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PRODIGAL SON Send This Review to a Friend
In the Playbill for “Prodigal Son,” presented by the Manhattan Theatre Club, author John Patrick Shanley, who directs his own play, writes, “It is a true story for the most part. The changes I have made have been to simplify, or to make a point.”
Thus drawing upon his own experiences as a “very troubled youth” at a private school in New Hampshire, he leads his autobiographical character Jim Quinn, given a memorable, deeply felt performance by Timothée Chalamet, through a maze of provocative experiences at the Thomas More Preparatory School in New Hampshire, the setting for the play in the years 1965-1968.
Quinn is bright but troubled, unsure of who he is, but thirsty for becoming a poet, fascinated by books, yet letting his inner anger erupt in bad behavior, including theft, getting into fights and getting drunk. As portrayed dynamically by the remarkable Chalamet, Quinn might make one conclude that he is sorely in need of a psychiatrist.
Will Quinn graduate? It boils down to a decision by the headmaster, Carl Schmitt, perfectly played by Chris McGarry, who has granted this kid from the Bronx without financial means a scholarship. The headmaster is perplexed by Quinn, whose misbehavior is contrary to the religious principles of the school. A tug of war develops as to whether Quinn should be permitted to graduate. Schmitt’s wife, Louise, is sympathetic to the rebellious youth. We subsequently learn of why headmaster Schmitt may have been taking a special interest in the lad.
Another taking particular interest in Quinn is his English teacher, Alan Hoffman, played by Robert Sean Leonard, who becomes a mentor. We later learn of a hidden dimension.
As much as one may admire the acting of Chalamet and others, it is possible to tire of Quinn’s relentless self-exploration, as if there were no one else in the world. True, that may be exactly what a young person unsure of himself may do, but it makes for severely repetitive angst.
Shanley writes and directs realistically for the most part, but the climax turns into free form with all of the characters assembled as they speak their lines. There are also moments when Quinn addresses the audience directly. Although the drama is only 90 minutes without intermission, much has been packed into it In the way of plot threads and revelations, perhaps too much.
Santo Loquasto has designed a setting with the stage framed by birch trees and a miniature of the school at rear center that holds a strange beauty, enhanced by the lighting design of Natasha Katz. None other than Paul Simon has provided original music.
If the play is indeed so autobiographical, one may come away marveling at how Shanley has emerged to succeed as a writer whose works are consistently fascinating. He would appear to have benefitted from those painful school years that he now depicts. At New York City Center Stage 1, 131 West 55th Street. Phone: 212-581-1212. Reviewed February 12, 2016.
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