Theater review

In “Freud’s Last Session,” the adamant atheist Sigmund Freud invites Christian author C.S. Lewis to his London study, where the two engage in a vigorous discussion about music, physical pain, war, religion, sex, and their fathers in which both men make salient points, but neither “wins” the argument.

Despite their plethora of disagreements and nearly polar opposite worldviews, both men have a clear mutual respect for each other—a mutual respect that extends to the play’s director, Tyler Marchant, and the audience. The play is an honest discussion of major issues, and neither side is belittled for their views.

The play does not take sides, giving both positions equal time—which is a rarity in today’s hyper-partisan world where not only do I have to be right and you wrong, but you’re an unalloyed idiot for your beliefs.

Mike Nussbaum, who has directed and acted in Chicago Theatres for over 50 years, plays Freud with intelligence and wit, but also with an acute awareness of his mortality—he knows the end is near. The play takes place Sept. 3, 1939, when Freud was 83 and suffering excruciating pain from oral cancer. On multiple occasions, Freud breaks down from sudden, intolerable agony, blunting his conversational momentum.

Though he adamantly disagrees with Lewis, especially regarding Lewis’s conversion to Christianity, Freud admires the young author’s intelligence and views him as a worthy opponent for debate.

Freud invited Lewis to his study “for one reason:” to find out why someone (Lewis) “with such intellect would become a Christian.”

Lewis, played by Coburn Goss, is initially reticent and unsure of himself in Freud’s presence; after all, Freud’s more than twice his age, one of the world’s leading intellectuals, and he pokes at Lewis for being late to the meeting. But, he quickly settles in to debate Freud as an equal, not as a student or a patient, and gains confidence in himself and his arguments.

 Lewis demonstrates his respect for Freud when he refuses to leave the elder man alone--even as they both believe they’re about to be bombed—and when he compassionately assists Freud with his mouth and jaw pain.

The entire play consists of just the two men talking; they’re the only actors on the stage, and the only times the conversation halts is when Freud breaks down in pain, when the men tune into the radio for updates on the burgeoning war, or when they hear airplanes flying ominously overhead.

Their discourse is like an exceedingly high-level tennis match; both men hit the occasional winner, which the other chivalrously acknowledges, but neither even wins the match. This play has too much respect for both men, their philosophies, and the audience to do that. The idea is by no means to prove anyone correct, but to provide a thoughtful discussion about tender issues, and it’s highly effective.

At one point, Freud explains, “I enjoy provoking discussions,” and this play—with all the discourse about big ideas—is sure to accomplish Freud’s aim.

“Freud’s Last Session” plays at the Mercury Theater—located at 3745 N. Southport Ave.—and the last performance is November 11.