Reviewed
by Will Stackman
Of
the three plays in Lanford Wilson's hometown trilogy, the Pulitzer Prize winner "Talley's
Folly"
(1979) is perhaps the most complete drama, in spite of being the shortest and
having only two characters. These limitations allow for complete Chekovian character
development and perhaps even a happy ending. Wilson hasn't been seen much in
Boston recently, though the Lyric successfully produced his retro "The
Book of Days"(1998) three seasons ago and the Huntington attempted his
1987 "Burn This" with a contemporary feel in 2004. "Rain
Dance" (2001) hasn't yet been seen in Boston.
Award-winning
director Adam Zahler, who just did "Brooklyn Boy" for Speakeasy Stage,
carefully choreographed the action in this long one act. He's fortunate to have
Marianna Bassham,
last seen hereabouts as Antigone for Nora Theatre, playing thirtyish Sally
Talley, with Stephen Russell back up from WHAT on the Cape, as Matt Friedman. The
ghost of Judd Hirsch hangs over the latter part, but once Russell's through the
showoff opening in which his character speaks directly to the audience, this
experienced actor makes the role his own. As in any pas de deux, it's tension between the
partners which, when resolved, completes the duet. Moreover, the situation the
pair find themselves in, during the political uncertainty of WWII still feeling
the ravages of the Great Depression, has a different sort of resonance today
than in 1979--post Vietnam. The production hardly seems dated, though it's
perhaps not quite the valentine Wilson imagined a quarter century ago.
Bassham
plays Sally with refreshing clarity, winning the audience over very quickly.
This feisty Southern woman obviously deserves a better lot in life than being a
small town spinster, but can't get beyond her past to accept an urban Jewish
suitor. Russell's Matt, an emigre in his forties, has seen much more of the
world and has secrets of his own. Both actors handle the play's long speeches
confidently. Wilson parcels out the truths about their very different and
potentially tragic lives to the audience at the same time the two realize who
each other is. The resulting love story is completely engaging, both as plot
and as an agon between two fully developed human beings, here portrayed by
actors willing to risk delving into them. The other two plays in the trilogy
would be far more effective today if they could be boiled down to a similar
density.
The
"folly" in the title is first of all a charming ruined boathouse,
nicely designed and detailed by Janie E. Howland. The realistic platformed acting
area is bounded by a very blue floor from which protruding footlights allow
lighting designer John Cuff to project ripples of moonlight off the water onto the
scene. The same moon appears discretely on the cyc, while three painted
landscapes evoke surrounding trees. Dewey Dellay's sound design provides
realistic noises and the sound of a distant band drifting over the water.
Costumer Molly Trainer gives Matt a period suit and a brown hat; Sally has a light dress,
believably new. The thrust space at the Lyric once again proves ideal for
intimate drama, focusing on the action.
According
to the playwright, "Talley's Folly" went through considerable changes
during its development. In the hands of a skilled director and seasoned actors,
the play continues to develop. Sally Talley in 2006 can't remain the 1943 rural
Southern belle, nor can Matt remain simply the nerdy emigre. Today's theatre
demands stronger characters and this cast finds them in surprising ways. The
risk is worth it. Zahler, Bassham and Russell have breathed life into Matt and
Sally and earned applause not merely for the show, but for its hopeful
conclusion.