Pill is, well, a pill as Sullivan, often garnering significant (and welcome) laughs with her comic inflections. Breslin, a 13-year-old playing ages 6-7, well portrays Helen’s feral rebelliousness in the play’s early sections and is deeply touching as her character’s bond with her teacher grows. In a misguided attempt to compensate for this, many of the performers have a tendency to shout their lines, resulting in an overly shrill atmosphere.Īlthough they won’t erase anyone’s memories of Duke and Bancroft, the two lead actresses do credible work. The scenes are set at different corners of the playing area, with the result that audience members often have to strain to see. The action takes place in numerous locations, with pieces of furniture distractingly descending from the ceiling at various times.

Unfortunately, director Kate Whoriskey seems at sea here. Although this venue has proved daunting before, it also can be marvelously utilized, as evidenced by last season’s brilliant revival of “The Norman Conquests.” One major problem with this production is the fact that it has been staged in the round at the Circle in the Square. The show is best positioned for Broadway success as an alternative for families who might want to expose their children to something a little more substantive and educational than “Mary Poppins” or “Wicked.”Ībigail Breslin (“Little Miss Sunshine”) makes her theatrical debut here, co-starring opposite Alison Pill (a Tony nominee for “The Lieutenant of Inishmore”) in the roles made famous by Patty Duke and Anne Bancroft, who both went on to win Oscars for the film version. Indeed, if anyone can remain unmoved during the famous climactic water-pump scene, they’re made of stern stuff, indeed. Although this Broadway revival - the first, strangely enough, in the 50 years since the landmark original - features uneven performances and problematic staging, it nonetheless manages to touch the heart.

Even a less-than-thrilling production can’t completely drain the power of “The Miracle Worker,” William Gibson’s modern-day classic about Helen Keller and her teacher, Annie Sullivan.

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