By Annette Hinkle
Have you ever watched a chamber music performance and wonder what lies beyond the music? What really goes on behind the calm countenance, the peaceful interludes and perfect synchronicity of a group of classically trained musicians? If the characters in “Dissonance” are any measure of reality, the answer is a lot of angst.
“Dissonance” is the nickname of one of Mozart’s most famous string quartets, so named for its unusual lack of harmony in some passages. It is also an apt title for Damian Lanigan’s truly enjoyable little comedy about a dysfunctional group of musicians which is now having its New York premier on the Bay Street Theatre stage in Sag Harbor.
Set in Manhattan, the play, which is directed by Lonny Price, opens with a rehearsal of the James Bradley Quartet as its members prepare for an upcoming concert at Carnegie Hall. James (Daniel Gerroll), a past his prime violinist for whom the quartet is named, is the group’s incontrovertible leader. A quintessential Brit with a scathing tone and sardonic wit, James attempts keeps his fellow musicians in line by making sure they toe his.
Backing him up in the quartet are two of former music students, the quiet and lovely cellist Beth (Rosie Benton), and his fiery second violinist, Hal (Morgan Spector) who in a struggle for control goes head to head with James by questioning his every decision from tempo to music selection. Rounding out the quartet is James’ long suffering brother, Paul (Robert Stanton), a viola player who bears the brunt of his brother’s tirades and attempts to keep the peace. Paul, played by Stanton with subtle perfection, constantly reassures James by stroking his ego after his rows with Hal — this despite James’ endless degradation of Paul through a parade of lame jokes about viola players and their shortcomings.
James is clearly driving this bus (it is after all, a quartet that bears his name). Having returned to New York after time abroad, he seems to have a chip on his shoulder about America in general and, well, everything in particular, which is what makes him so quintessentially British. Gerroll is ideal for this role, and understands his character well. His ribbing seems good natured on the surface — complaints are pointed, cutting, politically incorrect and sarcastic — but as they roll unceasingly on, we become aware of a fragility just below the surface.
Dissonance is in fact what rocks James world, and it comes via Hal who is hoping to shake up James’ tyrannical hold over the group by suggesting ways in which to give other members of the quartet a say in the decision making process. Spector does a fine job in the role of Hal, the player with a temperament to be the catalyst for change. He is instrumental in keeping the play from becoming a static piece of theater. Rocking the musical boat even further is Beth who accepts an absurdly exorbitant hourly rate to tutor Jonny (Gregory Wooddell), a one named rock star keen on learning about classical music. After a ridiculously successful career as a superstar in a mega rock band, the über- wealthy Jonny has decided to go solo and for his next album, wants to include classical elements and truly understand them.
It’s clear in their first tutoring session that Beth and Jonny come from opposite ends of the world, and each professes a profound (some would say unbelievable) ignorance of the other’s genre and lifestyle. Jonny is astounded to have actually met a woman who doesn’t know him or his music (which he counts as a good thing given its quality). In a somewhat predictable twist, the two quickly realize that despite their distinctly different backgrounds, they have much in common — namely a love for the beauty of music that moves them. Soon that affection is, naturally, directed toward one another.
Though Wooddell is obviously comfortable playing the rock star and Jonny is loads of fun to watch, Lanigan’s script confines him to a rather stereotypical version of what we imagine a rock star to be. He never quite allows Jonny to develop the nuances and subtleties of a multi-dimensional character who takes us beyond the expected. The opposites attract theme is sweet, and Benton offers a lovely girl next door quality to the relationship, but it comes off as a little one note. As a result, Jonny’s enthused musings about newly discovered classical tunes strike us as being somewhat disingenuous and we can’t help but wonder if it might be a clever pickup ruse — this is, after all, a guy who’s known thousands of groupies in his career and Beth, we can see, is blissfully ignorant to the darker side of rock and roll and its makers.
But all that aside, this play is really at it’s best in Act II, when the various maneuverings and jealousies come to a head, and that which has been suppressed starts to ooze to the surface. Director Price guides us through the musical interludes seamlessly and with deft skill. A cleverly rotating set by designer James Noone compliments the direction by transitioning us smoothly from stress-filled rehearsal space to decadent rock star den in seconds.
The decomposition of the quartet begins in earnest when Beth asks to bring Jonny to a rehearsal, but the real catalyst is Hal who lets James know that he has invited his aged former mentor to the concert. But rather than driving James to strive for perfection, Hal’s news puts him in turmoil. It seems a cruel comment made by this musical genius when James was young has left a scar, despite, Paul reminds him, the great accolades James has received throughout his long career.
The recognition of beauty and the way in which old habits interfere in grasping it is at the core of this play and despite his own questionable talent as a real musician, Jonny’s emotional reactions to Beth’s classical numbers speak volumes to gut instinct and heart. James, on the other hand, is a talented violinist who has been so crippled by self doubt most of his life he is unable to offer a fresh perspective on the music.
And though Hal’s intentions to loosen up the quartet are aimed at taking the group to a new level of openness, it becomes clear that when it comes to string quartets, honesty isn’t always the best policy. In the end, can James rise above an offhand remark made by a half dead musician or will he cast the same curse on the next generation?
For it’s the definition of success that poses the most interesting conundrum in “Dissonance.” Greatly desired, feverishly pursued and frequently feared when it’s found, success, it seems, is most often bestowed on those least deserving of its attentions. James, for all his musical ability, has in many ways made himself a likely candidate for success exactly because of his boorish attitude. But it is the demons within, not without, who ultimately decide whether any of us succeed beyond expectations or fail miserably.
It’s an interesting debate and with “Dissonance” Bay Street has gotten off to a lyrical start in what we expect will be a most intriguing summer season.
Damian Lanigan’s “Dissonance” runs through June 27 at Bay Street Theatre, Long Wharf, Sag Harbor. Tickets are $55 to $65. Call the box office at 725-9500 to reserve.
Top: Rosie Benton as Beth, the cellist, and Gregory Wooddell as Jonny, the rock star, in "Dissonance." Gary Mamay Photo.
