ItÕs no wonder
"Good People" is currently the most produced new play in America, and
not just because it won last
yearÕs Tony. Though itÕs set in
two socio-economically very different parts of Boston, itÕs an American and
maybe universal story about class and its effect on peopleÕs opportunies and
personas. Margie (fiercely, friendly and feisty Mariann Mayberry) is a
middle-aged Southie (i.e., lower class, poor, little schooled, not above
racism) with a retarded teen daughter and without a job. SheÕs just been fired from a dollar
store, by her friendÕs manager-son no less, for being too late too often. Too
bad her sitter isnÕt dependable and others, especially a Chinese gal, may be
willing to work for less. So when
her landlady (Molly Regan, as cruel as casual), though a friend, begins to talk
about needing MargieÔs flat and rent, a suggestion from pushy pal Jean (Lusia
Strus, flip) sends Margie to see Mike to give or help her get a job. Her 30-years-ago high school flame, heÕs
now a successful M.D. fertility
specialist (Keith Kupferer,
rightly complex). In his
upscale office, he obviously finds her out of place, but she pursues--and
gets--an invitation to a birthday party his wife is hosting for him. And though
Margie soon hears itÕs been called off, she suspiciously drops in anyway.
MikeÕs plush
place on Chestnut Hill, a stark contrast with MargieÕs flat and bingo parlor
hangout, livens the contrast between them. HeÕs proud of
having studied hard to get away from South and worked all the way through medical school and
beyond. But Margie, who can throw
him off as being lace curtain Irish,
believes he was and has been lucky in ways she wasnÕt. Thus, sheÕs not
had his choices, and that made the big difference in their situations. Meeting
his privileged African-American
wife Kate (smooth Alana Arenas), despite her surprising welcome,
strengthens MargieÕs contentions. Eventually both women size up everyoneÕs
situations from their own points of view and Mike has to meld them into his
own. ItÕs a wonderful scene that embodies the playÕs dominant question: Is
character or are chance and
circumstance determinant in
shaping oneÕs life?
Walt SpanglerÕs
designs lit by Kevin Rigdon make the differing scenes perfect, just as are each characterÔs costumes by Nan Cibula-Jenkins. The realistic dialogue is delivered in
the best Steppenwolf tradition.
The leading characters are fully fleshed out and, under Todd FreemanÕs
direction, natural. Though the
main function of MargieÕs gal friends is exposition, they are as defining of
MargieÕs milieu as is the scenery.
They and even MargieÕs ex-boss all in some way merit inclusion in the
title of a play that is also good.
Sound &
Original Music is by Rob Milburn and Michael Bodeen. Stage Manager Christine D. Freeburg is assisted by Michelle
Medvin.