Review for Proof @ LITTLE THEATRE, SAN FRANCISCO STATE UNIVERSITY

The beauty of David Auburn's "Proof" isn't in the love story of two great minds, in is in the single mind and it's strength to trust itself even as it might be slipping away.

Whitney Thomas' performance as Catherine is a force. She is the brilliant woman who could solve a mystery that has baffled the most brilliant minds, she is also the woman grieving the loss of the most important person in her life, and she is the woman who fears that she may be loosing her mind and her ability to live her own life. She can't be sure even of those around her. Of the young man who she has started a relationship with, does he have feelings for her or is he just trying to write the next important paper. Will her sister help her rebuild her life, or lock her in an institution. And can she even trust her own reasoning? Whitney Thomas plays the balance and the conflict with the grace and delicacy of a more seasoned actress. Her scenes with Sam Jackson, who plays Claire, her New York City sister, are electric and full of dynamic tension. Kelly Sanchez plays Hal, potential love interest and mathematician, with elastic energy and a palpable joy. Unfortunately, not all of their scenes together work. While the trust and mistrust is there, the love sometimes doesn't go much beyond happy flirtation and their cozier love scenes feel more like uncomfortable dances. It may have been due, in part, to the directors choice to score these scenes to a repetitive "romance" sound track that was distracting. An audience member behind me asked "Am I supposed to feel uncomfortable?" Giggles from the audience took away from any sexy mood the actors may have tried at, or the audience may have hoped for. While faculty member Rhonnie Washington's direction is confusing at these points, he has obviously guided his young actors to true and honest conclusions that pull in the audience the whole show. He steps into the roll of Catherine's father, a move that can sometimes feel disingenuous in a University production, but here he rounded out an overall excellent production.

The beautiful set design by Joshua Saulpaw and light design by Travis Rexroat show, again, the tremendous strength of the design program at SF State. The old Chicago house and yard felt inviting and warm. There was no question why Catherine would want to stay in that house, even after her father's death. And there was no question why the characters would spend the whole play on the back porch, the combined joy of a slowly rising sun, a slight chill in the air and a warm cup of coffee was palpable.