“Harbor” Lights up Westport Country Playhouse

Mark Lamos, Westport Country Playhouse’s Artistic Director has done it once again.  A couple of years ago he bravely produced and directed Samuel Beckett’s HappyDays, a daring choice I thought to celebrate the Theatre’s 80^th anniversary. 

And now he has chosen to produce and direct a new play by a new playwright, Chad Beguelin, always a risky endeavor for a theater.  Our beloved Florida Stage took that route,and it paid the price during the recession, having to close its doors after so many years.  Unlike the Westport Country Playhouse, the Florida Stage made the production of new works its specialty, rendering it even more vulnerable.  Excellent new plays are hard to find and harder to produce.

So, kudos to Mark Lamos in choosing Chad Beguelin’s first play (although he has been successful as a musical bookwriter and lyricist).  Lamos put the play and playwright through a workshop process to improve the script and what has emerged, as directed by Lamos, is a play which is Neil Simonesque in its dialogue, pacing, and mix of pathos and humor.

Although a harbor is “a sheltered part of a body of water deep enough to provide anchorage for ships,” it is also “a place of shelter; a refuge,’ the kind of place when one thinks of “family.”  But the definition of family is drastically changing, as has the area in which the play takes place, modern day Sag Harbor, once a whaling town and now one of the hot spots of the Hamptons.  Coincidentally, it is also where my own dysfunctional family vacationed during the summer months when I was a kid and years later, where Ann and Iwould often take our boat for a nostalgic weekend, thus occupying a special place in my memory.

Neil Simon was once asked what he would advise new playwrights about writing comedy, and he said they should “not to try to make it funny. Tell them to try and make it real and then the comedy will come.” This is precisely what Chad Beguelin has done in Harbor, a modern day tale of a gay couple, together ten years, and living in Sag Harbor. Ted, is the successful architect, and his partner is Kevin, the perpetually aspiring writer (the same novel ten years in the making), whom Ted supports and enables. 

In the great tradition of American comic-drama, the dysfunctional family is at heart of this play. Kevin is from an alcoholic family of “poor white trash,” the first from his family to go to college.  A catalyst is needed for the play.  Guess who is coming to visit? Kevin’s sister, Donna, who he hasn’t seen since their mother’s death, and dragging her very reluctant 15 year old daughter, Lottie, with her.  They live in a VW Camper, Donna being a knock off of the family from which she emerged while the precociously mature Lottie, through literature, is making every attempt to save herself from a similar fate.

Kevin and Ted of course do not know of the visit until Donna calls from a gas station some three blocks away.  Kevin, stunned, tries to derail the visit, knowing that something dreadful is about to happen, but there would be no play without this visit!  And from there, the action really begins.

Sister Donna has an ulterior motive for the visit, and if I begin to go into detail at this point, this commentary on the play will become a spoiler, so I will simply say that plays about gays has moved into the next phase – they have their own biological clocks ticking, pressures to become parents either through adoption or surrogate birthing.  

Kevin has strong ‘mothering’ instincts but Ted is set in his ways, envisioning a life of travel and freedom after work, certainly not parenting, although, ironically, he is in a sense Kevin’s caretaker, and those feelings begin to transfer to Lottie who also needs protecting.  In fact, all the characters in the play need saving and the ebb and flow of their interaction makes for engaging and at times hilarious theater-going.

I can’t say enough about the actors, all at the top of their form, delivering some very funny dialogue and facial expressions where timing is everything.  Donna is played by Kate Nowlin who delivers caustic wisecracks that has the audience laughing.  Any time she’s on the stage, she is a presence.  Special accolades to Alexis Molnar, a high school senior, who plays Lottie with such poise you would think she’s been around theatre since she was born.

Both Bobby Steggert who plays Kevin and Paul Anthony Stewart as Ted were flawless in their role as a gay couple trying to adapt to the intrusion of these two women into their lives and the truth they are forced to face about their own relationship.

I think of this play as a beginning of a new phase in American theatre, finding its roots perhaps in the works of Neil Simon, or A.J. Gurney (who, coincidentally was in the audience last night and whose works we have enjoyed over the years) but blazing new trails to reflect the changing mores of the times.  We love the revivals of the tried and true classics we see at our favorite West Palm Beach theatre, Dramaworks, and hope this play will not only make it there one day but for sure to other enlightened regional theatres throughout the country.  Congratulations to the Westport Country Playhouse for having the foresight to stage a ‘world premiere comedy’ and to Mark Lamos for his encouragement and expert direction.  And may we enjoy other new plays by Mr. Beguelin who has the right stuff as a playwright.

Summer Endeavors

One of the benefits of living on our boat in the summer is being able to finally get to some postponed reading and catch up on local theatre either in Westport or NY and the last few weeks reminds me that so much of what we read or see in the theatre often serves as historical guideposts, snapshots of different periods of cultural change. I recently picked up John Irving’s The World According to Garp, which I first read when it was published in the late 1970’s. I’m not sure why I felt compelled to reread the novel other than I had forgotten much of it and always liked Irving’s quirky self-reflective story-telling, so much about the process of writing itself. I had forgotten how much the role of women’s rights plays in Garp, such a major issue in the 1970s. Irving playfully toys with the issue, satirizing it to a great degree, reminding me of my first business trip to Australia in the 1970’s when a Sydney taxi driver lectured me about the evils of women’s rights and, in particular, the role that Americans had in exporting those dangerous thoughts to Australia. I wonder whether Garp (or Irving) might have agreed with the accusation at the time.

Then a few weeks ago we saw Terrence McNally’s Lips Together, Teeth Apart at the Westport Country Playhouse, portraying two heterosexual couples vacationing at a home on Fire Island, in the middle of a gay community. It is a play that is constantly on an uneasy edge, the problems of the two couples acting out their aberrant behavior contrasted to the high-spirited, better adjusted gay community, off stage. But central to the play is the paranoia of how AIDS was thought to be transmitted at the time, symbolized by the couples’ dramatic fear of going into the pool (on stage) -- an obsession of twenty years ago when the play was written. Nonetheless, the play is still a compelling tragicomic drama and wonderfully staged at the beautifully restored Westport Country Playhouse.

A twenty year leap forward brings me to reading Jonathan Tropper’s Everything Changes. Here is a very contemporary novel by a thirty-something author about relationships between fathers and sons, and male female relationships. Tropper’s idiosyncratic characters (in particular, the protagonist’s father) at times reminds me a little of Richard Russo’s and Anne Tyler’s. Trooper’s writing can be very funny but sensitive at the same time. These are the two paragraphs that grab you and pull you into the novel:

Life, for the most part, inevitably becomes routine, the random confluence of timing and fortune that configures its components all but forgotten. But every so often, I catch a glimpse of my life out of the corner of my eye, and am rendered breathless by it. This is no accident. I made this happen. I had a plan.

I am about to fuck it all up in a spectacular fashion.

It was quite a contrast reading Anita Brookner’s Strangers, perhaps the most interior novel I’ve read in some time, most of it taking place in the mind of the 72 year old protagonist, a retired banker and confirmed bachelor, who feels he may be missing something not sharing his life with a woman. By chance he meets one of his old lovers (he hasn’t had many), now aged and frail, but one for whom he thinks he still has feelings. He also meets a woman on a flight to Venice, younger than he. Much of the novel is a debate (in his mind) of the advantages or disadvantages of being with one or the other or neither. Brookner’s writing is timeless, meticulously exacting, set mostly in London, but a London that seems to exist merely in some recent time. It is also about aging and finding meaning in life after a lifetime of work:

His reading now was confined to diaries, notebooks, memoirs, anything that contained a confessional element. He was in search of evidence of discomfiture, disappointment, rather than triumph over circumstances. Circumstances, he knew, would always overrule. Those great exemplars of the past, the kind he had always sought in classic novels, usually finished on a note of success, of exoneration, which was not for him. In the absence of comfort he was forced to contemplate his own failure, failure not in worldly terms but in the reality of his circumscribed life. He knew, rather more clearly than he had ever known before, that he had succeeded only at mundane tasks, that he had failed to deliver a reputation that others would acknowledge. Proof, if proof were needed, lay in the fact that his presence was no longer sought, that, deprived of the structure of the working day, he was at a loss, obliged to look for comfort in whatever he could devise for himself. His life of reading, of walking, was invisible to others: his friendships, so agreeable in past days, had dwindled, almost disappeared. Memories were of no use to him; indeed, even memory was beginning to be eroded by the absence of confirmation. As to love, that was gone for good. Whatever he managed to contrive for himself would not, could not, be construed as success.

Finally, yesterday, we saw the NYC preview performance of Stephen Sondheim’s great musical, Follies. This is a show I failed to see when it opened in 1971 or any of the revivals and have been waiting, waiting for the opportunity. Sondheim is the last surviving composer of another era. Talk about historical markers. This is Sondheim’s tribute to various eras of Broadway’s past and it has some of his best known songs, too many to mention, including one that is perhaps my very favorite, Losing My Mind.

This new Broadway production, coming via the Kennedy Center, is spectacular, the kind of show no longer written for Broadway. It was Sondheim’s first musical as both composer and lyricist and every line, every word is delicious. The Broadway production includes some of Broadway’s luminaries, Bernadette Peters, Danny Burstein, Jan Maxwell, Ron Raines, and Elaine Page. Each brings the house down with some of Sondheim’s most iconic numbers. The juxtaposition of their ghosts from eras past is particularly evocative. Here is a two and half hour production which seems to pass in minutes, portraying innocent and happier times past, lost loves, regrets and heartbreak.

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I Had a Session With Freud

Thursday night we boarded a time machine which began on the ancient New Haven Railroad, the same cars I rode on decades before, still shuffling their way to Grand Central Station, laboring in the heavy July humidity and heat. The seats are worn thin with the years and most riders seem to be as well, with the exception of a sprinkling of younger people, their ears dangling with all the attendant cords from their iPods.

We were on our way to a New York premiere of a play that had been highly acclaimed when it was first performed at the Barrington Stage Company where it became the longest running play in the company’s history, Freud’s Last Session by Mark St. Germain. Our unlikely attendance at the NY opening was prompted by our “new old friends,” Bill Hayes and his wife Sue Ellen Beryl, the Producing Artistic Director and Managing Director of Dramaworks, our favorite theatre in West Palm Beach. They will be producing the Florida premiere of the same play in December and had planned to see the NY production. It was over a recent dinner in Florida that they offered to secure tickets for us as well.

Here is the time machine portion of the story: The NY premiere was at The Marjorie S. Deane Little Theater at the West Side YMCA which is right next door to where we lived at 33 West 63rd Street. Since we lived there forty years ago, the West Side has dramatically changed, losing much of its original character. Our little apartment house is surprisingly still standing, dwarfed by behemoth high-rises on all sides, making it stick out like a sore thumb in its old fashioned hardiness.

As we were to meet Bill and Sue Ellen at the theatre and later, by invitation, at a gathering after the performance, we booked a table at a nearby restaurant, Gabriel’s, to have a pre theatre dinner with a long-time friend from my high school days, Ed. This provided our “once a year” opportunity to look back over the last 50 years and as we always do, laugh at ourselves, and then fill in the news from the last year. While at the restaurant, Bill, Sue Ellen and their theatre party arrived and given there are scores of good restaurants in the Lincoln Center neighborhood, one had to wonder happenstance or serendipity?

It is always exciting to see an opening, to form one’s opinion before reviews can influence it. I suppose that is why we have subscription tickets to the preview productions at Dramaworks. We were lucky enough to see Happy Days at the Westport Country Playhouse before the reviews as well.

Freud’s Last Session has all the ingredients that make for an evening of great theatre, some eighty minutes without an intermission that seemed to pass in eight minutes. The play is set in Freud’s study in London, as WW II is breaking out, only weeks before his death, and portrays a fictitious meeting between Freud and C.S. Lewis, the renowned author and Christian apologist, where they discuss their polarized positions concerning the existence of God and the nature of man. It is a weighty discussion but much of the genius of the play is in the many moments of humor. Comedy brings out the best in serious drama.

Furthermore, the staging was brilliant. The audience felt it was indeed in Freud’s study, and that WW II was just underway. Brian Prather is the scenic designer and Mark Mariani the costume designer. Martin Rayner IS Freud and Mark H. Dold a credible C.S. Lewis. Tyler Marchant’s direction paces the production perfectly.

I could go into greater detail, but I confess, I have peeked at the New York Times review which appeared as I was writing this. It covers most of the facts, although the review is inexplicably lukewarm, criticizing the play for having a “lack of tension” or lack of “suspense.” There is plenty of tension, perhaps not in the traditional dramatic sense, but certainly of a cerebral nature. It is so well written, requiring thought and careful listening as well as an appreciation of the myriad subtleties, something the Times refers to as “clever talk.” It is more than that.

I love the quiet ending, Freud left alone in his study to contemplate his discussion with his now departed guest, his own mortality, and the carnage that is about to begin, wondering how one reconciles WW II with religion, listening to the very music C.S. Lewis had admonished him for turning off after the news broadcasts. To me this was a logical resolution to the play, a sign that these opposites had indeed struck a chord in one another, even though their respective positions, Freud’s atheism, and C.S. Lewis’ theism, were left uncompromised.

It will be fascinating to see how this production migrates to the stage in West Palm Beach.

Happy Days

What a cynical title for Samuel Beckett’s brilliant play, courageously presented by the Westport Country Playhouse to celebrate its 80th anniversary. It is not the kind of light fare one might expect on a languid summer’s night at a country theatre far off Broadway, and it was a brave choice by the Theatre’s Artistic Director, Mark Lamos. But this is Westport, Ct - a bedroom community of NYC where we lived for so many years. In fact, we were there during the celebration of the Playhouse’s 40th anniversary – half of its lifetime ago -- so although we are now only summertime visitors, its byways are subliminally imprinted on us.

Edward Albee, one of the many playwrights indebted to Beckett’s trailblazing works, has said “I am not interested in living in a city where there isn’t a production by Samuel Beckett running.” So we’ve been lucky enough to live first in New York City, and then Westport and now the West Palm Beach, Fl area as well, the latter with its Dramaworks Theatre, which produces “theatre to think about.”

And indeed Happy Days is the kind of theatre that one thinks about as much in retrospect as when one experiences it. In fact, I would have been happy to have had a Samuel French edition in my lap with a tiny flashlight to follow what is mostly an uninterrupted monologue. It is so rich in meaning and innuendo. Such a performance requires an exceptional actress and the Playhouse engaged the veteran actor Dana Ivey for the task.

My wife, Ann, had a personal connection with Ivey as they were two of the lead females in their senior high school play in Atlanta, Ga. something Dana Ivey either failed to remember or would like to forget. Ann saw Dana Ivey perform on Broadway with Morgan Freeman in Driving Miss Daisy and after the performance went backstage to say hello and praise Dana for an unforgettable performance. Ann was with two friends. Morgan Freeman first greeted them, said Dana was busy, but would be with them shortly. When she came out, she completely failed to recognize or remember Ann (an unforgettable person), and only vaguely remembered the extraordinary play they performed in or anything else relating to their high school experience. It was a shocking moment for Ann who minutes later laughed it off. I guess when one becomes a Broadway star you can afford to remember the past in any way you choose.

But credit is due Dana Ivy for successfully bringing the audience into Beckett’s abstract world where days begin and end with a school bell and where we are all earth bound in an earth mound. Winnie in the first act sits waist up, at the top of her earth mound, carrying on mostly a conversation with herself, trying to read what is inscribed on her tooth brush and, finally reading the smallest print with the help of a magnifying glass, proclaiming it is another “happy day” as she has learned something new. Talking validates her existence as does the large black handbag at her side filled with her possessions. These are symbolic of our own possessions we tote around during our lifetimes, things that really own us than we them. She reminds us that these things “have a life of their own.” She arranges and rearranges the contents of her bag during the play which prophetically includes a pistol, carefully declaring a new place for the pistol which will no longer reside in her bag but by her side.

At one point, the earthbound Winnie ebulliently declares that she feels it is such a “happy day” that she should be able to ethereally rise into the sky, holding her parasol above her, one that mysteriously burns up and is tossed aside by her. Also, interestingly, except for Willie, her husband, the only other character who “makes an appearance” in the play is an ant, one that Winnie spies with her magnifying glass and carefully follows until it disappears under a rock. We are but ants in Beckett’s universe, but with the ability to talk and, unfortunately, be aware of our own brief, inexplicable existence on this mound called earth.

Meanwhile she directs questions, demands, and criticism of her husband Willy played mostly off stage by Jack Wetherall. Unlike Winnie who is at the top of the mound, Willy mostly lives in a cave and has to be reminded by Winnie, as if he is a child, that if he enters the cave head first he might have difficulty backing out. There is humor in all of this, very dark humor, which takes a darker turn in the briefer second act when the bell rings and Winnie is now buried up to her neck in her earth mound, unable to move anything at all, including her head. (In fact, Beckett in his correspondence with the play’s American director, Alan Schneider, when the play premiered at NYC’s Cherry Lane Theatre in 1961, said of Winnie: “She simply can’t move, that’s all. Times when she can’t speak, times where she can’t move. Her problem is how to eke out, each ‘day’ and organize economy of these two orders of resources, body and speech.”)

It is at this point that Willie finally makes an on stage appearance, a disheveled and shaking old man, formally dressed in spats and tie who grunts and claws his way up towards Winnie, something that pleases her at first, falling back, being egged on by Winnie to try again. Is Willie reaching for Winnie or is it the gun, as the play and their marriage and perhaps their lives devolve to their abrupt end? Lights out. Curtain.

It was a night of powerful theatre. We exited to the parking lot. It had just rained and the humidity hung in the air, also rising off the steaming macadam and fogging our glasses. So we drove the back roads of Westport, returning to our boat, passing landmarks indelibly imprinted and always remembered such as the location of the old Westport National Bank (gone) turning left onto the only road that runs west and parallel to Riverside Avenue, along the southern side of the Saugatuck River, passing homes where we had partied in our youth (including one Christmas eve where guests in an alcoholic induced stupor set a couch on fire and it had to be dragged out to the snow to extinguish the flames), the building our first Internist once occupied (who later died in the same nursing home as Ann’s mother), the Westport Women’s Club where my publishing company held our annual Xmas party for so many years, my old office itself across the river where I worked for the first ten years in Westport, now the Westport Arts Center, past the street where Ann and I went for Lamaze classes when she was pregnant, over the old bridge crossing the Saugatuck, turning left then right under the Turnpike past the structure which used to be The Arrow Restaurant (long gone) where Ann reminded me they made her favorite dinner, crispy fried chicken, and then further west to Norwalk, all fragments of our own earth mound, being earth bound, trying to understand. Theatre to think about. Oh, happy days.

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