The Lady With All the Answers

Hartford TheaterWorks, Hartford, CT
www.theaterworkshartford.org
through March 7, 2010
by Jarice Hanson

Biographical plays are always a challenge to mount when members of the audience have an image of the subject in their minds. David Rambo's The Lady With All the Answers portrays the life of Eppie Lederer, known as Ann Landers, on July 1, 1975 -- the eve of writing a deeply personal column. In this one-woman show, the talented Charlotte Booker bears a striking resemblance to Ann, and charms the audience with rapport and charisma by taking polls of the audience, composing her columns at her Selectric typewriter, and talking on the phone with her daughter, her husband, and her twin sister, the other popular advice columnist, "Dear Abby." Booker's attempt to affect a Chicago accent and Landers' quirky speech pattern are inconsistent, and she relies on smiles and warmth to tell the story of this woman who was reputed to have a temper, sharp tongue, and extravagant lifestyle.

Director Steve Campo effectively uses Adrian W. Jones' set in Lederer's Chicago living room, and Kenneth Mooney's costumes contribute an elegance that reflects Landers' popularity. Much of the material comes from the real letters and responses Ann Landers wrote from 1955-2002, chronicling American values and popular topics, from the correct way to hand a toilet paper roll, to the anguish of a 15-year old boy who struggles with coming out, or ending his life.

Booker represents Eppie as a feisty woman with strong morals, but perhaps because the subjects deal with issues from a simpler time, or because Booker has not yet been able to find the contradictions in Lederer's life that give the play the human tension it needs, the show falls flat.

While the audience awarded Booker with a standing ovation, the production still needs to find the appropriate balance between human anguish and humor, which Ann Landers affected so well.

Speech & Debate

TheatreWorks, Hartford, CT

www.theaterworkshartford.org

through July 26, 2009

by Meghan Lynn Allen

Stephen Karam's contemporary comedy follows three Oregon high school misfits and their timeless dilemma of how to be comfortable in their own skin. From coming out of the closet to how to find love to how to just plain fit in, Karam flawlessly articulates the dialogue of today's youth in crises. The three teens' lives are intertwined in a maze of internet blogging, chat rooms, and instant messages. Karam addresses the teens' struggles and issues that the adults in their lives refuse to talk about freely.

Jee Young Han plays Diwata, an aspiring and repeatedly non-cast actress in her school who is obsessed with starting a speech and debate club in order to be noticed as a performer. Han steals the show with her hilarious musical podcasts and complete over-the-top commitment to her drama queen character. Her energy is contagious. Ben Diskant portrays Solomon, a high-strung, self-conscious, sexually-repressed son of religious conservative parents. As a school paper journalist, he gets more than he bargains for as he tries to expose a possible teacher/student sex scandal. Diskant perfectly captures Solomon's uptight ways and vulnerable heart so that the audience truly feels him. The third in this comic/tragic trio is Carl Holder as Howie, an openly gay teen who faces the hurdles of a closed-minded community. Holder tackles the challenge of representing out gay youth in Karam's piece, and does so without being a trite caricature. Holder's quirky mannerisms bring a lightness to the piece that is a relief as he deals with heavy topics.

Eva Kaminsky is the voice of "the adult," and plays the roles of both a teacher and reporter. Kaminsky is a believable and welcome distraction to the fast-paced world of Karam's younger generation. The direction, set design, and lighting pop and are just as exuberant as the actors in "Speech & Debate." This comedy feels fresh and current, and it is a must-see for high school and college audiences.

“Rabbit Hole”

TheaterWorks, Hartford
through July 20
By Bernadette Johnson

It’s often referred to as “the elephant in the room.” It is the obvious that is being ignored or goes unaddressed. In David Lindsay-Abaire’s Pulitzer Prize-winning “Rabbit Hole,” the elephant is the accidental death of a four-year-old child. Becca and Howard Corbett are the parents, whose lives have been shattered by loss and for whom grief has taken center stage. We are invited into their suburban home where, thanks to TheaterWorks’ intimate space and Luke Hegel-Cantarella’s homey and realistic set design, we are not mere observers. Rather, we are as extended family witnessing the drama that is unfolding, powerfully played out in family dynamics.

Heading a stellar 5-member cast is Erika Rolfsrud as the grieving mother, Becca, whose grief smolders just below the surface, flaring up at the slightest provocation. From the onset, Rolfsrud’s calm exterior, her mechanical folding of laundry, masks an undercurrent of rage. Her lack of affect conveys more eloquently than words the depth of her despair. She is by turns resentful (railing against God), defensive and desperate as she grapples to gain hold of something that will ease the pain.

Joey Parsons is delightful as Becca’s quirky younger sister Izzy, who, together with their ranting mother, the offbeat Nat (Jo Twiss), provides the much-needed balance between tragedy and humor that keeps this intensely emotional drama from becoming just the tale of a devastated family working through the stages of grief and trying to come to terms with traumatic loss. Parsons is able to convey a great deal with a simple shrug of the shoulders or a facial expression.

Becca’s husband, Howie (Dylan Chalfy), deals with their son Danny’s death by preserving his memory and trying to mend their strained relationship. Because he’s more in control than Becca, it is particularly heart-wrenching when his calm exterior crumbles (a powerful performance by Chalfy).

Alec Silberblatt is suitably awkward as Jason, the teen who accidentally hit Danny with his car. A story about parallel universes he wants to dedicate to Danny explains the title and gives Becca a glimmer of hope.

There are no survivors in this drama. They are all victims, weighed down by a heavy feeling that, as Becca’s mother Nat tells her, may change but “never goes away.” We have come to know the victims, individually and collectively, and we walk away feeling privileged to have been entrusted with their story.