The Shadow Cutter- a suggestion of real-life drama that is never realized in this story of obsession
A note in the program explaining that The Shadow Cutter is a fictionalized rendering of magician Dai Vernon’s life and that it is not authorized by his estate or biographers red flags the contents before the show begins.
But the suggestion of real-life drama or intrigue is never realized in this story of obsession. Episodic in nature, this world premiere, as directed and with dramaturgy by Brian Quirt, captures a few interesting moments and encounters — too few — but they do not build into a memorable drama.
The sketchy style of the script leaves a shadowy impression of an unappealing man who patched together a living by cutting out silhouettes, while chasing a pipedream of conquering an elusive card trick — the centre cut — and allowing his marriage and parenting responsibilities to collapse around him. So, while it becomes clear why the estate and biographers have dissociated themselves from The Shadow Cutter, the play does not provide a convincing picture of a whole man. Rather than a warts-and-all portrait, it seems to be little but warts.
Performances by Andy Massingham as Vernon and Brault as his parents, his wife, one of his sons and assorted other characters far outstrip the material. Lighting by Martin Conboy and the red velvet drapes of the set by Beth Kates set the appropriate mood for stage conjuring in the early 20th century. But even excellent acting and technical support cannot make The Shadow Cutter sparkle.
Contrary to Brault’s Blood on the Moon — his first and still his most effective “biographical performance, using real-life histories of extraordinary yet overlooked individuals to explore diverse themes” (part of Sleeping Dog Theatre’s mission statement) — The Shadow Cutter is neither passionate nor enthralling. The playing time of 80 minutes passes slowly.
The Shadow Cutter continues at the Irving Greenberg Theatre to March 27.