Brit criss-cross: Ben Whishaw, Hugh Dancy, and Andrea Riseborough do some decade hopping.
By Alexi Kaye Campbell
Lucille Lortel Theatre
121 Christopher Street, 212-279-4200
In 2008, the puzzle centers on Oliver. Nobody suggests he see a therapist, or that he and Philip visit a marriage counselor. Nobody points out the dangers inherent in his promiscuity. (The only mention of AIDS comes from a straight minor character otherwise depicted as a boorish nitwit.) Nor do Philip and Oliver, when they finally sit down together, actually discuss what marriage means; they just keep reiterating their opposing stances. Naturally, Freud being passé, we never get a glimpse of what in Oliver's childhood might lead him to be such a suicidal, compulsive mess. Does Campbell mean to suggest that every same-sex couple must end in either an orgy room or Tristan und Isolde? That's hard to believe. But then, Oliver in 2008 is a journalist who dreams of giving up his job to write a book. In the Internet age, he's as remote from reality as a 1950s actress who doesn't seem to know about Gielgud.