Mark H. Dold performs in David Cale's one-man show "Harry Clarke." (Photo Courtesy of GableStage)
With the ease and expertise of a seasoned magician or mythical, mysterious shapeshifter, award-winning performer Mark H. Dold seamlessly transforms into nearly 20 distinct people before your eyes. He accomplishes this stunning, tour-de-force feat during roughly 80 intermissionless minutes of GableStage’s mesmerizing professional production of David Cale’s arresting one-performer, multiple-character play, "Harry Clarke."
Frank J. Oliva's scenic design is simple yet effective: a brownish rocking chair and a small table with a half-filled glass of water are among the only set pieces Mark Dold needs to work his magic on the mostly blank canvas of the stage. (Photo Courtesy of GableStage)
The production runs through Sunday, Nov. 2 in GableStage’s intimate space in the Biltmore Hotel in Coral Gables. This is must-experience theater for anyone who values hypnotic storytelling at its best. It’s impossible to look away, even for an instant.
The nimble Dold, who captivated GableStage audiences during excellent productions of "Appropriate" and "The Lehman Trilogy," possesses such charisma and vitality that even the driest material comes vibrantly alive. This staging marks the fifth anniversary of Dold’s original performance in "Harry Clarke" at Barrington Stage Company during the COVID-19 pandemic. The staging was one of the first professional Equity-approved live productions following the nationwide theater shutdown.
As she did then, Barrington’s founding artistic director, Julianne Boyd, directs Dold. Her guidance is so unobtrusive that one could call it invisible allowing every transformation and gesture to unfold effortlessly. Even five years later, Dold’s performance feels as fresh as if he were speaking Cale’s words for the first time. You’ve got to also admire Dold’s stamina, something he also exhibited during GableStage’s three-hour-plus production of the epic play, "The Lehman Trilogy."
Mark H. Dold performs nearly 20 characters in David Cale's play "Harry Clarke." (Photo Courtesy of GableStage)
"Harry Clarke" follows shy Midwesterner Philip Brugglestein, who reinvents himself as the cocky and seductive Londoner Harry Clarke. Brugglestein moves from South Bend to New York, charming his way into a wealthy family’s life. But as his web of lies grows, his reckless behavior threatens more than just his carefully constructed persona.
Chances are, you are familiar with a play such as "Harry Clarke." It’s just one of many shows featuring irresistible con artists who take us on breathtaking journeys. (Shows such as "Catch Me If You Can" come to mind, as do plays such as the Noël Coward classic "The Importance of Being Earnest," a witty piece about two men who invent alter egos to escape their social obligations.)
"Harry Clarke" follows shy Midwesterner Philip Brugglestein, who reinvents himself as the cocky and seductive Londoner Harry Clarke. (Photo Courtesy of GableStage)
Dold delivers a masterclass in versatility and control as he portrays everyone from a shy, seemingly insecure Midwesterner to a confident, vivacious British bloke. Each character exhibits distinct posture, manner of movement, and voice. With a mere shift in stance or vocal change, the performer effortlessly transitions between personalities, keeping the audience captivated throughout.
Fittingly, when we first see him, dark sunglasses hide Brugglestein’s eyes. He’s insecure and it makes sense that he doesn’t want people peering into them. As the unconfident Midwesterner, Dold speaks in a convincing, hesitant, high-pitched, soft voice. Believable playfulness and innocence creep in when he becomes his 8-year-old self; we learn he enjoyed assuming an English accent at a tender age. We watch and listen intently as we glimpse his parents’ frustration over the youngster’s insistence on speaking as an Englishman. Perhaps we laugh because we recall our own innocent attempts to play make-believe. Pretending is as natural an instinct as hunting was to our ancestors; we can all relate.
Mark H. Dold in Julianne Boyd's "Harry Clarke." (Photo Courtesy of GableStage)
When Dold’s Brugglestein removes his sunglasses, bravado and energy kick in as the titular character. His English-accented voice deepens, his posture straightens, and assurance even cockiness characterizes his gestures and movements.
Physicality and subtle gestures punctuate every transformation. The performer spins, paces, races, shakes, squints, and leans forward or backward. At other times, he covers his face in shame and his hands tremble with desperation. Dold’s dark, shining eyes become windows into his characters’ inner lives. Sometimes he shuts them tightly in heavy concentration or widens them in desperation. Other gestures, such as chest-pounding, convey the title character’s confidence and boastfulness.
While Dold consistently amazes with his acting prowess, behind-the-scenes artists deftly amplify the actor’s choices to complete the director’s vision. Lighting-wise, hues of pink and blue suggest dawn or daytime, while dimmer lighting accompanies moments of reflection, remembrance, and romance. The lighting is also appropriately bright during upbeat moments. Different hues projected onto a screen behind Dold can symbolize the many colors the performer conveys throughout his performance. Meanwhile, music sometimes propulsive, sometimes upbeat or humorous perfectly underscores each emotional beat.
The lighting designer is David Lander, while Alexander Sovronsky designed the production’s sound, including realistic-sounding noises such as big-city traffic and ocean waves at appropriate times. These effects are clear without drawing attention away from the performer, and throughout the production, every word is easily audible.
An uncredited costume designer outfits Dold in a long-sleeved, untucked greenish dress shirt and beige pants. The ensemble is understated, reflecting the character’s individuality without calling attention to itself.
Mark H. Dold as one of the women he portrays in David Cale's "Harry Clarke." (Photo Courtesy of GableStage)
Frank J. Oliva’s scenic design is simple yet effective: a brownish rocking chair and a small table with a half-filled glass of water are among the only set pieces Dold needs to work his magic on the mostly blank canvas of the stage, which sits slightly elevated above the audience. The performer never condescends to the viewers and even briefly interacts, pointing as though addressing an individual patron.
One-performer shows that feature extensive narration risk seeming stagnant. To her credit, Boyd frequently moves Dold around the stage, ensuring variety and energy. She has clearly divided the play into distinct beats, so the piece never comes across as one long, continuous monologue.
It’s natural to marvel at how a skilled performer like Dold memorizes so many lines, but his ability extends far beyond memorization. He internalizes emotions, pursues character objectives, and inhabits each persona fully reminding us that great acting is about becoming the character, not just reciting words.
The versatile Cale has made a name for himself by penning personal pieces that include lyrical intensity, vulnerability, and captivating storytelling. In case we missed it the first time (which seems impossible), Dold, a bold performer unafraid of a great challenge, reminds us once again that he, too, is an enthralling storyteller. He doesn’t just perform he allows us to live inside the dynamic and believable worlds he builds before us. He’s a performer with jaw-dropping stamina who holds us spellbound each and every second.
IF YOU GO
- WHAT: GableStage’s professional production of David Cale’s one-person play "Harry Clarke"
- WHEN: Through Sunday, Nov. 2.
- WHERE: GableStage, 1200 Anastasia Ave. in Coral Gables.
- TICKETS: Prices range from $60 to $95.
- INFORMATION: (305) 445-1119 or www.gablestage.org.
- Audiences are invited to stay after the show on Sunday, Oct. 26 for a curated panel immediately following the 2 p.m. matinee. The event’s title is “To Thine Own Harry Clarke Be True.”
