Reviewed by Laura Caton

I was originally scheduled to see Riverfront Theater Company’s production of Proof in March of 2020. It was, understandably, postponed. But while eighteen months might have passed between the initial plan for the show and its current iteration, it’s clear that the dedication and passion on display haven’t lost any momentum. The production is a testament to the caliber of talent at work at Riverfront, both behind the scenes and on stage.

Proof was produced on Broadway in October of 2000, over twenty years ago, and won the Pulitzer Prize for Drama the following year. Still, many of its themes have only grown more relevant in the decades since. It tells the story of Catherine, a woman in her mid-twenties struggling with the legacy of her recently-deceased mathematician father, Robert, for better and for worse.

The play opens just before Robert’s funeral; he passed away after a lengthy mental illness that left him unable to function independently or to further any of his groundbreaking work in mathematics. Catherine spent the last years of his life caring for Robert, putting on hold her own plans, including college. As she prepares for the funeral and the arrival of her sister, Claire, from New York City, Catherine navigates interactions with Hal, one of her father’s former students. He wants to comb through Robert’s final papers for any publishable glimpses of his genius shining through.

In short order, Catherine embarks on a relationship with Hal. She shares with him a game-changing mathematical proof about prime numbers. The twist? Catherine claims that she, and not her father, is the author—and neither Hal nor Claire knows if they should believe her. As Catherine comes to terms with her relationships and her own genius, she also has to grapple with the darker side of her father’s legacy and the question haunting the play: if she inherited his brilliant mathematical mind, did she also inherit his illness?

For all its serious themes, Proof is also, at times, a very funny play, and the entire cast and creative team behind Riverfront’s production do justice to both the depth and lightness in tone.

Sydney Turnwald‘s direction provides brisk but unhurried pacing, toggling effortlessly between flashbacks and the main storyline, allowing the small but mighty cast to shine. As Robert, Jim Froehlich brings both a fatherly protectiveness and a heartbreaking vulnerability. Rebekah Hukill‘s Claire balances the loving attitude of a no-nonsense big sister with the hurt of a woman who has found that her best intentions towards her loved ones may not be good enough to help them.

In his portrayal of Hal, Jamie McDonald expertly walks the necessary fine lines between genuine charm and ulterior motives, romantic interest, and professional jealousy. He is the perfect foil for Kaili Doud as Catherine. Ultimately, the story is Catherine’s, and Doud rises wonderfully to the occasion, providing a glimpse of every one of Catherine’s turbulent emotions while also maintaining the guardedness that Catherine wears like armor.

Unless time travel is invented, it won’t be possible for any of us to see the original Broadway production of Proof—but, happily, there’s Riverfront’s production instead. I highly recommend a visit to Aspinwall to see it.

Proof performances continue through November 20th. For tickets and more info visit: https://www.riverfronttheaterco.org/tickets

Categories: Reviews

Tags: Jamie McDonald, Jim Froehlich, Kali Doud, Proof, Rebekah Hukill, Riverfront Theater Company, Sydney Turnwald