‘Vengeance’ considers crime and punishment

Family drama doesn’t settle for easy answers

November 23, 2010|Don Aucoin, Globe Staff

In the wrong hands, “Vengeance is the Lord’s’’ could be pious or pulpy or both.

The fact that the Huntington Theatre Company’s production of “Vengeance’’ is neither of those things, but is instead a taut, morally complex, and utterly absorbing drama, is a testament to the refusal by playwright Bob Glaudini to settle for any easy answers when it comes to questions of right and wrong and what constitutes justice.

Glaudini has a knack for profane, tough-guy dialogue laced with mordant humor, but what really makes “Vengeance’’ special is the playwright’s understanding of the tangled wiring of human nature, his realization that the need to avenge and the need to forgive can coexist in the same family, and even, sometimes, in the same person.

Under the skilled direction of Peter DuBois, “Vengeance’’ manages to explore the tensions between those dueling impulses during a series of holiday family gatherings without shortchanging or patronizing either side of the equation. I won’t reveal which of the two impulses eventually wins out in “Vengeance,’’ but they are projected with roughly equal force by Larry Pine as Mathew (yes, it’s spelled with one “t’’) Horvath, and by Roberta Wallach as his ex-wife, Margaret.

As “Vengeance’’ gets underway, Mathew and Margaret are gathered for Thanksgiving dinner with their three adult children: tough, implacable Woodrow (Lee Tergesen); jittery Roanne (Katie Kreisler), who is vainly trying to stop smoking; and the youngest and gentlest, 22-year-old Donald (Karl Baker Olson). Both literally and figuratively, Donald is as Woodrow describes him: “a vegetarian in a house of carnivores.’’

There was a fourth child, Cheryl, who was 20 when she was murdered a decade ago. Now, her killer is on the verge of a parole hearing and, to Mathew’s disbelief, Margaret wants to meet with him before the hearing. “I need to look in his eyes,’’ she tells Mathew, so “if when he asks forgiveness, I can see he’s changed.’’ If she does see a change, Margaret will not oppose his release from prison.

What makes this intriguing is that Margaret is such a hard-bitten, tough-as-nails character. Her need to consider forgiveness for the prisoner stems from a desire to escape her own internal prison; she even thinks her hip problems are exacerbated by her “festering anger and hate toward another.’’

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