PROOF AS OPPOSED TO DOUBTS
by Marinell Haegelin
Proof raises questions and propagates conversations; it niggles at one’ s conscience long after attending the theatrical performance. The overarching theme in David Auburn’ s 2001 play, winner of the Nobel Prize and Tony Award, is as formidable as the story itself. Proof versus doubt. Auburn addresses issues folks can relate to by tapping into familiar territory: ingrained family patterns and coping mechanisms, romance, inheritance snags, and / or legacy.
PROOF BY DAVID AUBURN IS PLAYING AT THE ENGLISH THEATRE OF HAMBURG
Directed by Cliff Dean
Catherine’ s( Georgiana Casbarra) predawn twentyfifth birthday celebration on the weathered back porch is also about coming to terms with her survivor-doldrum malaise. Dad died a week ago and his funeral is tomorrow, a former grad student is upstairs pouring through Robert’ s notebooks, and she’ s entertaining ghosts. Who’ s crazy here. Born a genius, Robert’ s( Richard Ings) mathematic proofsolving elevated him locally to legendary status. And to misunderstandings, Catherine reminiscently acknowledges, within his family. Hal( Peter Dewhurst), exiting through the kitchen door, surprises Catherine out of her reverie. He’ s been at this for days, sure he’ ll find some final innovative morsel from Robert; bemused— Hal is fully aware of Robert’ s mental decline— Catherine is unable to hide the surliness in her voice. Talking about Robert helps, until she catches Hal leaving with one of his notebooks. Infuriated, Catherine flings accusations as she reports a burglary to the police and Hal skedaddles.
Carrying out a breakfast tray, Claire’ s( Katherine Bristow) polished sophistication starkly contrasts with the utilitarian backyard. As does her sugar-coated grilling of Catherine about the police check early that morning. It’ s a great leadin for proposing that her younger sister move from Chicago to New York City and live with Claire and Mitch, her fiancé. She’ s worried about Catherine’ s sanity, so having her closer would be easier for her. Hal materializes through the side yard gate— he exists!— affable and agreeable, heading upstairs. Undeterred, Claire dominates the ensuing discussion with“ reasonable” commands that Catherine( tries to) resist.
That night, against the backdrop of a boisterous funeral reception, Hal joins Catherine, sexy in a tight sheath of black, on the back porch. She tells him about Claire’ s offer / decision, they reminisce about when they met, revealing their first impressions and then, well, one thing leads to another. The next morning, Catherine gives Hal a key to a desk drawer that sends him dashing inside, just before Claire drags her hungover self out. The sisters are still arguing when Hal returns, excitedly waving a notebook,
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