Between the years 1819 and 1823, while also composing his achingly beautiful Missa Solemnis, Beethoven composed 33 variations on an inconsequential waltz theme by his contemporary – composer/publisher Anton Diabelli. Known as the Diabelli Variations, they were written in the latter part of Beethoven’s life, corresponding to the period when his damaged hearing deteriorated into complete, absolute deafness.
For years, musicologists have wondered and debated why Beethoven became so consumed by Diabelli’s little tune. This scholarly quest is where “33 Variations,” the five-time Tony-nominated play by Moisés Kaufman, picks up the story.
In this new production by the Purple Rose Theatre Company, under the direction of Artistic Director Guy Sanville, we are introduced to the world of Beethoven through an acclaimed musicologist, Dr. Katherine Brandt (Michelle Mountain). She is obsessed with Beethoven’s obsession, and is determined to solve the puzzle of the “33 Variations.”
Two things stand in her way. The key to solving the mystery, if one exists at all, is buried in the vast archival documents of a closely-guarded library in Bonn, Germany. She has secured permission to review these documents and search through Beethoven’s own notes for clues. But the second problem is tougher to solve. Katherine has ALS – Lou Gehrig’s disease – and it’s attacking her system faster than anyone expected.
This remarkable play moves seamlessly between Beethoven’s 19th Century Vienna and the present day. As Beethoven races against failing health and deafness to understand and master the new musical forms he is creating, Katherine races against her disease to make sense of and articulate the truths coming to light through her extensive research.
The past parallels and illuminates the present. Beethoven was cared for by his much abused assistant (and biographer) Anton Schindler (David Bendena). Katherine, who has always been fiercely independant, must learn to allow her daughter Clara (Lauren Knox) to attend to her most rudimentary needs.
In Beethoven’s time, Anton Diabelli enables Beethoven to create his masterful variations – first by pressuring him to undertake and complete them, and ultimately by ensuring that the 33 Variations are published as a complete work. In Katherine’s world, her work is enabled by Dr. Gertrude Ladenburger (Rhiannon Ragland), keeper of the treasured Beethoven archives. Gertrude at first resents Katherine’s presence in her "shrine", but ultimately becomes Katherine’s strongest ally, making her research and publication physically possible.
The seventh character in this story of two worlds is Katherine’s nurse Mike Clark (Michael Brian Ogden), who has fallen in love with Clara and strives to bring healing into the lives of both women. Katherine and Clara have not been close, and the irony that a horrible disease has forced them into a new, intimate proximity, is not lost on either of them. Mike enables them, through simple therapeutic contact, to reconnect on a higher plane.
The beauty of this play lies not only in its intricate symmetry – but also in the unexpected transfiguration of the central characters. Beethoven teaches Katherine to find the grace – the secret gift – hidden in their physical torments. And that wisdom allows Katherine to fulfill her quest.
Guy Sanville’s company seems to have taken their cues from the maestro. Just as Beethoven found and expanded on the essential joy hidden in a simple dance tune, the Purple Rose Theatre actors and designers have created a vital, passionate world from Kaufman’s taut script. Michelle Mountain gives us a character who grows emotionally and spiritually, in indirect proportion to the deterioration of her neurons and worsening muscular atrophy. And Richard McWilliams, as Beethoven, performs the amazing trick of becoming a man we can admire, laugh at and weep for without ever once thinking about that ubiquitous plaster bust in the music room.
Vincent Mountain’s authentic set design – which fills the space with the imposing mass of archived Beethoven documents – is lit with care and restraint by Dana White. Sound design – from the loving compositions unfolding in Beethoven’s head to the ominous sounds of the X-ray machine – are the work of Tom Whalen. Costumes by Suzanne Young trace both Beethoven’s decline and Diabelli’s increasing prosperity. (And we have to say, Beethoven's wig is exactly right.)
Go see this perfect play. You may not know much about Beethoven. You may never have watched a loved one endure a debilitating disease. But if you have ever wondered about the mysteries of love and life and sorrow and joy, you will find this production speaks to you on a personal level.
“33 Variations” enjoys a ten-week engagement at the Purple Rose Theatre Company, closing Saturday, June 1, 2013. Don’t wait. The standing ovation on opening night suggests that tickets could easily sell out. Performances are Wednesdays through Saturdays at 8 p.m. with Wednesday and Saturday matinees at 3 p.m. and Sunday matinees at 2 p.m. Ticket reservations can be made by calling The Purple Rose Theatre Company Box Office at (734) 433-7673 or online at the theatre website.
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