By Alexis Soloski
By R. C. Baker
By Alexis Soloski
By Tom Sellar
By Araceli Cruz
By Brienne Walsh
By Alexis Soloski
By Alexis Soloski
The world has caught up with Harry Kondoleon in the eight years since his tragically early death. What once looked gnomic, tricky, prickly, now seems reasonable, a depiction of a place we've come to know. Harry was simply ahead of the game, not trying willfully to startle, but mapping a world in which we would duly arrive. Thanks in large part to Craig Lucas's efforts, Kondoleon's previously unperformed plays are coming to meet us just as we get there. This second of Lucas's directorial outings, tackling a late work that has more in common with traditional playwriting than some of the author's earlier experiments, is like the answer to a particularly maddening quiz question. You may think you knew it all along, but don't kid yourself; you wouldn't have gotten the answer without peeking at Harry's paper.
"Don't kid yourself" is, in a sense, the moral of Kondoleon's comedy too. The characters of Play Yourself are an elderly ex-movie star who is not really a star, her devoted daughter who is not really devoted, a passionate fan who is not really either passionate or a fan, and a charismatic religious leader who is not really just a nice guy with a sentimental streak. This sounds like the setup for a wicked satire on hypocrisy, but, for a final rug-pull, the play itself is not really the harsh object, satiric or tragic, that it sometimes toys with being. The characters are all genuinely good soulsor, at least, good enough to admit how horrid they arewhile the ending is both happy and moral, with all of them getting to a large extent what they want, as well as what they deserve. Kondoleon couldn't have done it more neatly if he were Kaufman and Hart, or more elegantly if he were Marivaux.
Jean, the ex-movie queen, has spent her career playing Other Women who get dumped by the hero in the last reelon-screen in a brief string of B movies, and offscreen to boot. The work's imperative title is what Jean was told when she arrived in Hollywood, wholly innocent of the stormy emotions for which the studio system decided she had a natural flair. The many different meanings bound up in the word yourselfwhat you think you are, how others see you, what you feel, what you wish to be, what the objective lens records, what your actions make youare all tried on by the characters, turning the action into a sort of Gestalt fashion parade, with Jean, inevitably the most clothes-conscious, as its supermodel, the last word in psychological chic.
By Stephen Sondheim and John Weidman, additional material by Hugh Wheeler
Avery Fisher Hall, Lincoln Center (closed)
The anarchic condition of our media-haunted life, with its innumerable choices and kinds of choice, is layered teasingly into the rich dialogue. Jean may be a forgotten nobody, and her films trite, "self-erasing" mediocrities, but their dialogue has etched itself into the characters' consciousness. Sooner or later everyone slips into some key scene from Jean's filmography; she and her daughter Yvonne, having lived together for years in a conflicted state of parasitic symbiosis, slide back and forth from film script to life script as casually as they breathe. And Kondoleon slyly makes sure we're always aware that their slide occurs within a stage script. There's even a fourth dramatic formthe text of a gay male solo performance, as it wereburied within this "women's picture" (in 1930s Hollywood parlance) of a play: Jean and Yvonne get letters from Bobby, a friend traveling in Europe, whose epistles both set the onstage plot in motion and underscore its moral. Like the onstage characters, Bobby both finds happiness and gets what he deserves. In his case, the combination is marked with deeper pain, because he doesn't know a good thing when he sees it.
Lucas's production toys, astutely and friskily, with the script's multileveled capriciousness. John McDermott's rabbit warren of a set makes the women's apartment look stripped down for camera movement; you can never quite tell who's visible to whom. Ben Stanton's lighting features movie-style klieg lights that sneak up for the screenplay quotes; Catherine Zuber's costumes sway across the tenuous line between clothes you choose and clothes designed for you. David Van Tieghem's discreet flecks of film music include the sliest switch of all: Ruth Etting's recording of the title song from Jean's first picture, played in the auditorium during intermission.
Lucas's cast handily matches his production team's skills. To dispose briefly of its one minor flaw, Juan Carlos Hernandez, likable and lucid as the religious visitant, doesn't quite have the magnetism the script suggests. Everything else about the performance either verges on or attains the purely magical. Elizabeth Marvel, normally seen in roles of tragic power, manages to sustain her innate grandeur inside the shrunken carapace of unhappy Yvonne, like a complete Bible tucked into a walnut shell. A different magic, comic and dazzling, is practiced by Ann Guilbert, whom you might call screwball comedy's answer to Anne Pitoniaknot without Pitoniak's technical power, either, as Guilbert proves when, late in the play, she pulls off the impossible task of imitating the inimitable Marian Seldes.