Reviewed by Judy Richter
Claire Chafee creates four distinct characters
in her four-woman play, "Why We Have a Body." Audiences at the Magic
Theatre enjoyed
the play so much in its world premiere in 1993 that it was extended for six
months. Now it's back for what the Magic terms a Legacy Revival to open its
45th season.
Much
of what we learn about the characters comes in monologues, starting with Mary (Maggie
Mason), a
mentally disturbed young woman with a penchant for robbing 7-11s at gunpoint
(but not shooting). She's also fascinated, perhaps obsessed, with Joan of Arc.
Next comes Lili (Lauren English), Mary's sister, a lesbian and private investigator.
She's followed by Eleanor (Lorri Holt), their mother, who has gone off an expedition to the
remote Yucatan. A bit later, we meet Renee (Rebecca Dines), a married paleontologist.
All
four women are searching for something in their own way. Lili, the only
character who has any interactions with anyone else, and then only her sister
and Renee, is primarily searching for a partner. She's also hoping to connect
somehow with her mother, as is Mary. Eleanor never makes the effort to connect
with them even though she thinks of them often. Hence it's up to Lili and Mary
to create their own sense of family. In the meantime, Renee, having met and
been attracted to Lili, discovers what apparently is her true sexual identity
as she leaves her husband and goes to Lili.
Although
this production benefits from some strong performances, it doesn't have the
impact that I recall from the1993 production. Part of this impression might
result from Katie Pearl's direction, which doesn't elicit as much of the script's humor and
complexities as Jayne Wenger did in the earlier edition. However, most of this
impression seems to result from English's performance as Lili. She doesn't mine
the depths of conflicting emotions, ranging from wonder to trepidation to
amusement, that Amy Resnick found in the character. Instead, English tends toward the
one-dimensional with stiff movements and restrained facial expressions. She's
at her best in her scenes with Mason as her sister, Mary.
For
her part, Mason is a sheer delight, mixing Mary's mental instability with some
keen insights. Likewise, Dines is wholly believable as Renee begins to realize
and then revel in her newfound identity as a woman who loves women. And Holt
also does well as Eleanor, the mother, ruminates on her past and her
relationship with her daughters.
Marsha
Ginsberg's
minimalist set, though rather stark, accommodates the swift segues from one
setting to another in this intermissionless work. Costumes by Antonia
Ford-Roberts,
lighting by Sarah Sidman, and sound and composition by Obadiah Eaves enhance the production.
Even
though I was a bit disappointed, this production still has much to recommend
it, especially Chafee's script and the performances of Mason, Dines and Holt.
English is likely to grow in her role as she overcomes what might have been
opening night jitters and becomes more relaxed as Lili.