Freud’s Last Session, written by Mark St. Germain, explores the conversation that might have passed between founder of psychoanalysis Dr. Sigmund Freud and prolific author C. S. Lewis had they met near the end of Freud’s life. Although it deals seriously with many heavy issues, such as G-d, religion, death, sex, and happiness, the play still tends toward the light-hearted in its lively banter between Lewis and Freud.

The play is set in the most urgent of settings: just a few scant weeks before Freud’s suicide after his long struggle with oral cancer, and right in the midst of World War II just a year before the London Blitz. The two men knew that at any moment the Germans could bomb them or drop poison gas, and every cough of Freud’s could herald the end of his life. However, they still manage to joke around and tease each other between the air-raid sirens, radio announcements, and bouts of coughing.

Mark H. Dold (C.S. Lewis) and Martin Rayner (Sigmund Freud) as well as their director, Tyler Marchant, complemented the script, adding to the dialogue dramatic pauses, facial expression, body language, and character idiosyncrasies. From Lewis’ first entrance it became clear that he was friendly but slightly awkward, making constant small movements. He also gave the impression of a middle-aged professor. Freud immediately became a prickly, slightly infirm old man, who enjoyed making people feel uncomfortable, and who spoke like he was from Austria. Freud had a particular manner on the phone, always answering with the same amusingly drawn out and scratchy “Hellloooo,” and each time Freud made or received a phone call, Lewis retreated to the corner of the study and adjusted his tie, obviously feeling he was intruding on the conversation, yet unable to leave since he was a guest.

Most set and stage directions were written in the script, but some were improvised for dramatic effect. For example, the script dictates that Lewis pour a glass of water for Freud when he is having difficulty with his prosthesis, but the director clearly added in Freud refusing the glass, instead plunging the bloody prosthesis into the jug, coloring the water in the whole jug bright red. During the last speech of King George, Freud made a face every time “God” was mentioned, which fits very well with his earlier statement (that he had been trying to train himself to stop saying phrases such as “thank God” because they did not agree with his philosophy) even though the faces were not noted in the stage directions.

Another interesting device that was, in fact, included in the script was that throughout the play Lewis was well aware of Freud’s psychoanalytic fame, often making reference to his famous couch – which was prominently placed in the stage-office – or trying to psychoanalyze Freud in return. By the end of the play, Freud is the one who ended up on the couch, an interesting visual turnabout.

Overall, this play was well written, well directed, and well acted, and I enjoyed it very much. The author accomplished his goal in writing it, and the actors embodied their characters very well. When they were discussing things of great personal import, they became passionate or pained, Lewis nearly to the point of crying and Freud to the point of giving himself a coughing fit. Freud made me feel almost guilty for believing in a God who gave him cancer and took away his daughter and grandson at such young ages. Lewis made me feel his sorrow and pain when he spoke of watching his friends die in the field.

One of the best things about seeing this play in particular was that it was performed in such a small theater, so I was able to sit front and center, and I got to speak to the actors afterward, which is something that rarely happens in a Broadway production.

Freud’s Last Session is currently playing at New World Stages, Stage 5 on West 50th Street between 8th and 9th Avenues. Tickets are available through June 3rd, and discounted student rush tickets are offered on the day of the show.