Ripcord

Old people are usually a funny topic.  And Marilyn Dunn (Marylouise Burke) and Abby Binder (Hollad Taylor) are no exception in David Lindsay Abaire's clever new romp over at Manhattan Theater Club's City Center Stage II is no exception.

Marilyn and Abby are going at it toe to toe, no holds barred at the Bristol Place Assisted Living Facility.  And why not?  What have they got to lose?  Abby wants the room to herself. Marilyn, however, is determined to be Abby's sunny, chatty, and cheerful roommate.  Skydiving (conveniently linked to the show's title).  Lunch visits.  Police Reports.  Estranged family members.  Even death.  Will these cunning ladies duke it out till the last one is standing?  The referee in the tete-a-tete is none other than the scruffy, sexy, and burly employee and aspiring actor, Scotty (Nate Miller).  Marilyn's daughter, Colleen, (Rachel Dratch) and son-in-law, Derek, (Daoud Heidami) find themselves drawn into the battle.  Abby's estranged son Benjamin (Glenn Fitzgerald) eventually becomes a pawn in the game as well.

Head on over to West 55th Street and see who wins this epic battle of wills.  Fine acting all around.(especially by Scotty).

Of Good Stock

Melissa Ross seems to be under the delusion that messed up and messy people who were born to cheating and unhappy parents are considered to be born "of good stock" or are "good stock" themselves.  The funny, poignant, and slice of life production by Manhattan Theater Club on the City Center Stage I by its title seems to suggest so.  Hardly the case, although the production itself is quite good and for too many probably cuts quite close to the bone.

Although the headline name seems to be Alicia Silverstone who aptly plays the Legally Blond type sister (Amy), in fact the entire cast is quite delicious.  There's a flavor of some affectation for slight control freak with cancer (Jennifer Mudge), lost and young (Heather Lind),  cute, cuddly, and genuine boy from Montana (Nate Miller), Northeast "good guy" (Kelly AuCoin) and uptight trapped groom to be (Greg Keller).

I'm not sure if we are supposed to like any of these people or just see some reflection of ourselves in any one of them but the story unfolded mostly as expected and maybe took about 15 minutes too long.

Families are mostly complicated and according to this version, messed up.  It's mostly true but do we need a play to remind us of this fact?

Love and Information

This play is very unique and another thoroughly enjoyable installment of the New York Theatre Workshop.  Actually, less of a play more a series of thematic vignettes - long and short.  Broken down into 8 chapters, Caryl Churchill imbues each chapter with a theme that is then explored in several usually quick slices of life she presents.  Funny, sad, poignant, smart, coy, cunning, deceptive - you name it - she's got it.

The cast of 15 is usually, but not exclusively, paired in twos and is always introduced by a sound effect that relates to the scene.  Part of the formula for success is the bare white stage box and lighting effect at the scene changes that completely blacks out the view.  Very binary, very data-oriented, very sparse.  It focuses you on the topic of the scene.  There's a fair amount of thinking or processing that has to go on - that is - if you are trying to decode each scene and chapter.

By the time chapter 4 came along I started to figure out a pattern.  I just wish they would have displayed that theme when they flashed the chapter number up on the scrim.  It really would have made a quicker and stronger association to the content as it unfolded.  They could have at least printed it in the Playbill so we could have all reflected upon it afterwards.  And believe me, this one generated a lot of conversation afterwards.

With 57 individual vignettes over 2 hours, there was quite a bit to recall fondly.