Love and pain merge in ‘Shadowlands’

Tom Titus

No one ever said life was fair, and author C.S. Lewis probably

realized that more than the average person even before fate played

its cruel trick on him in the 1950s.

Lewis, who gave hope to thousands of youngsters with such works as

“The Chronicles of Narnia,” harbored many theories about romantic

love and the role of Providence in man’s destiny. But practical

experience had been denied him until late in life. Too late, as it

turned out.

When he met American poet Joy Davidman Gresham in 1952, he was

quite along in years, an Oxford don comfortably ensconced in his

well-deserved status among literary figures. The brief relationship

they shared before her untimely death seven years later is depicted

in William Nicholson’s moving drama “Shadowlands.”

As presented at Golden West College, with age-appropriate casting

throughout, “Shadowlands” is an intellectual exercise which gradually

becomes emotionally involving as well. Under Tom Amen’s meticulous

direction, the production burrows its quiet, deliberate way into its

audience’s heart.

The presence of veteran actor Michael Bielitz as Lewis further

validates the production. Bielitz excels as the secure, philosophical

author sharing a calm and regulated existence with his retired major

brother before romance disrupts his life. He projects the love and

pain this relationship has brought with consummate skill.

His civil court marriage to the American writer, at first, is a

matter of convenience, to keep Gresham and her son in England, but

friendship deepens -- as does Gresham’s life-consuming cancer --

until both reach a sort of crescendo and Lewis is left alone to

ponder the fairness of existence.

Brenda Kenworthy enacts the brash, New York-accented Gresham with

a rich, engaging openness that proves intoxicating to the older

Lewis. After virtually easing into her role in the first act,

Kenworthy endows her role with a splendid unconventional presence

during her character’s remission, and life-affirming period.

As Lewis’ retired military officer brother, Bruce Alexander lends

a quiet, affable presence, given his surface differences with

Gresham. John Town send strikes a more flammable spark as one of

Lewis’ comrades who receives a polite dressing down from his

intellectual opponent.

Stephen Silva as a cautious cleric lends strong moral support.

Josh Matheson, JLT Williams and Johnna Stanzione fill a variety of

atmospheric roles, while Brian Bedard is engaging as Gresham’s young

son.

The unit setting, and especially the mood-enhancing lighting, are

finely accomplished by Sigrid Wolf. Robin S. Whitney’s period

costuming and Tim Van Gerven’s almost unobtrusive sound design

contribute nicely to the overall effect.

“Shadowlands” is an intellectual exercise that works its way to

the emotional level in measured doses of moving interpretation. That

it essentially is a true story only enhances its impact.

* TOM TITUS reviews local theater for the Independent.