Peter Parnell's dramatization of John Irving's staggering novel is a monumental undertaking. Originating as 500 pages of written text, descriptions, inner monologues, thoughts, and secret longings, The Cider House Rules relates the social climate in rural Maine and its effect on a cross-section of people who inhabit the area from the 1890s through 1960. The results of Parnell's efforts are two full-length plays of epic proportions. The story takes place first in the enclosed environment of St. Cloud's Orphanage/Hospital and then out into the unknown world. But Parnell's adaptation is only the beginning. To turn Irving's poetic narration into an interwoven tapestry of live action requires 19 performers, who play multiple characters in daily struggle for survival. This transformation depends on seasoned actors who are so passionate about the project that they throw their hearts and souls into it. Enter the California Repertory Company, under the direction of Joanne Gordon. Guided by her vision, a flawless ensemble makes Irving's penetrating words come to life.
Even before Part I begins, the audience sits captivated by the sight of a woman giving birth on Danila Korogodsky's stunning set -- complete with symbolic birthing pool, apple tree branches, and an overhead cider press -- illuminated by Nick Solyom's dramatic lighting, enhanced by Justus Matthews' clarinet and Colin Pierson's cello. Cider House is an adult drama that asks adult questions about life and death. Spanning eight decades, it tells the story of Dr. Wilbur Larch, who founded St. Cloud's, and the complex father/son/ teacher relationship that develops between him and Homer Wells, one of the deserted orphans left in his charge. Both leads are astonishing: Richard Holden in his understated, controlled portrayal of the dedicated doctor; and Gavin Hawk in his performance as the young boy who survives three disastrous placements, returns to the orphanage, shows an aptitude for medicine, and follows in the doctor's footsteps. But Homer's real education begins when he discovers Dr. Larch is an abortionist.
Without guilt or moral judgment, Larch delivers babies or aborts them -- whichever is required when his patients' lives are at stake. Because much of Part I takes place during the Depression, destitute young prostitutes and victims of rape or incest come to him for help. Each actor plays myriad parts in this dark tapestry of life. With split-second timing they rush from one role to another, portraying the orphans, nurses, townspeople, and misfits that live around St. Cloud's. Kudos to everyone, especially Zoe Saba as Melony and Maria Mayenzet as Nurse Edna. At the end of Part I, a beautiful young couple motor in to the hospital because Candy (Marjo-Riikka Makela) is "in trouble." After her dilemma is resolved, her boyfriend Wally (Mark Piatelli) invites Homer to come away with them and spend a few days visiting his father's apple orchards. Like his namesake in ancient Greece, the naïve, inexperienced Homer leaves the safe environment of St. Cloud's and ventures forth into the vast unknown.
Part II revolves around Homer's painful adventures. Piatelli and Makela are superb as the idealistic young couple who accept Homer with open arms. As his visit lengthens into months, he falls in love with Candy and she with him, though she still remains in love with Wally. That makes Homer a frustrated third wheel with an aching heart. Meanwhile, Dr. Larch struggles alone at St. Cloud's, doing "the Lord's work." World War II breaks out, and Wally enlists in the army; he's shot down over Burma and is missing in action. It's 15 long years before Wally comes home in a wheelchair. During that time, life, with all its pain and sorrow, goes on. Brian Burns is superb as Homer and Candy's teenage son; Shauntè R. Caraballo is delightful as his adorable first love; and Baron Kelly is powerful as her sexually abusive father. From beginning to end, this poignant heart-rending saga explores how devastating "rules" can be in various segments of society.