Tag: Stephanie Sullivan
A reverent treatment of Durang’s classic American play
|Village Players Theater presents|
|The Marriage of Bette and Boo|
|by Christopher Durang
Directed by Dan Taube
at Village Players Theater, 1010 W. Madison, Oak Park (map)
through June 27 | tickets: $20-$25 | more info
reviewed by Aggie Hewitt
Oak Park’s Village Players Theater is closing out it’s season of “New American Classics” with The Marriage of Bette and Boo, Christopher Durang’s 1985 tragicomedy about a son reliving the painful memories of his parents marriage. Known for being a personal and autobiographical work, The Marriage of Bette and Boo is so popular for it’s sharp black humor and piercingly intense characters that it’s become almost cliché. It’s the source of the “lost babies” monologue, a piece so rich with nuance, depth and wit that it’s made its way onto “do not use” list of many acting classes because of overuse.
It’s no wonder that actors are drawn to Durang’s work. Bette and Boo has amazing characters, from Emily, the neurotic aunt who is full of self loathing and eagerness to apologize for transgressions she hasn’t committed – played by funny and energetic Megan E. Brown, to the hilariously contemptible priest, who’s just so over having to help his stupid parishioners (Dennis Schnell, whose priest monologue is a show stopper, on the night I saw him it received applause).
With a talented cast and a winning play, there was little director Dan Taube could have done to mess this production up and in fact, he enhanced it. Taube brings out the sadness in this work, lifting the veil of levity in every scene. Although it is a fast passed play, Taube does not shy away from taking time when it is needed to shine a spotlight on an emotional moment. Dan Taube’s direction is the invisible kind: one doesn’t really notice any direction at all, only the story that he has facilitated.
25 years after it was written, The Marriage of Bette and Boo is still a challenging piece of theater. The manic style in which it is written, and the darkness of its subject matter, make it at times difficult to watch. It also feels, well, dated. In 2010 it is no longer en vogue to deliver highly academic, sardonically funny monologues about how much one hates one’s parents (unfortunately). Stephanie Sullivan is an unsympathetic Bette, leaving one to feel that this play might just be a two-and-a-half hour long complaint about Christopher Durang’s mother. Sullivan is a strong actress, and when she is able to find moments of humanity in Bette, they are poignant and lovely (most notably in the aforementioned “lost babies” monologue) but the character – a mother who relentlessly demands to be impregnated, only to drag her family through hell with still births again and again – is as hard for the audience to love as it is for her narrating son.
Modern audiences might feel as if they are watching a very 1980’s dramady with this production, which is extremely well done but does little to innovate or modernize this “new American classic.” Most notably, the set, designed by Annette Vargas, has a super 1980’s feel. Three tall panels are designed with a brightly-colored square pattern that looks like neon stained glass. It’s pretty, and old fashioned looking, and yet somehow it works.
This Village Player’s stuck-in-the-past production is fitting – how for a play about remorse, loss and memory. How something like The Marriage of Bette and Boo could be contemporized would be a challenge. The play seems destined to stay in the 1980’s, to remain a living monument to the year of its creation. Whether or not Dan Taube is correct when he says, “One day people will look at Durang’s body of work and the innovation and the vision and put him in a class with American masters like O’Neill and Williams,” this production, presented with the loyalty and reverence of a period piece, surely supports that hypothesis.