#1
Posted: 9/29/05 at 2:04pm
ABSURD PERSON SINGULAR Review
“Absurd Person Singular” is a hysterical romp of a farce now playing nightly at Manhattan Theatre Club’s Biltmore Theatre on Broadway. Alan Ackybourn’s British 70’s comedy originally played on Broadway at the Music Box Theatre for a healthy two year run. This time around, the cast is as aptly healthy, if not more so, than the first time around. However, director John Tillinger seems to have fallen into an anemic coma with his shotty, at best, direction.
With such a tight script by Ackyborn and an extremely-uber talented and highly motivated cast, it is quite the shame Tillinger’s shortcomings are so clearly evident. In a time of great tragedy in our Nations history, it has become clear that social class commentaries are indeed entirely prevalent. Even thirty years later, Ackyborn’s mixed Martini look into these classes, are as relevant today, if not more so, than they were in the 70’s.
Sidney (the spot on Alan Ruck) and Jane (a hysterically winning Clea Lewis) are proprietors of a store, they wish to develop. Geoffrey (a very handsome Sam Robards) and Eva (“Virginia Woolfe’s” comedic Mireille Enos) are a tormented couple with a dog and marital troubles; including drugs and affairs. Ronnie (the absolutely marvelous, real deal Paxton Whitehead) and Marion (an award worthy turn by the amazing comically talented Deborah Rush) are the upper class couple with money; and talent of living with her alcoholism.
John Lee Beatty (“Doubt”) and Jane Greenwood (“Virginia Woolf”) have done their homework and it has paid off with sets and clothing matching and representing the different classes. Now it is time for Mr. Tillinger to open up his college books from Theatre Directing 201 and FIX THIS PLAY before opening night! It has it all, and on most levels works…except for the clearly obvious poorly instructed comedic direction.
British comedies are entirely different than American works and must be handled differently. The folks at MTC have given it first class production values and a cast of highly capable stars; however, they have also given it a director who doesn’t take very good notes. Let’s hope someone shapes up this entirely rewarding charade like comedy and does not let this respectable work become a travesty of delightful shambles.
“Absurd Person Singular” is a hysterical romp of a farce now playing nightly at Manhattan Theatre Club’s Biltmore Theatre on Broadway. Alan Ackybourn’s British 70’s comedy originally played on Broadway at the Music Box Theatre for a healthy two year run. This time around, the cast is as aptly healthy, if not more so, than the first time around. However, director John Tillinger seems to have fallen into an anemic coma with his shotty, at best, direction.
With such a tight script by Ackyborn and an extremely-uber talented and highly motivated cast, it is quite the shame Tillinger’s shortcomings are so clearly evident. In a time of great tragedy in our Nations history, it has become clear that social class commentaries are indeed entirely prevalent. Even thirty years later, Ackyborn’s mixed Martini look into these classes, are as relevant today, if not more so, than they were in the 70’s.
Sidney (the spot on Alan Ruck) and Jane (a hysterically winning Clea Lewis) are proprietors of a store, they wish to develop. Geoffrey (a very handsome Sam Robards) and Eva (“Virginia Woolfe’s” comedic Mireille Enos) are a tormented couple with a dog and marital troubles; including drugs and affairs. Ronnie (the absolutely marvelous, real deal Paxton Whitehead) and Marion (an award worthy turn by the amazing comically talented Deborah Rush) are the upper class couple with money; and talent of living with her alcoholism.
John Lee Beatty (“Doubt”) and Jane Greenwood (“Virginia Woolf”) have done their homework and it has paid off with sets and clothing matching and representing the different classes. Now it is time for Mr. Tillinger to open up his college books from Theatre Directing 201 and FIX THIS PLAY before opening night! It has it all, and on most levels works…except for the clearly obvious poorly instructed comedic direction.
British comedies are entirely different than American works and must be handled differently. The folks at MTC have given it first class production values and a cast of highly capable stars; however, they have also given it a director who doesn’t take very good notes. Let’s hope someone shapes up this entirely rewarding charade like comedy and does not let this respectable work become a travesty of delightful shambles.
Updated On: 10/15/05 at 02:04 PM
