THEATRE REVIEW:
KPBS AIRDATE: July 21, 2006
Fathers and sons. They’ve been having problems
since Jacob and Esau tried to dupe their Biblical dad. Now along comes J.
Marcus Newman, the San Diego theatermaker formerly known as Nonnie Vishner,
who’s called his first play “Moms in America,” but the drama really concerns
the highly volatile interactions of three generations of men. In the
hilariously comic “Fully Committed,” making another return visit to Cygnet
Theatre, poor harried, put-upon Sam has to deal with all the loonies who insist
on immediate reservations at the chichi New York restaurant where he works. But
the most poignant moments, especially in this latest production, are his
conversations with his slow-talking, Midwestern, newly widowed Dad, who just
wants him home for the holidays.
Beloved local actor David McBean reprises the role
that’s won him so many honors – including a Patté Award for Outstanding Performance.
It’s a tour de force, by any definition. Under the expert direction of Sean
Murray, McBean morphs into some 40 different characters, sometimes nearly
simultaneously. There are males and females, old and young, gay and straight,
snooty Frenchmen and boorish New Yorkers, wheelers, dealers, sheiks and envious
actors. Sam is trying to get a role at Lincoln Center, at the same time he’s
being called on to run interference among a truckload of prima donnas – and
somehow get back to his dad. The characterizations were always brilliant, but
now the emotional connections are deeper and more heartfelt. If you didn’t get
to see this before, or even if you did, you’ll laugh yourself silly and you’ll
love it. Becky Mode’s play isn’t a masterwork; but the performance is.
The mastermind behind Mark Newman’s world
premiere, “Moms in America,” is… Mark
Newman. In a gutsy move, the independent entrepreneur has donned the hats of
writer, producer, director and designer. It’s a commendable effort all around.
The three males of this Jewish-American family are named, prototypically, Pop,
Dad and Son. The estranged trio come together to bury Pop’s ex-wife, who’s Mom
to Dad and grandma to Son. Recriminations fly – about mothers first, of course,
but primarily about fatherhood, sexuality, acceptance, responsibility and
regrets. The Russian immigrant Pop is weak and failing; undependable
hippie-holdover Dad keeps just drinking; and the gay Son does naked yoga, which
somehow prompts a roll-on-the-floor fist-fight with his father.
The design is meticulous, the pacing sluggish and
the performances erratic, but each man -- Edwin Eigner, Paul Halem and Jay
Michael Fraley – reaches at least one peak dramatic moment. The play could use
some trimming and tweaking. The middle-man, Dad, needs development. Since the
play is admittedly family-inspired, this may reflect Newman’s own conflicted
relationship.
Modern male angst – now that’s different. See it at a theater
near you.
©2006 Patté Productions
Inc.