Kinetic Theatre’s ‘Embers’ Sparks Heated Dialogue

Christopher Hampton’s adaptation of a 1942 novel by Hungarian Sandor Marai carries a title that evokes simmering issues which may again erupt into dramatic conflagration. The story, set on a large estate—perhaps, a castle—outside of Vienna, is about two men, once close friends, who meet up after a separation of 41 years. The principal character who has remained living in the castle sets the stage when the curtain rises. In silence, he does three things: hangs up his old Austro-Hungarian military uniform; removes a pistol from his desk to see that it is loaded; and sniffs the edges of a yellow book sealed with a ribbon.

Enter Konrad, the awaited guest and a svelte man the same age as his host. He is greeted cordially and the two men, over glasses of green absinthe, reflect on the day they had last seen each other. Henrik, the host, is excited but weary. He’s been more than patient awaiting this very day, knowing his old friend would eventually return. And, so, the play’s exposition begins, recounting for the audience the events of a single morning—decidedly memorable to both—that for reasons yet unknown led to their separation. Seems at the time Henrik had only recently married, that Henrik and Konrad had gone hunting early that morning, that a majestic stag had appeared from an opening in the woods, that Konrad had loaded his gun, that the deer fled, and, that after the failed hunt, Konrad, too, had fled, not to be seen until this current day, 41 years later. 

Henrik, played deftly by Sam Tsoutsouvas, is an inquisitive man, quick with his words, assured of his memory and careful not to offend his guest with accusations that their long separation was meant to hurt him. Tsoutsouvas is a calm and steady actor, wholly plausible in his embodiment of a war-torn officer, a man who knows the stage, projects his story clearly even in moments of quiet suspense, and yet delivers outrage sizzling with vengeance and dramatic veracity. As Konrad, Jack Wetherall, also an accomplished veteran of the stage, takes the heat, often sitting silently to repel the radiant ire of his counterpart’s rage. These true professionals know the tempo of the conflict they must control, rising and recoiling in fluid sympathy with the story they are charged to unravel.  And, therein lies trouble for this dramatic adaptation of narrative fiction. Very little happens in “real time.” A story unfolds, bits of information and pieces of purpose come together like magnets but which then beget just as many more questions and justifications––excuses and expectations––all of which swirl in the dark, damp air of this old castle-like setting. But that’s about as moving as this play gets. Two old friends come together to retell a tale. This is a staged story that begs the audience to ask, “Why?” Why is this important?  Why is this relevant? Why are we locked in this room? Why does this story take so much exposition for these dramatic characters (and, for that matter, the audience) to get to the  truth?

Christopher Hampton who also translated this post WWII, Hungarian novel is a prolific playwright often given to works staged in Hungary or Poland. He is most famous for writing the play and film script for Les Liaisons Dangereuses or Dangerous Liaisons, respectively.  Hampton is also credited for translating Anton Chekhov’s The Sea Gull from Russian, Yasmina Rezin’s brilliant God of Carnage from French, and for adapting Moliere’s The Misanthrope into The Philanthropist which ran in the West End for more than three years, and also made it to Broadway. Hampton is no slouch; he knows his theatre. 

Add to his credit that, somewhat famously, Jeremy Irons played the role of Henrik in the play’s premiere in London’s West End. That was 2006. Indeed, the role is onerous; Henrik delivers 90% of the dialogue which—another critic might suggest—is thus not dialogue. 

But what of that pistol loaded in the desk drawer? What of the uniform hanging upstage? What words are to be found on the pages of that yellow book? Are these what drive the suspense, and not the actions of the play?  Allow me to paraphrase a maxim attributed to the great playwright Anton Chekhov: If in the first act, a gun is placed on the mantelpiece, it had better be put to use in the second act. Unless, of course, as a much accomplished playwright, you know how to “break the rules.” Patiently, cleverly, perhaps even strategically, Hampton breaks many. Of course, it’s always up to the audience to decide whether the defiance of established norms is pleasing or not.

What is more than just pleasing about Kinetic’s production of Embers is the fantastic lighting for this aged castle. A play preloaded with suspense requires a lot which scenery alone cannot deliver. No pun intended, but the lighting truly overshadows a very pleasing set which requires a “functioning” fireplace, candles, kerosene lamps, and a thunderstorm outside. Much praise is due Andrew Ostrowski for lighting design. The scenic design by Johnmichael Bohach is top notch, too, with a beautiful interior that also exposes the woodland exterior of our setting. As such, Rachel Ferrari-Engel deserves due credit as properties coordinator. And, for more reasons than a thunderstorm “outside,” the sound design by Mark Whitehead plays an important role, delivered with great effect. Costume design by Kimberly Brown is spot on, both for the two men who figuratively must wear their past on their sleeves, but also for a third character, Nini, Henrik’s loyal nanny, played all too briefly by Susie McGregor-Laine. She proves well another old maxim of the theater: There are no small roles, just small actors. Front and center yet critically behind the scenes in this production are Cory F. Goddard, production stage manager, and Nate Jedrzejewski, technical director. Hat’s off to them. 

And a deep bow to Director Andrew Paul who is also the producing artistic director of Kinetic Theatre Company. Clearly, he knows his stuff, too. Just as evidently, he holds a dear affinity for good acting and great actors who can deliver. Indeed, Embers is a play for actors. And this play is but the first staged in Kinetic’s new 2025 season. 

Embers runs through May 25 at Carnegie Stage in, yes, Carnegie, at 25 W. Main Street.

 Photos by Rocky Raco

C. Prentiss Orr is a Pittsburgh-based writer who covers theater and other topics for Entertainment Central. He is the author of the books The Surveyor and the Silversmith and Pittsburgh Born, Pittsburgh Bred.

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