The play's not the thing

By BILL RODRIGUEZ  |  June 18, 2013

Other existing relationships come up. A guy with a French accent, Henry (David Alves), goes up to a young redhead, Catherine (Corey Lynn Arruda). Being French, he of course announces that he would “like to make love to you.” Sure, she says, but she’d like to do so in the open, unabashedly, in a parking lot, and a logistical discussion ensues. An older woman, Hiroko (Barbara Crowell) draws near the girl and the man slinks off. The girl tells the woman that she doesn’t believe the woman really loves her, and that matter gets lengthy discussion.

Apparently, we are not supposed to get to know these characters. Ariel storms up to Nikos, yelling things like “What you are is a typical male!” and spits in his face. Not very informative. As perfunctorily, Edith (Gladys Cole) tells us of being picked up hitching by a guy on a scooter and having a son with him. Eventually the husband dies, all in a few pointless — or was that the profundity? — seconds. Edith yells at Thyona (Emily Lonardo) to stop hogging a bench. Not a riveting conflict.

Playwright Mee’s script had more than 35 characters, so director Lester exercised some creativity and imposed some order by assigning exchanges to only 10 characters, specified in the program but hardly any of them named in the dialogue. The attempted organization is to not much avail, though. With Fire Island, no matter how many piles you sweep it into, it’s still a mess.

< prev  1  |  2  | 
| More

Most Popular
Share this entry with Delicious
  •   A SO-SO SATIRE  |  July 02, 2014
    There’s this poor country whose medium of exchange is goats (actually, promises of parts of a goat — promissory goats).
  •   PROFOUNDLY SILLY  |  June 25, 2014
    It’s been more than a half-century since Eugène Ionesco’s first play, The Bald Soprano , was written in a burst of splenetic post-WWII exasperation over the ludicrous behavior of his species.
  •   TRIUMPH AND TRAGEDY  |  June 18, 2014
    It doesn’t hurt that Angels In America is, in several regards, the greatest American play ever written.
  •   PUNCHING THE CLOCK  |  June 18, 2014
    We come into the world, we rub our eyes, we look around and squall, and we spend the rest of our lives trying to figure out why we had to bother.
  •   MEETING OF THE MINDS  |  June 11, 2014
    The knockout production avoids digressions and keeps the interplay punchy, leaving us reeling as well. Think ' Crossfire' on the History Channel.

 See all articles by: BILL RODRIGUEZ