The Miracle Worker

The famous final scene of William Gibson's "The Miracle Worker," where Annie Sullivan finally breaks through to Helen Keller at the water pump, is an admittedly effective tearjerker moment. But you might not be able to see the emotionally charged finale at the play's first-ever Broadway revival, where pretty much every seat has an obstructed view of the stage.

The 50-year-old drama, which is still required middle school reading, recounts the true story of brash, 20-year-old Annie Sullivan teaching the blind, deaf, mute and undisciplined six-year-old Helen Keller a form of sign language in 1880s Alabama.

Director Kate Whoriskey brings no new angle or insight to the play, but manages to wreck it with a bizarre in-the-round staging concept. Set designer Derek McLane has attached large wires to pieces of household furniture so that they fly up and down, allowing for quick scene transitions. Door frames also suddenly pop out of the floor. It's dizzying and distracting to watch, and you never have a full view of the cast.

13-year-old Oscar nominee Abigail Breslin tries to tackle Helen's wild side, but looks merely dazed and confused instead of psychologically lost. She remains too tentative in a role that demands total physical commitment.

Alison Pill, who looks young enough to be Breslin's sister, displays an unpredictable spark as Annie. Her scenes with Breslin resemble an unruly power struggle. Lost among the supporting cast is Matthew Modine, who overemphasizes the patriarchal, southern nature of Helen's father to the point of buffoonery.

Kids may still get a kick out of this famous story of overcoming physical obstacles. But with such painfully obstructed views, this revival is a poor way to celebrate the play's 50th anniversary.

"The Miracle Worker" is at Circle in the Square, W. 50th St. between Broadway and Eighth Ave., 212-239-6200, miracleworkeronbroadway.com.