"Freud's Last Session" expands the play and explores CS Lewis’ wartime experiences (Matthew Goode cast as mature CSL).
He joined the army via the Oxford Officer Training Corps & served at age 19 in the WWI Somme trenches. The horrors of what he saw would stay with him for years.
CS Lewis’ experiences in the war had profound effects on him. The early loss of his mother, unhappiness at school and the shadow of the war gave him a very pessimistic view of existence and fuelled his early atheism.
CS Lewis was wounded in action. Lifelong suffering in the form of headaches and breathing problems plagued him. Many friends were killed (Edward Moore - Pictured). They promised to look after the other's parent if they died and Lewis kept his.
Sources & Info about CS Lewis’ wartime experiences:
The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life, Armand Nicholi
Lewis’s brother Warren went to the Royal Military Academy at Sandhurst at the beginning of 1914, and, not long after Jack Lewis began his lo
A detailed biography of C. S. Lewis that includes images, quotations and the main facts of his life. Key Stage 3. GCSE British History. A-le
Mark St. Germain author of "Freud's Last Session' spoke with IPA Online (International Psychoanalyical Association).
His imagining of Sigmund Freud and CSLewis and what drew him to these two thinkers is discussed.
📸 IPAonline
WestEnd Films UK along with producer Meg Thomson is bringing this work to life with exceptional actors, Anthony Hopkins as Sigmund Freud and Matthew Goode as CS Lewis.
Listen to the Podcast now!
Read #MarkStGermain other works:
Becoming Dr. Ruth
The God Committee
Walking Evil: How Man's Best Friend Became My Worst Enemy
Mark St. Germain’s West Coast premiere production of Dancing Lessons is receiving a remarkably charming production at Center Repertory Theatre in Walnut Creek. Mr. Germain’s script is strong in its sincerity as a rom-com that embraces the silly while not shirking the realistic. A two-person play with no intermission, the audience is invited into Broadway dancer, Senga’s, New York apartment. Ever, who, at first glance, is a neurotic nerd in need of a dance lesson, becomes the object of genuine affection for Senga, and the feelings are reciprocated. Though the play’s structure indicates a love story, through superb acting and excellent direction by Joy Carlin, the simply wonderful journey from Senga and Ever results in a romance that is fresh and unexpected.
(Craig Marker (Ever) and Sharon Rieterk (Senga); Photo credit: www.mellophoto.com)
Plagued by an injury, Senga is on medical “house arrest,” leg brace and all. When a faculty awards night is planned at Ever’s university, he realizes he needs a crash course in dancing, pronto! With the incentive of a Broadway dance captain’s weekly salary being offered for one hour’s work, Senga has no choice but to allow Ever to enter the apartment for a lesson. Silly names aside, and yes they are explained in the play, these two well-crafted characters are anything but silly. Ever has an ailment, that I dare not reveal here, which creates an initial boundary between him and Senga. However, Ever is blunt, no lies or sarcasm where he’s concerned, while Senga is all shades of sarcastic, bitter, and treading down a seasoned liar’s path. Played by Craig Marker and Sharon Rieterk, the chemistry and dynamic growth of their relationship is alluring and filled with investment from the audience.
(Sharon Rieterk (Senga) and Craig Marker (Ever); Photo credit: www.mellophoto)
Mr. Marker is earnest in Ever’s forthright approach to Ms. Rieter’s Senga, exuding with ease the demeanor of a science professor who is always on the research side of conversations. Ms. Rieterk is a champion at playing the victim, as Senga is all too comfortable with inviting others to join her one-woman pity party. Ms. Rieterk’s energy and balletic physicality reinforces how much dance means to Senga, that it really is all she identifies with. As she and Mr. Marker make their way through Mr. Germain’s script, the two find ways to connect, disconnect, and problem solve. What happens at the end of the play is a beautiful partner dance, choreographed by Jennifer Perry, which has the intoxicating, heartwarming spirit of an Astaire-Rodgers number with the gravitas of a well-earned culmination for the actors’ great work in setting up just how meaningful the slow dance turn is.
(Sharon Rieterk (Senga) and Craig Marker (Ever); Photo credit: www.mellophoto.com)
What makes this play so enjoyable is the aforementioned direction and incredibly detail-oriented design team. Ms. Carlin helms this production with the right balance of rom-com hysterics and legit theatre dramatics. It’s a style that isn’t the easiest to balance, but Ms. Carlin does so without a hiccup in pacing or fluidity. Kent Dorsey’s set design is a wholeheartedly accurate depiction of a New York dancer’s apartment. The mounds of musical and dance company posters framed on the walls and a desk full of clutter give accent to Senga’s homebound distress she feels throughout the play. Teddy Hulsker’s projection and sound design are superb, allowing the transitions between Ever’s lecture hall and Senga’s city skyline to be executed with ease.
(Sharon Rieterk (Senga) and Craig Marker (Ever); Photo credit: www.mellophoto.com)
The takeaway from Mr. Germain’s play may be varied for audience members depending on outside circumstances and life experiences the playwright cannot control. What I can assure you, though, is this play will leave you entertained and pondering how people can change, whether or not there’s data to back it up, an ongoing theme in Ever’s world. Human experience and human connection happen for many reasons, even something as simple and innocent as an injured dancer giving a dance lesson. Go see this show.
