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ARTS AND ENTERTAINMENT BY IRV RIKON
MICHAEL HOLLINGER'S GHOST-WRITER AT FLORIDA STAGE
If you go to see Michael Hollinger's Ghost-Writer at FLORIDA STAGE'S new home in the KRAVIS CENTER -- and you should! -- just close your eyes for several moments and listen as his characters speak. Mr. Hollinger writes prose for the stage, but his is the language of poetry. In an era when swear-words are all the rage, here is a man who loves the English language, and just to hear the rhythms and cadences of his speech is a joy!
Perhaps that sounds old-fashioned, but it's in keeping with the play, which is set in "An austerely furnished room in New York City, 1919." A prim woman, Myra Babbage, (Kate Eastwood Norris,) sits before a typewriter. She's looking for employment as a typewriter which, when the machine was first introduced, referred to the person who typed rather than to the mechanism. Today, she would probably be regarded as a private secretary. Her would-be employer, novelist Franklin Woolsey, (J. Fred Shiffman,) stands at the rear of the room gazing out the window. He's an older man, rather stern and very precise. When at first he dictates his narrative to her, he speaks rapidly and includes the punctuation he wants her to use. She gets everything exactly right. He's pleasantly surprised and hires her on the spot.
Mr. Woolsey has a wife, Vivian, (Lourelene Snedeker,) a proper fashion plate, whose relationship with her husband appears more cordial than loving. Vivian comes in and goes out of the room from time to time, becoming progressively more jealous of Myra, since the typewriter spends more time with her husband than does she.
There is no sex, no physical intimacy between the author and his typist, but there is a continuously warming work relationship that evolves into a close bond. She knows -- feels -- his thoughts so clearly, he permits her to correct his punctuation and, later, his words. She suggests words of her own that he prefers to his. The bond grows, almost imperceptibly, silently, into love.
Then, although he still stands in the room, we are informed that Mr. Woolsey has died. Myra, the ghost-writer, types his every word as he continues to dictate. But is it her words she writes or his? That's what Vivian wants to know. She threatens to destroy the manuscript she is convinced is not her husband's. Myra is equally convinced she types the words of the ghost. And she listens to his posthumous declaration that he has always loved her.
I'm not usually drawn to ghost stories, but this is part ghost story, part love story. It's sweet. It's enchanting. It's beautifully written and acted by a wonderful trio of players. I could hardly ask for anything more.
Yet ask I shall. This is a technical matter: The new Florida Stage is a thrust theater with some few seats on either side of the stage flanking it. My partner and I have sat several times in these seats, but there's a problem. When cast members speak out to the audience, their backs are turned to those sitting in some of these side seats, making it difficult at times to hear what is being said. Can small speakers not be placed somewhere along the sides? Again, this refers only to a few seats. The play itself is a big winner.
Ghost-Writer runs through April 3. For tickets and additional information telephone 585-3433 or online: www.floridastage.org.
ARTS AND ENTERTAINMENT BY IRV RIKON
PLAY REVIEW: PULITZER PRIZE-WINNING DINNER WITH FRIENDS AT PALM BEACH DRAMAWORKS
Donald Marguilies' Pulitzer Prize-winning play, Dinner with Friends, running now through April 17 at Palm Beach Dramaworks in downtown West Palm Beach, opens one winter morning in the kitchen of Karen and Gabe's Connecticut home. The young married couple are entertaining Beth, who's usually accompanied on such occasions by husband Tom. Tom's apparently out of town, but when Beth suddenly starts to cry and the hosts ask what's wrong, she says Tom has left her. So: What happens to two married couples who have been close friends for years when one marriage falls apart? That's the question raised by the playwright, who takes the position that close friends are like family, feeling the others' pain and even taking much of it upon themselves.
All of us at one time or another have had the unhappy experience of saying something we realize too late we shouldn't have said. Or, perhaps reversely, we recognize too late that someone's in trouble; there were warning signs, but we said nothing when we might have spoken out and possibly saved the day. There follows much soul-searching, so to say, which is the essence of this absorbing play.
In Scene Two of Act One, Tom returns to Beth: Accusations, recriminations and shouting follow. Who's to blame? How, when did things go wrong? Can anything be salvaged?
In Scene Three, Karen and Gabe discuss the dinner and the marriages, that of their friends and their own. A bit of guilt enters: They had introduced Tom, a lawyer, and Beth, an artist, to each other.
Scene One of Act Two takes place in Martha's Vineyard twelve and a half years earlier on the happy day when Tom and Beth first met.
Scene Two, occurring a few months after the events in Act One, finds Karen and Gabe still affected by their friends' break-up. But Karen blames everything on Tom, and she wants nothing to do with him. Gabe somewhat weakly defends Tom.
Scene Three brings Tom and Gabe together iin a Manhattan bar. Tom, surprisingly, has a new love. He's looking forward to getting married. (Will he be repeating the mistakes of the past?) By contrast, Gabe reports that Karen is having "hot flashes". Love-making isn't quite what it used to be.
One more scene follows, but I won't give away the ending.
The play is directed flawlessly by J. Barry Lewis and acted the same way by Jim Ballard, Eric Martin Brown, Erin Joy Schmidt and Sarah Grace Wilson. The players were so good that just a few minutes into the work I almost forgot they were acting and not the real thing!
Palm Beach Dramaworks promotes itself with the slogan "Theatre To Think About". I liked this play a lot because it caused me to do just what the slogan says. But when I thought, I felt truly sorry for these people. They're lost and groping for the way ahead. Young, in their late '40s, upper-middle class, respectable, they outwardly live "The American Dream". Yet here they are, inwardly terribly lost. And I wondered, What will they be like when they're retired senior citizens? What will they be like?
You won't leave the theater laughing and singing when you see this play. But you should see it. You're liable to remember it for a long time to come. For tickets and additional information, telephone 514-4042 or online: www.palmbeachdramaworks.org.
ARTS AND ENTERTAINMENT BY IRV RIKON
PLAY REVIEW: NEXT FALL BY GEOFFREY NAUFFTS AT BOCA'S CALDWELL
Two men of slighty different generations meet and move in together as lovers. The younger man is religious. The older is not. Several other people engage them: a sympathetic female friend; a less sympathetic male lover; parents of the younger man. Their story is told by Geoffrey Nauffts in his Tony-nominated play, Next Fall, which is now being produced by the Caldwell Theatre Company in the Count de Hoernle Theatre in Boca Raton.
The story is basic, but the playwright peppers it by raising several thorny religious questions. Some examples: The younger man prays a lot: could a devout "gay" be admitted into heaven? Is there life after death? And he sweetens his plot with some light banter.
Assessing this play is not easy, mainly for the reason it's hard to get inside the playwright's head and know where he really wants to take us. The work is set in "various locations in New York City from 2004 - 2009". But there are multiple scenes that change quickly, no doubt to give the stagework a motion picture-type flow, yet despite the gallant efforts of the technical staff headed by Tim Bennett and Thomas Salzman, Scenic and Lighting Designer respectively, the locales and dates sometimes fail to register as quickly in one's mind. This is emphasized by the fact the play is promoted as a "comedy-drama", and the scenes careen without warning from funny to deadly serious. So much so that in viewing it the play sometimes reminded my of Neil Simon's The Odd Couple. In this case, their different attitudes towards religion lends them the oddness, and as in the Neil Simon offering, one of these men is a hypochondriac, a ready source of humor. But whereas Mr. Simon in his early career wrote slice-of-life comedies, the situation Mr. Nauffts presents is not comic except that he stretches to make it so, and the one-liners to me seem out of place. A bit more affection, fewer laughs and less jerky motions in the playscript woud help this play a lot.
Michael Hall, the Caldwell Theatre's co-founder and Artistic Director until he semi-retired late season, returns to direct this production, and he does so with aplomb. The cast, headed by Tom Wahl and Josh Canfield, is fine. For the most part, Mr. Wahl dominates when he's onstage.
The production runs through March 27. For tickets and reservations, telephone 561-241-7432 or online: www.caldwelltheatre.com.