Abigail Breslin dukes it out as young Helen Keller in ‘The Miracle Worker’

Matthew Modine and Alison Pill co-star in the 1959 drama's Broadway return

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

BROADWAY REVIEW

Patty Duke and Anne Bancroft electrified Broadway in "The Miracle Worker" in 1959, later recreating their ferocious performances as the young Helen Keller and her teacher, Annie Sullivan, in the film version that won them both Academy Awards.

That's some mighty powerful acting to beat. Especially since the actresses' work remains viewable on DVD in cinematic close-ups and furious fight sequences.

Starring in the first-ever Broadway revival of William Gibson's "The Miracle Worker," which opened on Wednesday at Circle in the Square, Abigail Breslin and Alison Pill scarcely eclipse the memory of Duke and Bancroft, but they provide extremely committed, convincing portrayals of Helen and Annie.

Set in 1880s Alabama, the real-life drama begins with a prologue as Helen's parents realize that a sudden fever has left their infant deaf and blind. Ten years later, Helen runs wild as a household pet whose rampaging ways have undermined her family. In despair, the genteel Kellers engage a young Yankee governess to care for their afflicted child.

They get more than expected in Annie who dares to try to tame the wild creature and break through to Helen's inquisitive mind. Many readers know the rest — confrontations, splintering furniture and at last, victory. Some of Gibson's playmaking, such as the spooky flashbacks to Annie's harrowing childhood in a public asylum, appears a bit hokey today. Yet the central story never ceases to grip your attention.

Briskly staged in Circle's tricky in-the-round space, director Kate Whoriskey's production registers as more solid than sensational but presents the play effectively enough. Pieces of Victorian furniture fly up and down from the rafters on wires to establish various rooms upon a flowered carpet.

An Academy Award nominee for "Little Miss Sunshine," the 13-year-old Breslin is a square, compact kid with an expressive face that darkens and brightens with changing moods. Believably lurching about in grimy pinafores, her long hair a tangled mane, Breslin exudes a strong sense of frustration and a great deal of energy, which is put to good kinetic use in Helen's several physical struggles with Annie.

A sharp presence in plays like "The Lieutenant of Inishmore" and "Blackbird," Pill creates a desperately cheerful Annie. Looking painfully young and plain in Annie's dowdy clothes and hairdo, the slim, wiry Pill speaks in carefully refined accents that scarcely camouflage her character's feisty spirit.

Fans of the film are likely to find the stage fights a mite tame compared to those Duke-Bancroft battles, but Breslin and Pill fearlessly hurl themselves into the fray. Most prominent among the appalled Keller family witnessing the ongoing siege is Matthew Modine, who makes his Broadway debut in fine silver-fox form as Helen's irascible Southern gentleman of a papa.

Many adults think they know "The Miracle Worker" very well, but this two-hour production could be a revelation for younger viewers who, sad to say, might know about Helen Keller only in jokes. Plenty of tweens were observed in the theater at a recent matinee and their reaction to the story appeared to be mighty enthusiastic.

"The Miracle Worker" continues an open-end run at Circle in the Square, 235 W. 50th St., New York. Call (212) 239-6200 or visit www.miracleworkeronbroadway.com