Harry Clarke--An Intoxicating Solo Performance

By Joseph Cervelli

There is no “Harry Clarke.” The character who is the title of the play by David Cale at the Vineyard is a made up name by the very cunning and eerily scary Philip Brugglestein. Now, you ask who is.... Ok. Let me explain.  Or rather let Philip played by a brilliantly mesmerizing Billy Crudup explain. “Harry Clarke” may be a solo show but in the hands of expert director Leigh Silverman all the various characters that Harry or Philip (take your pick) speaks about comes vividly to life. Philip starts at the beginning as an eight year old boy living in South Bend, Indiana,  who as an inquisitive child is fascinated with British shows. So, he decides to speak constantly with an English accent. It infuriates his macho father who is bewildered by this, and Philip is bullied by his classmates. Why indeed would a child go around calling himself by another name feigning such an accent. A mere phase he is going through? Well, not exactly. 

Philip leaves for New York--no sense staying in the less than enticing South Bend--where he still has the accent although “Harry” does not reappear until he decides on a lark to stalk this man he sees on the street. Harry completely scraps his former self as he goes about following this man by the name of Mark Schmidt. Under the vivid and cinematic style direction of Silverman you could swear that there are more people on that stage than just Crudup. Yet, with the keen timing of both director and especially star he segues into the various people who come alive on the stage alternating between British and American accents. He eventually meets Mark again and they start a friendship finding himself astutely inching his way into this unsuspecting man’s life. If you are thinking of the film “The Talented Mr. Ripley” you would not be far off. Cale has artfully created not only a bewitching character but has made the situations which seem so far reaching very accessible. Here is a man without a job (he does sometimes work as a barista) and no money captivating a family who is quite wealthy. He does so by telling them that he represents the famous British singer Sade whom Mark’s mother adores. There is a very funny scene where Harry leaves a message supposedly on her voicemail. Without giving too much away for there are surprises along they way, you also meet Stephanie, Mark’s sister and hopeful singer. 

It is best for me not to go any further to spoil the delight you will have for this alluring show never quite sure where it is heading evident that Harry is heading into dangerous territory and then just when things seem to come to an end in the friendship he has with Mark there is a change and that concern reappears. 

As good as the storytelling and as vital the direction, this is Crudup’s show all the way. I was trying to go beyond his facade to find some vulnerability in his character. Was he mistreated as a child or was there some trauma in his life other than the death of his mother? But could not find any kind of instability in his family life. Is he mentally unstable or just a deviously clever young man who searches for things he knows he could never achieve on his own? What makes him both charming and somewhat frightening  is how at several times in the play he comes to the front of the stage with just a spotlight on him (evocative lighting by Alan C. Edwards) and a blank canvas on his face sharing some personal anecdotes.

There is a development near the end of the play which I must say I found a bit impractical. Try to overlook that factor for  this is still a very compelling work with a tour de force performance by Crudup.

Tickets at the Vineyard Theater 108 W. 15th Street or by calling 212.353.0303.

PHOTO CREDIT: CAROL ROSEGG