This decent production of a wonderful play confirms one thing: Laura Linney should be an even bigger star. (I'd personally prefer to see her take on Blanche, as much as I admire Natasha.) She is exquisite in SIGHT UNSEEN, and manaages to suggest a 15 year younger version of herself in two scenes (17 in one) without any hair/make-up changes, or any cloying reliance on "young" mannerisms. As does Shenkman, most effectively, particularly when he must suggest a boyish near-geek in the play's final moment. He's not a standard issue leading man, and is far slower to crank up, not always sufficiently stage-commanding in places, particularly in the meandering opening. But he scores, and reaches his own zenith in act two in the confrontation with the German provocateur. And Byron Jennings is most affecting as Laura's sometimes bewildered, sometimes angrily acerbic British husband.
Despite its fractured use of flash back/forward, this is an old fashioned play in the best sense (superior to the author's DINNER/FRIENDS in my opinion), one that has people chatting about its story and issues on the way out. Anyone who loves Laura, Margulies' work, and possibly Ben shouldn'tmiss it. Only a month left. I'd be happy if we had a vehicle for Laura every season. Forget STREETCAR, Albee, Guare, et al, write her a new role.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 6/2/04 at 07:20 PM
