Emotional Traffic in Port Authority

In the past two years, New York City has become acquainted with the hypnotic language of the Irish playwright, Conor McPherson. His plays Shining City and The Seafarer have both achieved critical success on Broadway and the latest production of his work stands as a testament to the mesmerizing power of storytelling.

In Atlantic Theater Company’s production of Port Authority, the director, Henry Wishcamper, strips away all of the frills and flashy devices that are so often used in theater to grab the audience’s attention. With a bench acting as the only set piece and a walking stick serving as one of the only objects able to be deemed a prop, the actors are simply left with McPherson’s language. Even the sound, designed with brilliant simplicity by Bart Fasbender, appears only as a subtle aid to the stories. Because of the brevity and low decibel of the sound, I was tricked more than once into believing that the speaker had made me imagine certain noises.

As the play begins, three generations of Irishmen enter and sit in silence on the bench until they one by one tentatively step into the light to tell us their stories of longing and loss in revolving monologue. All three actors hold their own on stage and are able to weave their tales with surprising ease and clarity. John Gallagher Jr. portrays the youngest orator, Kevin, who has recently moved out of his childhood home and into a house with three roommates. He develops a deep friendship with his roommate, Claire, and muses about his desire for her to see him as more than a friend. Gallagher’s performance here is beautifully layered with a paradoxical reluctance and eagerness to be heard. He brings a subdued maturity to the youthful role that proves refreshing and compelling.

Brian d’Arcy James goes above and beyond the call of duty as Dermot, a middle-aged self-loathing alcoholic who finds himself doubting his unexpected employment with a powerful money-managing firm. James is able to be both hilarious and heartbreaking as he recalls moments when he has embarrassed himself disastrously. Though Dermot is hardly the most likeable character, James makes it impossible not to feel a mixture of pity and compassion for him.

As Joe, Jim Norton reprises the role that he originated in the 2001 London production of Port Authority. His character is an elderly man who finds himself remembering his wife and pondering the love that might have been with his next-door neighbor. Starring in The Seafarer earlier this season, Norton is no stranger to McPherson’s work. Here, he proves his mastery over the language as his voice effortlessly invokes images of the memories he is conveying. Though he puts on a jolly front, Norton maintains a quiet air of sadness throughout that is thoroughly touching.

While there is no dialogue or even unspoken acknowledgement between characters, McPherson hints that the lives of these three men might be connected. But these links are ultimately superficial and it becomes clear that their truer and deeper connection lies in the feelings of love, worry, and regret that they all harbor but only vocalize to us, the audience. Though some may find ninety minutes of talking with no visual distractions mentally draining, these three performers give us a glimpse into the heart of the common man that is a sight worth seeing.

Directed by Henry Wishcamper, Port Authority opened at Atlantic Theater Company’s Linda Gross Theater on May 21 and runs through June 22. The Linda Gross Theater is located at 336 W. 20th Street. Tickets are $55. Go to www.atlantictheater.org to learn more.