Review: UNO's ‘Miracle' aces the tests

The mark of a great play is that it stands the test of time, continuing to move audiences decades after it was written because its message remains relevant.

“The Miracle Worker,” William Gibson's 1960 best-play Tony winner, passes that test in telling how a stubborn Irish girl teaches blind and deaf young Helen Keller the concept of language.

The mark of a solid revival is the level of quality, skill and creativity that bring it alive for a new audience.

The University of Nebraska at Omaha's production, which opens tonight, had patrons at a Wednesday preview buzzing at intermission about how good it was.

They're right. Amy Schweid, as Helen and Amanda Waldron, as Annie Sullivan, get almost everything right in portraying the complex relationship of blustery teacher and wild-child pupil, who rebels against the discipline necessary to learning.

I say almost everything, because Waldron at times was difficult to hear over the 2½-hour show.

But her characterization — standing tall against an indulgent family but secretly haunted by a broken childhood — was superb.

And the classic scene in which she teaches Helen table manners through physical force remains an amazing piece of theater. The two skilled actresses wrestle around, over and under the Keller dining table in an extended battle of wills.

Without benefit of speech, Schweid clearly communicates Helen's every thought and emotion. She's utterly believable as a bright, frustrated deaf-blind child.

Equally impressive: Christopher Harris as Helen's father, a starchy 1880s Alabama newspaperman who yearns for peace but finds a war on every front.

He fights with his softhearted wife (Kathleen Lawler) over what should be done for Helen, with Annie over the proper behavior of a servant, with his resentful son (Steve Hartman) over old hurts and expectations, with his sister (Emily Neve) over the turmoil in his house — even with the housemaid (TammyRa) over sweets for Helen.

TammyRa's beautiful singing of old-time spirituals, sometimes in harmony with Kenny Glenn and other cast members, is one of the highlights of the show, often used to introduce a scene or smooth a transition.

Another highlight, with a caveat: Robbie Jones' lighting and scenic design, sparely defining rooms in the Keller home and other playing areas with a door frame here, a set of rafters there, all set in a black void.

It's highly appealing to the eye, though problematic once the play begins when door frames and beams obstruct the view of actors from some seats.

Director Cindy Melby Phaneuf properly paces the action and finds the emotional arcs within scenes, using half a dozen playing areas effectively.

By the time we reach the breakthrough moment at the well, everybody's pulling for teacher, pupil and family alike — proof positive time hasn't robbed “The Miracle Worker” of its power to entertain and to inspire.

Contact the writer:

444-1269, bob.fischbach@owh.com

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