Bad Evidence: Wedded Non-Bliss
The Cell Theaters current summer repertory program (co-produced by the Hive) may be called Summer of Lust. Bad Evidence, thoughthe second show of the seriesis not quite so sexy as the seasons name purports.
Instead, novelist and poet Terry Quinns new domestic drama assaults you with his characters emotional problems in a play that embodies all the melodrama and intellectual pretension of a mediocre Woody Allen film (Nietzsche casually adorns bedside tables), but with little of the wit.
Bad Evidence opens like many pieces that strive to harness the causes of marital strifeon a dozing husband and his emotionally unfulfilled wife. Ultimately, their path to reconciliation involves innumerable implausible acts, raging from giddy practical jokes to an enormously uncomfortable scene of coerced sex.
By Terry Quinn
338 West 23rd Street
Armand Anthony and Carmit Levité (playing the couple, Richard and Leah) struggle admirably with Quinns text, dialogue that lacks subtlety and nuance. Early on, Leah talks of Secrets that lie in [her] breast like shards of iron a line more likely to evoke cringes than tears.
Director Kira Simring and her design team aptly fashion the Cells renovated townhouse of a theater into two distinct yuppie enclaves. But she fails to transition smoothly to the incongruent second act, which moves from bedroom to living room and introduces most of her characters: the neighbors who make all the plays infidelities possible. Granted, Quinns dinner party is more conducive to pithy dialogue, and thus the second act moves with a much quicker pacebut bringing in so many new characters so late makes it hard for anyone besides her leads to resonate.
Which isnt to say that Bad Evidence is without its moments. Leahs musings about how other characters represent her in anecdotes contain some interesting metaphysical conundrums, and Gary Lee Mahmoud is charming as family friend and state assemblyman Jeremy, whose laughable evolution from uptight working-stiff to coke-addled libertine offers some welcome (although inexplicable) comic relief. Still, Quinn is working with familiar territory, in a play thats as rocky as his subjects marriages.
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