Content Warning: This article contains spoilers for Albion College’s production of “Proof.”
This production made me laugh. It made me cry. It changed my brain chemistry as soon as I exited through the theater doors.
As someone who enjoys consuming media, the Albion College theatre department’s production of “Proof” was one of the best shows I’ve ever seen. I walked away from the theater feeling like I had experienced the intense emotions each actor portrayed myself.
The Math of It All
Written by David Auburn in 2000, “Proof” is set in Chicago and follows Catherine, played by Trenton sophomore Ava Cheff. Catherine is a young woman who has spent years caring for her declining father, Robert, a nationally renowned mathematician and college professor who dies a week before the events of the play.
The audience observes the story through Catherine’s perspective, exploring her relationships with her sister Claire, love interest Harold and father Robert, whom she sees through flashbacks and hallucinations following his death.
Throughout the play, we see the toll that Robert’s decline and death have on Catherine’s mental state, as well as Harold and Claire’s attempts to help her in the aftermath. They also grapple with the fact that Catherine has written a world-changing mathematical proof that will revolutionize the field as they know it.
The Art of Relatable Characters
Though this production only has four cast members, the world felt alive, and as an audience member, I was able to focus on each character’s struggles individually.
Catherine
Cheff’s rendition of Catherine was not only unbelievably witty and heartfelt, but incredibly relatable. It was heartbreaking to watch Catherine struggle with not being believed in: Claire doubts her sister’s sanity as well as her mathematical abilities, and at times, so does Harold.
Although the depiction of Catherine’s self-doubt hit close to home, what made me feel especially seen was the portrayal of her mental health battles and trauma.
Throughout the story, we see the effect that being Robert’s caretaker has on Catherine, not only after his death but throughout his years of being ill. We see him yelling at her, experiencing mania and struggling with heavy cognitive deterioration.
Teary-eyed, I found myself relating to the experience of watching a loved one’s mental health decline. I witnessed my grandma go through the same thing, and much like Catherine, the love never wavered for me.
When Robert dies, Catherine finds herself lacking purpose, completely drained. Her absence of motivation and depression was cathartic to watch as someone who has experienced the same.
Seeing Cheff’s performance as such a flawed yet likable character cemented Catherine as my favorite ever theater portrayal.
On playing Catherine, Cheff said she “got to go through so much material and really find her, in a way.”
“It was also really freeing,” Cheff said. “It felt like I was living it.”
Robert
Robert is only seen in the play through Catherine’s memories and hallucinations, showing how she remembers him through good and bad times. These different versions of the character really came together in an emotional performance by Jackson junior Connor Ganzel.
“Capturing Robert was essentially having to think about Catherine and how Catherine views him, because the whole reason why Robert is there is because she’s imagining him or remembering him a certain way,” Ganzel said.
Claire
Catherine’s sister Claire serves as the story’s antagonist, given that she and Catherine don’t have a good relationship; however, Romeo junior Rylee Hesske’s performance of the role left me empathizing with her desire to be a protective older sister.
“All she wants to do is help and give everybody the best that she can,” Hesske said. “I think finding the space for her to not be the villain is something that is kind of hard.”
During the play, we learn Claire is extremely concerned for Catherine’s mental health and wants her sister to be treated at an inpatient facility in New York. At first, I thought Claire wanted Catherine to go to a facility because she viewed Catherine as too much. Upon further reflection, I think her concern was justified because in the first scene of the play, Catherine hallucinates a conversation with her dead father.
Harold
Harold, a student of Robert’s, is Catherine’s love interest, and Dallas senior Alexander Christian truly brought the dimensions of their relationship to life. Their relationship had a component of jealousy in it, and watching it play out, I found myself rooting for Catherine.
I was disappointed when Harold not only didn’t believe Catherine wrote the consequential proof but also eventually chose it over her. Though their relationship heads toward healing in the final scene, their story together had many layers, and I appreciated its nuance.
Reflecting on this production’s modern setting, Christian said “Proof” felt “more real” and “lived in” than other plays he’s been in, such as “Firebringer” and “Twelfth Night.”
“This feels like it could happen tomorrow,” Christian said.
The Albion Touch
When looking at the creative liberties the Albion theatre department took in this production, I was truly impressed. With technical lecturer Stephanie Henderson as the director, I thought the way the performers moved on the stage was very intentional. Each character had their own gestures and mannerisms, carefully curated to speak to their personality.
The set was built and painted by assistant professor of theatre Kiah Kayser and Technical Director, Lighting Designer and Master Electrician Joel Klain. Tiny details like the distressed brick of the house and chipped paint of the lawn chairs set this production apart. It was by far my favorite set I’ve seen at Albion.
I also appreciated the lighting design throughout the play, especially how it changed based on the emotions the characters were feeling.
Feeling Seen
This play depicted the struggles of mental health in a way that didn’t alienate the audience.
Seeing the love that went into this production made me feel like I wasn’t alone during the times of hardship I’ve had in life.
The emotional execution of these characters left me feeling like I experienced each moment with them, and I am happy to know this play exists so that future audiences may feel the same sense of community I did.
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