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A CurtainUp Review The Lyons
By Elyse Sommer
By Elyse Sommer
My eyes glaze over news of another Republican Presidential Wannabe debate, yet Collins' report on the latest of these debacles ("The Gift of Glib" 10/13/11), just a day after The Lyons had its official opening at the Vineyard Theater, had me in stitches over her description of Governor Rick Perry's big energy plan as “The Plan I’m Going to Be Laying Out” and the Governor generally as "a large boulder with good hair." I've seen too many friends and relatives die from cancer not to be a bit wary about expecting to laugh a lot at a play set in the hospital room where Ben (Dick Latessa), the Lyons paterfamilias, "has cancer, apparently in every inch of him." And yet, Linda Lavin has made me do just that. Her monstrous Rita Lyons' wry, self-absorbed talkathon at her husband's bedside is irresistibly funny. If the performance I attended is an indication, the only problem with Lavin's impeccably timed laugh lines is that a few get drowned out by the audience's laughter. The laugh meter spins out of control from the moment the lights settle on the elegantly prim, proper and dazzlingly outrageous Lavin. Her lengthy monologue is only occasionally interrupted by protests from the man whose fear of dying has loosened his tongue to spew expletives he probably never used during his and Rita's forty years in the self-imposed prison of the unhappily undivorced. Latessa, being hooked up and mercifully pumped full of pain killers brings as much emotional resonance to his role role as can be expected. But this is clearly Lavin's show and continues to be so even when the Lyons children make their appearance, both demonstrating the ripple effect of their parents' neuroses. Lisa (Kate Jennings Grant) is the alcoholic veteran of an abusive marriage. Curtis (Michael Esper), a writer, is a homosexual despite the homophobic Ben's efforts to turn him into a manly Green Beret. Both have had as little as possible to do with their ego-smashing parents. Even now that Rita has decided that they should be on hand for their father's final act on life's stage, there's little hope that we'll be witnessing any sort of redemptive healing of old and still festering wounds. Playwright Silver keeps each member of this ueber dysfunctional family locked in an airtight bubble of secretiveness and loneliness that makes any genuine emotional connection impossible. Well, actually, the parents do get out — Fred courtesy of the Grim Reaper, and Rita through a desperate 40-year-overdue grab for happiness which may also force Lisa and Curtis to pack up their blame-the-parents game and find the building blocks to self-esteem from within themselves. The second act's shift in focus on the problems of the children makes this one of Silver's more touching and thematically well realized plays. However, Mark Brokaw's balanced and smoothly paced direction, doesn't save the second act from being a letdown. Kate Jennings Grant is fine in the interactions with her family, but her solo monologue at an AA meeting at the top of that second act somehow comes off as some not strictly necessary incidental music. The scene following her solo , in which Curtis is negotiating a possible studio apartment purchase with Brian (Gregory Wooddel), an actor paying his rent as a real estate broker, does pack more dramatic punch. Esper is terrifically creepy and pitiful and Wooddell does well by a minor role. But it's not until we return to the familial dynamic and Linda Lavin is back that The Lyons once again picks up full steam. Rita's slamming the door on her lifelong habit of kvetching and nagging her way through her dissatisfactions with perfect decorum, takes Lavin's performance from sublime comic shtick into an incredibly moving portrait of emotional neediness and desperation. Nicky Silver and Vineyard audiences have every reason to rejoice that Lavin opted to forego reprising her role as the acerbic aunt in Other Desert Cities on Broadway to be the most fiercely funny, and ferociously determined to survive member of Silver's metaphorically named family. As usual for the Vineyard, The Lyons affords a chance to appreciate top notch acting and production values in an intimate space where every seat is prime. No opera glass needed to see what Ms. Lavin can do with a raised eyebrow and a pursed lip. We saw but weren't on line to review Silver's Pterodactyls, Raised in Captivity, and The Food Chain. Here are links to plays we did review, all except Three Changes also at the Vineyard Theater. The Altruists ( 2000) Beautiful Child (2004) The Eros Trilogy (1999) The Maiden's Prayer(1998) Three Changes (2008) The Lyons played at the Vineyard Theater from 9/21/11; opening 10/11; closing 11/20/11 with the same cast, director and production team, listed in the production notes of our update on the play's Broadway transfer. |
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