Displaying items by tag: Stacy Keach
Alone on Stage an Acclaimed Writer Confronts His Demons in Riveting Hemingway
Stacy Keach storms the stage for one of the best performances ever, as he takes on the role of author Earnest Hemingway in Pamplona at Goodman Theatre.
This world premier at Goodman was originally planned for Spring 2017, but Keach fell ill opening night and the full run was suspended until now. Clearly the delay has only enhanced his delivery, as Keach commands our non-stop attention in this one-act by Jim McGrath.
Set in 1959, we meet Hemingway holed up in a hotel (it would be the Hotel Quintana) in Pamplona, Spain – the site of the famous running of the bulls – faced with writers block as he struggles to finish a 90,000-word piece on bull fighting for Life magazine. Anyone who has been challenged in writing will recognize how playwright Jim McGrath captures those patterns of distraction and stimulation used to release the story.
Hemingway was an accomplished journalist who very well knew how to pound out the words on deadline. But in the lonelier pursuit of making art, it’s a different matter.
Hemingway indeed struggled to complete his first creative works and determined to let the pressure build until the real work came - ultimately yielding a new style if fiction writing, and a model for stylish manliness that American males widely adopted down to his haircut and sweaters.
In Pamplona, Hemingway tries to boost himself by reading aloud his letter thanking the Nobel Prize Committee for the 1954 award he received following publication of The Old Man and the Sea. He plays loud swing and jazz on the radio and phonograph. His back pain distracts him, and he inventories his bottles of prescription drugs, finding the one for pain. He considers taking a drink but stays away, knowing that will lead him astray – he has asked hotel staff not to bring him liquor.
Though Keach works alone on the stage, there are several characters introduced via his phone and sounding through the walls of his room – further distractions from his work. His lawyer calls with the news of taxes due. The hotel desk clerk calls frequently, despite orders that Hemingway not be disturbed, as a guest in the next room repeatedly complains of noise. On one level, the plot of the play revolves around that unseen and unnamed guest. We later learn he had specifically requested the room next to Hemingway. Who is this unseen force messing with Hemingway’s mind?
By injecting this abstraction into the play, McGrath transcends the level of a purely biopic storyline, just as Hemingway did with in his own works: beyond the literal surface of stories about an old fisherman, or a young matador, the characters are encountering their mortality and facing down death.
Keach and McGrath worked together for years on the development of this play, and it seems to embrace the continued scholarship into the forces that shaped and wound Hemingway’s outlook. So that audiences will have enough detail to follow, one-person plays by necessity have the performer delivering all their own background exposition – a requirement that may not always be in keeping with the character.
In this case, McGrath has balanced that demand well, and Keach captures the big blustery and frankly theatrical quality of Hemingway, who was by most accounts this blustery, larger than life figure we see on the stage. Hemingway's monologs of self-deprecation over his failed marriages and his neglect to aid his own ailing father, somehow seem natural, Keach convincingly makes Hemingway sound like he is "thinking aloud." (Keach also won a Golden Globe for playing the role of Hemingway in a 1988 TV mini-series.)
Directed nimbly by Robert Falls, with sets by Kevin Depinet, Pamplona is a chance to see an actor truly in his element and delivering an enthralling performance. It runs through August 19 at the Goodman Theatre, and may be the very best show on stage in Chicago.
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