Albany – The play “4000 Miles,” which is at Capital Repertory Theatre in Albany through October 18, is a small, gentle play that is more about the emotions generated by the characters than it is the events of the plot. It’s a warm and compassionate work that is without bells and whistles or powerful climactic moments. Yet it is a work that should linger in the memory for a long time.
Indeed the plot sounds like you might have seen the play before under a different title. An older woman is woken in the middle of the night by her 21 year old grandson. He’s just completing a cross country bike trip and stops at her New York City apartment to say hello. He’s a rather indulged young man who drifts through life. She’s the 91 year old widow of a former American Marxist radical.
You just know these two opposites are going to bond. And over the hour and forty-five minute play (performed without intermission) bond they do.
What saves the work from being a generic play about opposites attracting is that it is not the familiar case of young man helping an older helpless grandmother or grandma sternly lecturing a younger man into accepting responsibility. Though good things do happen to the pair – grandmother rediscovers how to bestow affection and young man becomes more of a man- it occurs in a very natural way – almost by osmosis. This is a story and a relationship that has an honest core.
As played by Eileen Schuyler, Vera is the person you want to be if you reach 91. Though physically limited by age, she is self-reliant and lives an independent life. She has affection for her grandson but is not a pushover. Though at times I wish Schuler would be less tolerant of Leo’s self-absorbed attitude, she shows the woman to be ruled by what she believes is right rather than what people expect from her.
Vera is not a typical grandmother. She’s not a doddering old lady. But as portrayed by Schuyler she is aware of the limits of her mortality and her relationship with her grandson is important to her. Schuyler is terrific in finding the vulnerability in this outspoken woman without making her appear weak.
Despite her need for his company Vera sees Leo’s flaws clearly. Leo has little sense of responsibility. As signaled by his behavior in the first scene, his response to uncomfortable situations is to flee. During the three weeks he shares with Vera he learns to face responsibility, whether it’s with a failing romance, a girl he picks up at a bar, or with a past crisis that lies heavy on his conscience.
A problem with the character is that though Leo is never a disagreeable presence, he is rarely an endearing person. Miles G. Jackson’s greatest accomplishment is that he plays Leo’s indulgent nature and the inertia that consumes the character without becoming a negative presence. Jackson creates that type of person who has just enough positive qualities that you like him despite of his flaws. It’s nice disciplined work.
There are two other women in the play who permit us to see Leo’s growing awareness. Cara O’Brien is his former girlfriend who is reluctant to dismiss him from her life, but sees his aimless behavior as a deal breaker. O’Brien is strong as she creates an uncertain, fragile character who has good instincts.
Caitlin Cisco is almost the comic relief in the show as Amanda, the girl Leo picks up in a bar and brings back to the apartment. She’s a free-spirited wealthy young woman who appears to only want to be a fun-loving person. Cisco is effective at suggesting she is as emotionally needy as is Leo.
Director Stephen Nachamie finds all the subtext in the play and sets a languid pace which gives the situation time to reveal itself. The problem with the approach is all scenes move as the same pace and even with less than a two hour running time some moments appear longer than necessary.
“4000 Miles” offers a quiet reflection on life and has at its core a spirit of hope. Anchored by strong performances and an excellent set and costumes – it is a play you will be glad you experienced.
“4000 miles” at Capital Repertory Theatre. Through October 18. Performances Tuesdays-Sundays. 445-7469 or capitalrep.org
Bob Goepfert is the arts editor for the Troy Record.
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