The Rice Thresher (Houston, Tex.), Vol. 57, No. 20, Ed. 1 Thursday, February 26, 1970 Page: 4 of 6
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Manifold scene changes---
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(Continued from Page 1)
tually to find his salvation—by
discovering1 the Christ within
him that can bear humiliation,
pain, and ultimately death ra-
ther than betray his commit-
ment to God by confessing con-
course with the devil.
Out of this immensely chal-
lenging, and sometimes confus-
ing, drama the Rice Players
have shaped their own impres-
sive work of art, always inter-
esting if not always perfectly
successful. With great skill di-
rector Neil Havens and his cast
have conquered the technical
difficulties of the play. Mani-
fold scene changes, handled in
a manner not unlike that of
cross-cutting in contemporary
movies, are executed with a
swiftness and precision that
make the potentially confusing
plot and action of the drama
fully comprehensible.
A paradigm
At times, too, there are in-
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novative directorial changes in
the script. At the beginning of
Act II, when Grandier and
Phillipe are carrying out their
private marriage ceremony, dim
light falls on a Sewerman who
watches the lovers from an ele-
vated position. Here, we see, is
a paradigm for the lover's posi-
tion in the play as a whole:
forced by 'fear into dark cor-
ners, they are observed by one
who sees human love only as the
satisfaction of elemental bodily
functions—comfort in his wife's
conduit is the Sewerman's de-
scription of love at the begin-
ning of the first act.
The meaning of this paradigm
is underscored by the subse-
quent conversation between
Grandier and the Sewerman
when we hear the Sewerman's
pragmatically reductive vision
of religion: his "savior" is a
caged bird which, in testing the
poisonous gases that periodi-
cally settle in the sewer pipes,
dies so that he may live. In a
world which sees the blood of
life as "mere plumbing," love
as comfort in a conduit, and the
savior as an animal to smell out
poison gases, the man who
searches after the ontological
meaning of being a "man"—■
the word echoes incessantly
throughout the play—is dan-
gerous. He threatens the sim-
plistic answers upon which the
security of the established
church and state depend. And
so he is ultimately destroyed
by the Establishment, each of
whose constituent parts wants
to destroy Grandier for differ-
ent reasons.
Solipsistic asceticism
Sister Jeanne, Prioress of St.
Ursula's convent, wihose mind
and sexual instincts are as
twisted as her hump-backed
body, desires revenge because
Grandier has rejected her hid-
den offer of love, in refusing
the position of Spiritual Direc-
tor of the convent. Father Barre
is jealous of Grandier's success
in attracting large congrega-
tions. Mannoury and Adam,,
town surgeon and chemist, envy
his success with women and his
social mobility. Cardinal Riche-
lieu fears the power that Gran-
dier gives to embattled French
townsmen, threatening his idea
of the importance of strong
central government. And the
Bishop of Poitiers hates the
sensuousness of Grandier's life
which offers an alternative to
the wizened old Bishop's solip-
sistic asceticism.
The acting in this production
is of generally high caliber, and
Becky Bonar and Charles Tan-
ner are particularly to be com-
mended for their interpretation
of two very difficult leading
roles, roles which sometimes
seem to call for a range far
beyond that of even the most
accomplished college actor. It
is in the less demanding roles,
though, where some of the
Players, notably Mike Stevens,
Scott Perry, Doug Killgore, and
Donald Bayne, achieve almost
spectacular success.
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page 4—the rice threstygr, february 26, 1970
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Murray, Jack. The Rice Thresher (Houston, Tex.), Vol. 57, No. 20, Ed. 1 Thursday, February 26, 1970, newspaper, February 26, 1970; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245077/m1/4/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.