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'Blackbird' Grabs Audience By Scruff Of Neck

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KATHY L. GREENBERG

Published: September 12, 2008

There's nothing light and frothy about David Harrower's play ''Blackbird,'' which won the 2007 Laurence Olivier Award for best new play. The subject matter is decidedly unsettling. Nevertheless, it's a fascinating character study that challenges the actors' chops, which is why it's segueing Jobsite Theater's 2008-2009 season.

The story is about two people, Ray and Una, who were once in an abusive relationship. They are separated, but 15 years later Una returns to confront Ray about their past. Without fully disclosing the nature of their association, which would soften the impact that Jobsite intends, it's safe to say the term ''abusive'' sidesteps the actual devastation.

''At its core, it's a love story of sorts,'' said director Karla Hartley. ''[Una's] confused about whether it was abuse or whether he loved her. The play deals with complex emotions and the detritus of that unhealthy relationship.''

''Blackbird'' demands two skilled actors to withstand such emotional intensity. As Ray, Paul Potenza admits he has probably never had a tougher role.

''The degree of difficulty comes from my character believing that he did nothing wrong. He knows he made a mistake but believes it came from a place of love,'' Potenza said.

He added: ''It would be impossible to do this without Caitlin Eason (Una). It's a great partnership.''

Theatergoers may wonder about the intentions behind Harrower's dicey-themed work. His excuse is being from the ''in-yer-face theatre'' genre, a drama movement that emerged in Great Britain in the 1990s. Playwrights of this genre write for the shock value and give audiences permission to feel uncomfortable.

According to the website www.inyerface-theatre.com, it's ''the kind of theatre which grabs the audience by the scruff of the neck and shakes it until it gets its message.''

''Blackbird'' is practically a template of these rules, ripe with abuse, victimization and conflict. But this fact is not meant as a deterrent. Rather, it's an invitation to watch two superb actors wrestle with provocative material and see how they emerge from the wreckage.

''For people who are jazzed about theater, it will really give them pause. I think it will appeal to people who are interested in thinking and in seeing a good performance,'' said Hartley.

Blackbird

WHEN: Sept. 11-28; 8 p.m. Thursday through Saturday, 4 p.m. Sunday
WHERE: Tampa Bay Performing Arts Center, Shimberg Playhouse, 1010 N. MacInnes Place, Tampa
HOW MUCH: $24.50; (813) 222-1001; www.tbpac.org

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