Michael MacKenzie has created a thoughtful drama about a once-wealthy family that has fallen on hard times. Geometry in Venice, a 19th century period piece, is subtle and intelligent and begs reflection long after the curtain has been drawn.
The play is rich with an innuendo that makes the audience's sap rise. The fantastic undoing of this English family living in Venice passes as a charade. Everyone is in such denial... even the tutor assigned to the development of the mind of the Moreen family prodigy, Morgan, continues to mentor his charge despite never being paid for his efforts. The only character not in denial is Henry James, the writer perched at a great height, who at first beguiles the Moreen family and then gently nudges them into their final undoing.
A sophisticated and elegant drama from start to finish, the lighting was playful and the stage design managed to be both minimal and elegant simultaneously. The director, Chris Abraham, had his cast firing on all cylinders. And by the end of the evening I understood why actors are so reluctant to share scenes with children or animals. In his first stage appearance, 12 year-old Elliott Larson stole the show as the young Morgan.
(photo by Randy Cole)