Ed Meisel
(This article appeared in the February 16-22, 2006 edition of Pulse. Reprinted with permission of Pulse.)
Big ideas are presented in Cocoon Theatre's unique production of this Thornton Wilder classic.
“The Skin of Our Teeth”
Cocoon Theatre, 6384 Mill St., Rhinebeck
Fri. & Sat., Feb. 17, 18, 24, 25, 8 p.m.
Sun., Feb. 19, 26, 3 p.m.
Tickets: $15
845.876.6470
www.cocoontheatre.org
The expression to survive by the skin of one’s teeth finds its origins in the biblical book of Job. Despite many trials, tribulations and physical afflictions, Job manages to retain his faith and loyalty to the same God who seemingly allows these things to happen. This underlying message of faith and survival is what fittingly guides Thornton Wilder’s unique and surrealistic allegory “The Skin of Our Teeth,” currently being offered at the Cocoon Theatre in Rhinebeck.
Written at the time of World War II, “The Skin of Our Teeth” tells the story of the quintessential “Everyman” Mr. Antrobus, as well as his wife, their two children, Henry and Gladys, and their maid, Sabina. By compressing both time and space, the playwright slowly lets us know that this typical American family living in the suburbs of Excelsior, N.J., is in fact the biblical Adam, Eve, Cain and Lilith, as well as a daughter who succeeds Abel. Here, as the archetypes of humanity, we see them simultaneously living a modern suburban existence while fending of the impending Ice Age, caring for pet dinosaurs and woolly mammoths, and inventing the wheel and the alphabet. All of this, of course, is a bit surreal and confusing, especially for what is considered a comedy, so it is not long at all before Wilder reveals his play within a play and the actress playing Sabina/Lilith speaks directly to the audience revealing her identity as yet another character – the actress Miss Fairweather. As Miss Fairweather, she voices to us commiseration as she, too, finds the play very odd and confusing. It is the confused and overwhelmed Miss Fairweather who serves as comical guide and narrator to the audience, pointing out the arrival of particularly poignant moments in this farcical representation of humanity’s ongoing cycles of destruction and survival.
The play jumps through three acts, each featuring its own apocolyptic encounter for humankind. In the first, it is the ice age, the second the Great Flood, and in the third World War; yet, somehow, throughout each, the Antrobus family survives. It is in the final act that we receive Wilder's message of hope through Mr. Antrobus when he picks up his books that have survived the war and states, "All I ask is the chance to build new worlds and God has always given us that. And has given us voices to guide us; and the memory of our mistakes to warn us...We've come a long ways. We've learned. We're learning. And the steps of our journey are marked for us here."
Indeed, written just after the Depression and two World Wars almost back to back, "The Skin of our Teeth" is Wilder's "Love Letter" to the resiliency of the human spirit while poking fun at its weakness.
The Cocoon Theatre does an admirable job of presenting this rather challenging play. Consisting of three acts with two 10-minute intermissions, it is by no means a short play; but considering it is the play that many critics of the time (1943) felt "revolutionized" American theater, it is definitely a play that should be seen at least once. Director Ellen Honig has her players move about the stage efficiently and maintains the dramatic tempo quite well. The set itself, however, seemed at times a bit too cumbersome and lacking in the same efficiency.All of the players showed energy and enthusiasm and were well rehearsed in their characters. There were, however, some definite discrepancies in the caliber of their performances, but mostly because of age and experience. In all, credit must be given for the enthusiasm with which the players attacked this difficult piece.
Ezra San Millan, as Henry, shows significant promise, but of particular note were the near flawless performances of Lorna de Zengotita as Mrs. Antrobus and Marinell Madden as Sabina. Both women moved with ease and confidence in their roles and were a joy to watch. Likewise, Doug Hoffman as Mr. Antrobus gives a strong performance, and Marguerite San Millan as the Fortune Teller is entrancing in her physical confidence on stage.
Ulimately, the cerebral and farcical nature of the play itself remains the true reason to see this production. Wilder's play remains, even to this day, somewhat avant-garde and bears some new poignancy in light of current geo-political events. He tells us that the impending "end of the world" is nothing new and is not something to be feared but fearlessly addressed with innovation, resiliency, and faith.
"The Skin of our Teeth" will continue at the Cocoon Theatre until Feb. 26
As a literal "footnote," be certain to wear clean and respectable socks when you visit the Cocoon Theatre. The theater doubles as a dance floor and so you will be asked to remove your street shoes upon entering to avoid damaging the floor for dancers. The theater graciously provides clean spa slippers to all who attend, but your efforts to impress your date with a night of fine intellectual theater might meet with failure if you were to expose a less than hygienic pair of socks.