Heather McDonald's one-man play "An Amost Holy Picture" at Roundabout's American Airlines Theatre tests Kevin Bacon's physical stamina and range of emotions much as God tests his character's deep religious faith. Bacon the actor meets the challenge, working the broad stage with only a few props, but occupying the space fully. It is a performance that fills the theatre.
As a minister for a small parish in the Arizona desert, Samuel Gentle is involved in a bus accident in which several children die. It is enough to turn him from the ministry. Unlike the Biblical Job, Gentle rails at God. He becomes a groundskeeper for the church, and in this humbler role, close to nature, he finds solace.
But not for long. His only child, a girl, is born with a rare and disfiguring disease. It is Samuel's lifetime burden, and his relationship with his daughter, that McDonald explores. Poetic images and symbolism (sometimes obscure) abound. For instance, Samuel receives an annual gift from an old colleague of beans, garlic, and salsa verde. Is this meant to symbolize the tenacity of life in the face of tragedy? We can only speculate.
Moreover, "An Almost Holy Picture" is a two-hour narration, a poetic reading rather than drama, and inevitably the story drags. Bacon, however, gets considerable help from Kevin Adams' enthralling lighting, which floods the stage in ever-changing hues, giving one the sense of a full production. Time and place and mood constantly shift as one man's life unfolds.
Bacon appears in a crumpled suit, clumpy shoes, and rimless glasses, giving the impression of an unworldly, vulnerable man--an impression that is borne out in his strong performance.
Yet, despite vivid images, a masterly portrayal, and imaginative lighting, we are left to wonder what it all adds up to. What indeed is McDonald's ultimate message?