(Photo by Lara Goetsch)
The character with the most dialogue in Moisés Kaufman’s “33 Variations” does not utter a single word—Music. Personified in TimeLine Theatre Company’s Chicago premiere production by a stationary pianist, every transition is accompanied by live piano and occasionally the gifted and stoic George Lepauw will underscore a scene. And yet, though purposely placed center stage by director Nick Bowling, the piano lends little to the play outside of informational context.
In the same manner author Dan Brown simplified and manipulated centuries of art history into thriller fodder for “The Da Vinci Code,” so too does playwright Kaufman dumb down music here to achieve his own popular entertainment. However, when the life of the play’s main character revolves around Beethoven and his compositions, forcing the music to the third chair strips away her soul. Not to mention her likability.
Sure, an exemplary, nimble-fingered pianist resides onstage for the entire performance, but the significance of music to the livelihood of Kaufman’s main character, Dr. Katherine Brandt, is never relayed to us on a level more profound than factual. But a real passion for music is the only likable facet of the character. Is there anything more joyous than listening to a passionate person speak with fire about their passion? That is where the human connection is forged. That spark of connection is the missing piece of the puzzle that takes Dr. Brandt from on-the-page character to full-fledged person, despite a mostly powerful portrayal by Janet Ulrich Brooks.
