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Brooklyn and the bottle

By STEVE VINEBERG  |  June 19, 2006

The point of the play isn’t, of course, a dramatic one at all — it’s a therapeutic one. But the stage isn’t an AA meeting, and actors have to work their way through these scenes. Perhaps because there have been so many great drunk scenes in the history of the theater, scenes written by masters like Chekhov and O’Casey and O’Neill, the misperception has arisen that there’s something inherently dramatic in a man (or woman) playing drunk. You have only to watch Krakovski and Husted through the first half of Bill W. to see that it isn’t true. Director Rick Lombardo hasn’t guided them to play any actions (“drunk” isn’t an action, it’s a state, and as any beginning-actor teacher will tell you, you can’t play those), and the script doesn’t provide any. The two actors improve considerably in the second act, when their characters are sober, and Doyle, an intelligent, grounded actress, does well throughout. Harker is defeated by a character with contradictions that the playwrights haven’t resolved and that sometimes crop up within a single scene. I couldn’t figure out whether Lois Wilson really wanted to stay married to Bill and see him start his life again sober or whether she preferred — as she reports in one scene — to be on her own, untroubled by his demands for the first time. Sure, the character can be torn in two directions, but you don’t illustrate that dilemma by having her say one thing and then say the opposite.

The cast is rounded out by Marc Carver and Deanna Dunmyer, who play a range of other roles. They work hard and occasionally break through — especially Carver in his last role, as the unregenerate drunk who becomes the protagonists’ first triumph. But it’s an uphill battle to play a series of one- and two-shot parts that no one has sketched in. Carver in particular resorts to parlor tricks like accents and attitudes, not all of which even match the dramatic requirements of the scenario. Perhaps the members of the ensemble believe so fervently in the social benefits of a play about how AA got off the ground that they’re happy with their involvement; I’m sure everyone participating in this project is a fine human being. But good will isn’t a prime ingredient for good theater.
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Related: Balloon moon, No country for old men, The boards on a budget, More more >
  Topics: Theater , Entertainment, Business, Marc Carver,  More more >
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