“Collected Stories” at 2nd Story Theatre

by Richard Pacheco

            Donald Margules “Collected Stories” is 2ns Story Theatre’s current production and it brought vividly to life by two sparkling performances that resonate in heart and mind, rich and intriguing. The play was commissioned and premiered by South Coast Repertory, Costa Mesa, California in October, 1996, directed by Lisa Peterson. The play was a Pulitzer Prize finalist (shortlisted in April 1997).The Manhattan Theatre Club presented the play off-Broadway, at Manhattan Theatre Club Stage I, from May 20, 1997 through July 27, 1997.

            Ruth Steiner is a teacher and respected short story writer. Her student and protégée is Lisa Morrison. Over the course of 6 years, Lisa journeys from insecure, naive student to successful writer who is getting to be as famous as her mentot. After publishing a well-received collection of short stories, Lisa writes a novel based on Ruth's affair with the poet Delmore Schwartz when she was young. It creates a rift between them, driving a wedge deeper between the women. The women deal with the moral dilemma of whether a person's life events are suitable for another to use in their own creative process.

The first act evolves as the two women become closer, Lisa the sycophant, fawning over her adored idol and teacher. Ruth, become motherly, sharing not only wisdom from writing, but tales of growing up Jewish in New York and her affair with poet Delmore Schwartz which left an indelible and persona mark on her life. These are tales she means not to tell as she points out some things are not meant to be told when Lisa asks if she has written it yet. When Lisa borrows this for her novel their relationship explodes into a massive battle of betrayal and fears.

            Lynne Collinson, Executive Director of 2^nd Story Theatre is Ruth Steiner. Ruth is independent, crusty, suspicious and guarded as well as savvy in the ways for writers and the writer’s world. She was noticed for her collection of short stories, catapulted into the limelight and then, over the passing years allowed to slip back into a somewhat obscurity, known mainly as a teacher and not as much as a writer any longer. She keeps the world at bay and warily, reluctantly allows her new student into this rich past with shared stories that she has guarded for years. Collinson is wonderful in the role, full of passion and packed with sincerity as she negotiates the tricky straits between mentor and wounded woman. The fireworks for the final scene with Sherba are explosive and impressive, memorable on so many levels. It is a brilliant performance.

            Gabby Sherba is Lisa Morrison, Ruth’s protégé who goes through several years from nervous, shy student to a young writer moving into her own after a successful collection of stories and on the verge of publishing her first novel. She starts off talented, needy and ambitious, if a bit over solicitous. She is looking for an artistic parent figure and has found it in Ruth. She deftly handles the transition from meek, adoring student of writer coming into her own with finesse and honesty. This too is a spectacular performance.

What evolves here is two excellent performances, sure to linger in the memory for a long time rich, nuanced and vivid and truthful. Lisa in an act she believes to be a testament to her mentor appropriates elements of the tale for her much anticipated first novel. For Ruth, it is an act of total betrayal and perfidy.  The explosion between the two is magnificent theater, haunting and inescapable.

Director Mark Peckham keeps everything vividly on course with an incredible array of emotional impact and richness. His directing is crisp and multidimensional.

The set by Trevor Elliot is brilliant, rich in detail as it recreates a 1990 apartment complete with walls loaded with art and shelves packed with books and the view from the window of the next door building in the rain.

These are performances ripe with integrity and sincerity, full of fine touches and dense with a range of emotions all truthful and glowing. The two are spellbinding and wonderful performances that never miss their mark. It is riveting and compelling theater, particularly the final scene which is magnetic and searing, magnificent theatre.            “Collected Stories” runs through Feb 8 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, $21 for those 21 and younger. Call (401) 247-4200, or visit 2ndstorytheatre.com.  

“Speed the Plow” at Theatre One

by Richard Pacheco

            Theatre One glides into the New Year with David Mamet’s Hollywood satire, “Speed the Plow” recently given a revival in London with Lindsay Lohan as the  secretary.  The Theatre One Production has some rough moments, but recovers to deliver some satisfying performances in Mamet’s not always satisfying play. Newsweek described Speed-the-Plow as "another tone poem by our nation's foremost master of the language of moral epilepsy. When first presented in 1988, it was nominated for a Tony for best play, best direction and best actor.

            The play begins in the office of Bobby Gould, who has recently been promoted to head of production at a major Hollywood studio. It is his job to find scripts to green light to  studio head Richard Ross to be made into movies. Longtime colleague Charlie Fox shows up with a coup, a script that movie star Doug Brown appeared at his house with a script Fox sent him some time before, ready to commit. It is a major feat as Brown usually works with another studio and his participation will mean sure fire financial success for the film and boosts in all associated careers. Gould wants to present this project in person to Ross.

            It all turns around when Fox wants a cup of coffee and enter Gould’s  temp secretary, Karen. Gould tells Fox about a book he has been asked to give a "courtesy read" to, meaning that it is not seriously being considered to be made into a film because the author is "an eastern sissy writer." After she drops off the coffee, Fox, who thinks she is neither a floozy nor a conniving ambitious girl trying to make her way up the Hollywood ladder suggests that Gould try and bed her. Gould offers Karen the chance to take part in the Hollywood process by reading the book and making a recommendation.

            It is then it all goes wildly awry.

            Omer Courcy is Bobby Gould, a man with a big promotion and the ability to green light films to be made and on close terms with the studio head after years of toiling in obscurity. He is on the verge of the biggest break of his life, a total transformation that will make him into a Hollywood player, his longtime dream. He is in the midst of not only potential triumph, but crisis. Courcy captures the longing that Gould has for success and also his conflicting motives with passion and conviction. He can also be uncertain and fragile as he confronts his fears and his desire for success and his sense of emptiness and loss.

            Bobby Genereau is Charlie Fox, longtime friend and colleague of Gould who has a deal of a lifetime drop into his lap when a big time movie star shows up at his house with script he had given him and a timeline on the deal—by ten the next morning.  He is eager to succeed and particularly with this gem that dropped into his lap, at all costs. Genereau is a man excited and moved by loyalty to get this projects working with his longtime colleague. He can be effervescent as he rambles on about what will happen in the midst of this success and dogged about emphasizing his underlying loyalty to his friend in Hollywood, a land that often has no loyalties and no friends in the face of the dollar. He can also show the uncertainty and fear with determination.

            Amanda Hayter is Karen, the temp secretary, new to the ways and wiles of Hollywood, who finds herself with the chance to play in the big time. Is she as naive as she seems, simply caught up in the ever shifting drama of Hollywood moviemaking or is she really a savvy temptress with her own secret agenda. Hayter captures the naiveté of Karen with determination and conviction.  She also deftly evolves into the more sensual and determined siren who has her own agenda.

            The first act, which is mainly between Gould and Fox needs a rapid fire, overlapping staccato to work. There seems to be something slightly off between the two actors, not quite on the mark. While they are deft in their staccato exchange many times, it seems to remain slightly off target, never completely connecting. Near misses. As the play progresses, it all gets more on track and gets more satisfying. The second act is by far more satisfying as things come together and the conflict emerges. This is as much to do with the play as it is with the acting. The second act is stronger than the first when things seem to gel more, hit the mark with more precision and effectiveness.

            It can be fiercely funny and provocative at times and at other times dark and disturbing.

Peg Saurman Holzemer directs and works hard to keep the rhythm and pacing on target. During the first act it fails at various points, moving in and out until it stabilizes and maintains its pacing and focus.

It will be presented at the Alley Theatre Middleboro, MA, 133 Center Street from January 15-25. Call 774-213-5193 for tickets and information. Tickets are $20, and $18 for seniors (65 and older) and students (with ID).