Beti Trauth

Beacon Correspondent

Sometimes, when it comes to really good theatre, less is more. That's the appropriate artistic description fitting Arthur Kopit's paradoxical one act play, “Sing To Me Through Open Windows,” recently presented by Sanctuary Stage in a limited two weekend run at The Arcata Playhouse.

But, in this case, I'm referring to the running time of the show itself, not the show's run. And, Kopit's 1959 creation (written when he was a young man studying at Harvard) is indeed an example of an artist being wise beyond his years.

He obviously took-to-heart this sage observation by Lord Polonious in Shakespeare's “Hamlet” that: “Brevity is the soul of wit.” So, when the 20-something Kopit wrote this insightful tale exploring the promise of youth, the inevitability of aging, and the possibility of reincarnation, he kept it both short and bittersweet.

However, in spite of his own age when he wrote it, Kopit seemed to be remarkably in touch with just how a man (in the winter of his years) would feel fearful, but still instinctively be aware that it was time to pass the torch of his life's work on to a worthy apprentice.

In this case, that man is a passe magician named Ottoman Jud who lives in an isolated cottage in the forest with his only constant companion -- a somewhat sinister helper called Loveless -- who always wears white-face and dresses and behaves as a clown. At the top of the show, the audience is startlingly introduced to the initially unseen Ottoman when Loveless uncovers him sitting in his easy chair.

The room has few furnishings, the most important being a trunk (mysteriously lit from within), a clothes rack holding an elaborate cape and costume, and a full-length mirror in which Ottoman peers quite often in dismay as a brutally bright spotlight unmercifully emphasizes his weathered visage and wrinkled hands that he describes as “belonging to a drowned man.”

It's the first day of spring (although Ottoman sadly watches flurries of late snow falling outside of his open window). And, as we soon learn, it's the fifth annual time that the same young (growing older every year) lad, Andrew, appears on Ottoman's doorstep.

He's there again to “visit,” have tea and conversation, and watch the elderly mentor/entertainer always perform the same magic tricks using the same old props he pulls out of his trunk.

The boy appears puzzled as to why he's been driven to return each spring, but this time he feels that (somehow) all will be revealed.

After Loveless insists on doing his pantomime circus routines, the old magician and the young visitor have a “conversation” using small puppet replicas of themselves.

This soon enlightens the audience to the fact that Andrew is indeed this sorcerer's apprentice that the reclusive performer has been (reluctantly) grooming by sharing his magical performance “secrets” on the first day of spring for the past five years.

And now, Kopit's aptly named character Ottoman reflects upon the astute, poignant words of Ottoman the Great: “Fear. Remember that word. You think you know what it means but you never do.”

But now it's time for the fading master to depart and let the newly minted magician, Andrew, take over his legacy and begin the journey again under the watchful eye of Loveless. This omnipresent keeper of secrets who is apparently ageless and will serve Andrew -- and the next boy/magician, and the next and the next.

Sanctuary Stage's director, Dan Stone, said in his program notes that the script is “a dream-like exploration into the loss of childhood magic and life's transitions.”

As an audience, you knew the transition was complete, when Andrew (who has left the cottage) emerges from that mysterious trunk and observes the now-lifeless Ottoman, sitting in his chair, gently covered with a blanket by the loyal Loveless.

This is an apt visual metaphor for the earth that covers a hidden bulb that hides beneath the winter soil to come back to life as a young, vital growing green sprout every spring. “Sing To Me Through Open Windows” is a touching reminder of the cycles of our existence -- and that (no matter your religious beliefs, or not) life can and does go on, and on.

In the Sanctuary Stage production, the always wonderful Bob Wells was never better in meeting the artistic and emotional demands of his role as Ottoman; and Craig Klapman's portrayal of the paradoxical Loveless (is he really the one covertly in charge?) balanced Wells perfectly.

And, although young Zachery Davis was obviously less secure as Andrew, hopefully just being in this challenging production with them will inspire and affect his future performances. Like his character, he too can learn from his on-stage mentors.

As always, including this show, Stone was not only a fine, risk-taking director, but an equally gifted scenic, lighting and costume (and puppet) designers -- as well as the composer/creator of the excellent digital music arrangements that underscored the action.

Congratulations to Sanctuary Stage for constantly searching out and producing some of the most fascinating and seldom-staged works of existing playwrights, while also continuing to create fascinating original scripts to share with Humboldt audiences. If you didn't see their fine “Sing To Me Through Open Windows,” the next time they stage a show (whatever it is) don't miss it!