The Mourning After, which opened at Harvard last weekend is an original adaptation by Ryan McGee '98 of two literary pieces, "Shattered Skulls," a chapter from NYU professor Peggy Phelan's book Mourning Sex and Tony Kushner's poem "The Second Month of Mourning." Taking place in only two scenes, the play focuses on complex mourning processes by allowing the audience to witness the private monologues of the characters which are directed towards those persons whom they mourn.

In this bold attempt to adapt complex issues of death and mourning from the written page to the stage, the talents of director Ryan McGee and the cast of The Mourning After triumph over the difficulties and confusion created by such an ambitious undertaking. At times, the viewer who is unfamiliar with the works of Phelan and Kushner may feel lost, but the skill McGee employs in producing such a complex work, the talent of the actors and the universal themes of mourning effected through the bold monologues make seeing this play very worth while.

McGee's directorial skills sparkle in the play's first act, in which he successfully exhibits the complex issues and themes presented in Phelan's work. Great challenges are posed, clearly relating to an audience one woman's intricate mourning of her husband's death. She becomes obsessed with the images of death in Holbein's painting "The Ambassadors" and the Rodney King incident as they relate to her loss. Such challenges are met by McGee's decision to divide the woman's voice into three distinct roles: the grieving wife, the part of her consciousness obsessed with the painting and her socially active voice. By doing so, the audience is able to recognize the connection between the seemingly unrelated issues of Rodney King and the Holbein's work involved in the woman's grieving process. One voice that is more difficult to understand is that which encompasses the issues of Rodney King. Perhaps knowledge of the original sources used in the adaptation would shed more light on this, but for unacquainted viewers, this element seems unnecessary and undeveloped. Although the tripartite division makes the play more understandable, the meaning of each voice is like a puzzle, challenging the audience to piece all aspects together.

The immense talent of actors Kate Agresta '02, Karin Alexander '02 and Jim Augustine '01 keeps the audience entranced throughout the play. Without such stellar performances it is likely that scenes or elements of confusion would lose the attention of viewers, thus making the play ineffective. This is especially applicable to Augustine, who entrances the audience with his sincere display of emotion in an extremely complex and confusing second act. As the main voice of the widow in the first act, Kate Agresta's ability to dazzle audiences, even when delivering somber testimony, becomes apparent. Her impeccable delivery is a triumph in itself, but the emotion with which she does so is powerful. All three actors markedly encompass his or her character, forcing the audience to surrender their complete attention.

By displaying issues of death on the live stage and by exploring and expanding the voices of the living, The Mourning After exposes the audience both to loss and life. McGee's decision to represent the mourner through multiple voices propels a unique and creative production. If you are interested in unconventional student drama that uses the stage to explore issues in a new way and displays amazing directing and acting talent, The Mourning After should be included in your weekend plans.