find. His innocence, playfullness and passion come across as strongly as a brick through a window. There are few actors more suited for this role. Hopefully, he, as well, will be seen performing at more theatres in North Hollywood.

Praml’s direction is intelligent and even. It is unswayed by the emotions and spirits of the piece, yet therefore brilliantly brings them out.

Set designer Richard Scully, costume designer Maro Parian, lighting designer Peter Strauss, sound designer Dennis James Willis and composer Dave Miech add to the tenor and bite of the play, which is set in 1968.

was founded and incorporated under the guidance of Brian Heron in 1985. Heron championed the language and culture of not only the Celtic diaspora, but other indigenous nations whose way of life is threatened with systematic obliteration. Heron passed away in March.

In the end, The Au Pair Man, though it bears some striking resemblances to Edward Albee’s Who’s Afraid of Virginia Woolf?, is not the most uplifting of plays, but nowhere is it written that it has to be. What it is is a not-to-be-missed  multi-layered study of the human condition complete with foibles, failures and faux pas.

Fri. & Sat. at 8 p.m. Sun. at 7 p.m.

The Raven Playhouse, 5233 Lankershim Blvd., North Hollywood, CA 91601

(818) 760-8322