Christo Graham & Brandon Thomas.
Unit 102 Actors Co. gives us fact mixed with fiction, exploring Isaac Newton’s sharp ambition and unique vision in its darkly funny, compelling, thoughtful Canadian premiere of Lucas Hnath’s Isaac’s Eye, tightly directed and inventively designed by Adam Belanger, and running at The Assembly Theatre.
With the Actor (Francis Melling) as our guide in this anachronistic look at historical figures—separating fact from fiction as the story unfolds—we become flies on the wall of the attic room where Newton works; writing verses on the walls, and plucking thoughts and theories from his fastidious, imaginative mind.
Ambitious and determined to advance his work and recognition as a scientist—and straining to see the face of God, despite his rejection of traditional religion—a 25-year-old, prematurely white-haired Isaac Newton (Christo Graham) enlists the help of childhood friend and confidant Catherine Storer (Laura Vincent), who runs her father’s apothecary shop, for an introduction to Robert Hooke, Director of Experiments at the Royal Society in London.
Refusing to answer Newton’s letters, Hooke (Brandon Thomas) is finally forced to take notice of this young upstart when he receives documents outlining Newton’s theories—particularly those on the nature of light. Fearing Newton’s work could usurp his own, he sets out to visit Newton; and encounters Sam (Melling), a sick and dying man lying on the side of the road. Sam pleads for help to get to a hospital, but refuses Hooke’s conditions for aid, and is abandoned once again.
When Hooke arrives at Newton’s house, a battle of scientific wits ensues, with Hooke’s attempts at manipulation only serving to solidify Newton’s resolve. Newton believes light=particles; Hooke believes light=waves. Hooke challenges Newton to re-enact his needle in the eye experiment using a disinterested third party as a subject to prove his theory—and he brings Sam in off the streets. Thwarted and increasingly fearful at the thought of being dismissed as a serious scientific mind, Newton resorts to blackmailing Hooke with some personally damaging information gleaned from his diary. Then, it’s Hooke’s turn to reach out to Catherine for assistance; and he fights blackmail with blackmail. And we soon learn that both men are willing to say and do anything to obtain and maintain notoriety in the scientific sphere—and science costs them.
Outstanding work from the cast, playing with fact and fiction, and history with anachronistic language and perspectives. Melling is an affable and engaging narrator to the proceedings; and gives a comic and deeply affecting performance as Sam, who despite his filthy, plague-ridden appearance has wisdom to impart on the nature of life and humanity. Graham does a great job balancing Newton’s naiveté and amorality. Full of youthful energy and enthusiasm, single-minded and driven, Newton’s ambitions are so laser-focused on obtaining professional accolades, he’s unable to really see the woman who loves and supports him. No angel himself, how far will he go to get what he wants? As Hooke, Thomas draws for us a highly intelligent, accomplished and arrogant scientist and architect, living a decidedly libertine lifestyle. Possessing of a deeply jealous yet detached disposition, Hooke can be cruel and sadistic in methodology and manipulative in human interaction. Like Newton, he’s an extremely fucked up and lonely man—but unlike Newton, he knows it. As Catherine, Vincent gives us a shrewd, pragmatic and protectively loyal woman who’s nobody’s fool or doormat. With hopes and desires of her own, Catherine knows she has bad taste in men; and while she’s willing to help, she won’t suffer fools long. Like Sam, Catherine can see that which Newton cannot and Hooke can only grasp at: the grace inherent in everyday life.
What is the cost of ambition? Who and what is important, and who gets to judge? How do we see the world—and what do we miss?
Isaac’s Eye continues at The Assembly Theatre until October 20; get advance tickets online or at the door (cash only)—box office opens half an hour before show time.
life with more cowbell 