Probably we all have harbored, at some time or other, a secret desire to be somebody else. That is why stories about individuals who successfully pretend to be who they are not—whether it’s Catfish on TV or The Talented Mr. Ripley in paperback—so often strike chords with people. A tasty new entry in the genre is Harry Clarke, a solo play currently at the Minetta Lane Theatre, where Billy Crudup delivers a memorable performance of devilish charm and admirable skill.
Harry is not Harry to begin with, of course. Our hero’s true identity is Philip Brugglestein, and he is a wimpy nobody who, ever since his miserable boyhood in South Bend, Indiana, has felt more comfortable speaking in a genteel English accent. A modest inheritance takes Philip to New York City to live as a 30-something adult of British origins—and then a stray happenstance causes his inner Harry Clarke to burst forth.
Harry is confident, assertive, and one very smooth talker with a Cockney inflection and a gleaming smile.
Soon Harry swaggers into the well-off world and family of Mark Schmidt, a businessman about Harry’s age. Harry invents a glamorous British background that dazzles them all. Not only does Harry seduce the sexually diffident Mark, he subsequently enjoys flings with both Mark’s mother and sister. Yet the bold persona of Harry keeps coming and going, reverting to wishy-washy Philip, who worries, “I have gotten on to a ride that I cannot get off.”
Eventually, the sociopathic self that lurks within Philip inexorably rises to the fore as Harry schemes to become integral to Mark’s life. Harry’s rehearsals of varying declarations of love to Mark in the mirror mark a key turning point in his dual character. But Mark, prone to substance abuse and self-loathing rages, is scarcely a pushover.
David Cale, the author, has composed and performed numerous award-winning monologue dramas such as Deep in a Dream of You, Smooch Music, and The Redthroats, but the particulars of Harry Clarke demand a younger actor. The piece proves to be a terrific showcase for Crudup, who seamlessly invokes the voices and physicality of more than a dozen singular individuals during the 90-minute production. Crudup is especially sharp in navigating the split-second intersections between mousy Philip and roguish Harry. Those several women whom Crudup portrays are not as believably depicted as the men, but they are relatively minor personas in the scheme of the story. Although handsome Harry is not an admirable fellow, there is no resisting his appeal, thanks to the humor and sympathetic colors that Cale paints into the character and the charm of Crudup’s engaging performance.
Leigh Silverman’s direction of the plainly dressed actor and the production surrounding him is so sheer that it seems nearly invisible. Designer Alexander Dodge simply positions a slightly raked deck, a patio chair, and a table against a sky-blue backdrop. Alan C. Edwards’ lighting supports the story with subtly modulating intensities. Nothing distracts from the performance.
Harry Clarke premiered at the Vineyard Theatre last fall and proved to be such a success that the show has just transferred for a 10-week run at the cozy Minetta Lane, where it seems likely to seduce many a customer.
Harry Clarke opened on March 18, 2018 at the Minetta Lane Theatre and runs through May 13. Tickets and information: harryclarkeplay.com
