The Babylon Line

Richard Greenberg has penned yet another fascinating character study - this time 1960's Long Island - Levittown, specifically.  There's quite a storied history to Levittown and apparently now a few of its residents too.

The Babylon Line is a memory play - which may make some uncomfortable - especially when you get to the end and have to reflect back on what version of his memories was the true version.


A terrific ensemble cast of characters - and characters, they were indeed.  Leading the class is the New York City frustrated writer Aaron Port (Josh Radnor).  His suburban students include a trio of gossipy Jewish housewives - the indomitable Frieda Cohan (Randy Graff), slightly ditzy Anna Cantor (Maddie Corman), and struggling writer Midge Braverman (Julie Halston).  But it also includes a war-vet Jack Hassenpflug (Frank Wood) and off-beat local boy Marc Adams (Michael Oberholtzer).  Not to be left out is the out-of-place in Levittown, off-beat, Joan Dellamond (Elizabeth Reaser).

Mr. Greenberg certainly knows how to tell a story - and what a tangled web he does weave way out on the Babylon Line once a week in Levittown!  Sassy housewives, off-beat interlopers, and a writing class that was likely second choice on many of the attendees lists.  Once we get into the class the story develops and envelops you (mostly through the lighting) in to the lives, both current as past, of these delicious and mysterious characters.

It was not lost on this audience member that Mr. Greenberg slyly linked one of the housewives to another character in one of his other plays that was recently on Broadway - Our Mother's Brief Affair.  Tough, tender, interesting, a bit of Long Island history, and a generally magical evening in the theatre.  Could Mr. Greenberg nip and tuck in a few scenes, sure.  Did it matter, not very much.  What is the true story? I'll leave it up to you to decide.

How I Leaned To Drive

Paula Vogel's award-winning 1997 play is receiving its first professional production since it premiered 15 years ago at the Vineyard Theater.   Second Stage Theatre is breathing new life into the uncomfortable subject matter of pedophilia, incest, and misogyny.

Dare I say, it's not one of those plays that will cause hoards of fans to mob the box office.  Exactly the opposite, I'm quite sure.   I think Second Stage knew that in order for this extremely difficult subject matter to succeed for even a brief run, it has to bring in a star.   In its prior incarnation, Mary Louise Parker was the draw.  In this rebirth, Norbert Leo Butz has the daunting task of playing Uncle Peck, a seemingly normal, affable, and likable man living with his family in rural Maryland in the 1960s.

Ms. Vogel's power is not in the overt, but in nuance and innuendo.  Uncle Peck never once physically harms his niece.  He is always proclaiming to be her protector.  Her friend.  He employs practically all the tools you would expect that a man of this kind would have in his repertoire.   Ms Vogel has cleverly woven in the analogy of literally learning how to drive a car with the figurative narrative and action on stage about growing up, innocence lost, co-dependent relationships, excuses, betrayal, and emotions of the characters.

I left the theater wondering why someone (specifically Mr. Butz) would want to take on this role.  I'm not sure I have an answer beyond "it certainly would be a challenge".   I left the theater in a reflective mood.  Not angry, not sad mostly thanks to Ms. Vogel's excellent crafting.  But I wondered exactly what Mr. Butz thinks when he leaves the theater each night.  There are absolutely no redeeming qualities whatsoever to his character.  None.