The preternaturally talented Kathryn Hunter practically defies credulity on stage. Last year, in Kafka's Monkey, the diminutive performer, using her ultra-flexible limbs, throaty voice, and piercing intelligence, transformed herself into a sentient male chimpanzee who had been taught to speak and behave like a human. A few months later, she equally dazzled as an ageless, genderless, shape-shifting Puck in Julie Taymor's production of A Midsummer Night's Dream. The Greek-American actress, who grew up in England and has worked mostly overseas, is currently back in New York, at Theater for a New Audience in Brooklyn, in the aptly titled The Valley of Astonishment, a theater piece about the miracles of the mind co-written and directed by the renowned Peter Brook and his longtime collaborator Marie-Hélène Estienne. I caught up with Hunter recently to learn more about the new work and about her own remarkable journey as an actress.
How would you describe The Valley of Astonishment?
I would say it's an exploration of what it is to be human. We meet a woman who has a prodigious memory, a young man who has synesthesia, which is a condition where the senses are mixed—a sound becomes a color, words have tastes and forms and shapes—and we meet another man who's lost his sense of his body and is paralyzed, but who manages to walk again by controlling his limbs with his eyes. In the end it follows, most specifically, the story of the woman, Sammy, who becomes a performing mnemonist; she memorizes so many words and tables of numbers for these performances and then suffers from the inability to forget, and so she starts hallucinating. The piece has an unusual form, which I think people will find intriguing. As with the best storytelling, it changes narrative, changes tone; there's humor and then it shifts to a more poetic level. Peter [Brook] is continuing his [previous] exploration of The Man Who Mistook His Wife for a Hat, which was based on the Oliver Sacks books. These neurological disorders, in fact, turn out to be quite wondrous. So at the end of the day, I think I would characterize the play as a celebration of the human being, a celebration of difference.