CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
Connecticut
New Jersey
DC
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
Writing for Us


Globe Valves,China valve, valve Manufacturer, valve supplier, link check valves, ball valves, Butterfly Valves,valves Butterfly valves 2011.06.05, Gate valves, Ball Valves,Gate Valves,Check Valves Plug Valvesglobe valves, butterfly valves, Zhejiang sedelon valve co.,ltd.
valve factory,valve corporation,valve company China Valve manufacturer and Supplier
A CurtainUp Review
Showy Lady Slipper

By Les Gutman

There is a common perception that it takes a good writer to make a good playwright. Less well understood is that it takes a good listener to make a great playwright. With the debut of his third play in the last year or so, Richard Maxwell establishes that he is a great listener. 

Maxwell is keenly aware, also, of the way other people listen and, in turn, how (that is, to what effect) they use words. This, more than any "plot," is what drives Showy Lady Slipper. An esoteric exercise? Well, it is, actually, but you'd never know it from the way the audience erupts in laughter. Forcing us to listen to how we converse can be fun, and funny, and even compelling. Maxwell makes it all three. 

For those not yet exposed to Maxwell's version of theater, be prepared for something different, something, alas, that is difficult to describe without diminishing it. There are certainly elements of what Maxwell does (he is his own director) that can be compared to others (Harold Pinter and Richard Foreman come to mind easily), but Maxwell's plays have a logic that is unique, a term I don't use casually. He's the first American playwright since Mamet who seems destined to have his name turned into an adjective. 

In House, Maxwell painted affectless characters on a virtually blank suburban canvas. In Cowboys and Indians, linked below, (written by Maxwell and Jim Strahs, whose play North Atlantic is currently under reëxamination by the Wooster Group), there was considerably more context, but the actors' voices and body language denied the text any meaning or emotional effect. That, in Maxwell's persuasion, is audience work, not actor work. 

Here, he expands on these concepts without repeating them. As before, there are long and increasingly comical Pinteresque pauses, engines for the generation of the words that will soon gush forth. But now one can occasionally detect a bit more amplitude and even inflection in the characters' voices. 

They have other things to worry about: they speak as if perhaps they don't know what they are saying, and without regard to whether they need to say anything at all. Topics of coversation shift almost by accident; conclusions, in those instances where they are actually reached, are likely to be regurgitations of the premises on which they are based;  reactions, both verbally and physically inappropriate, belie the comments to which they are seemingly directed. The precient is accorded as much attention as the obvious, and the non sequitur becomes an art form. What's frightening, perhaps, is how vividly all of this resonates -- enough so that one audience member at the performance I attended was compelled to blurt out her own inappropriate  "Oh My God" as she watched. 

What happens in conventional terms is almost beside the point. Erin (Ashley Turba), Lori (Sibyl Kempson) and Jennifer (Jean Ann Garrish), all young women, hang around the house talking and waiting for Lori's boyfriend, John (Jim Fletcher), to show up. When he does, they try on some new clothes. He spends time talking to Jennifer and they make plans to connect behind Lori's back. When they are discovered, John is kicked out; Lori and Jennifer fight. Later, John's mother calls to report he was killed in a car accident after he left. 

There are also songs here -- enough that Maxwell is not just being silly when he calls this a musical. (They are his own composition, enhanced by the presence of a two-piece band.) In their artificial way, they are able to express in a medium in which we expect artifice, much that eludes the spoken word. 

It's wrong, and folly, to apply too much neaning to what's going on here. Res Ispa Loquitur (the thing speaks for itself) seems the best policy to apply, as Maxwell's fruitless efforts to explain himself in interviews has amply demonstrated.

Massive demands are placed on the performers here, and all are game, disciplined technicians. It's easy to underestimate the complexity of engaging this drastic form of expression; the actors succeed in pulling it off. 

If there were a doubt before, it's now pretty clear that Maxwell is not a gimmick peddler. He's a significant voice in experimental theater and beyond. As we try to assess the human condition at the millenium, it would seem he arrived at just the right time.

LINK MENTIONED ABOVE 
CurtainUp's review of Cowboys and Indians 
  
SHOWY LADY SLIPPER
Written, directed and composed by Richard Maxwell 


with Ashley Turba, Sibyl Kempson, Jean Ann Garrish and Jim Fletcher
Set Design: Joseph Silovsky
Costume Design: Jane Cox
Musicians: Bryan Kelly and Scott Sherratt 
Running time: 1 hour no intermission 
Performance Space 122, 150 First Avenue (@ 9th Sreet) (212) 477 - 5288 
P.S. 122 website: http://www.ps122.org
Opened October 24, 1999, closes November 14 
Seen October 22 and reviewed by Les Gutman October 25, 1999
broadwaynewyork.com


The Broadway Theatre Archive


©Copyright, Elyse Sommer, CurtainUp.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com