LABORING ALONG WITH "GEORGE IS DEAD"
This play is definitely a work in progress, written by the successful comedian
and screen writer Elaine May ("Primary Colors," "Heaven Can
Wait," "The Birdcage"). She also directed the ATC production
which stars Marlo Thomas as Doreen, although Julia Brothers has the lead role
as Carla.
Which is one of the problems. In a normally balanced cast, the star would play
Carla and the Doreen role would be comedy relief.
But at ATC, we are all watching Thomas as Doreen while Carla is off to the
side, making the journey of a woman who feels used until she finally gets the
courage to stand up for herself.
So instead of calling the play "George is Dead," it could be retitled
"Carla Comes Alive."
As the play stands right now, this positive message is only one of several
competing for the audience's attention. Most interesting to me is May's
apparent desire to connect current political events to the disintegration of
family life.
We know the perfect apple pie American family started falling apart right
around the same time as the 1960s sexual revolution, the modern feminist
movement and the popularity of illegal recreational drugs. Legalized abortion
and birth control pills, civil rights demonstrations and the acceptance of
homosexual lifestyles fit in there, too.
But is there a connection between left wing idealism, political agendas and
dysfunctional families? May seems to think there is, and has the jokes to prove
it.
There's also another subplot between the wealthy conservative George (an under-used
Don Murray) and Freddy (Carman Lacivita), an eager cab driver proud to be a
legal alien from South America. Freddy wants to embrace the American dream,
work hard and make lots of money.
Freddy is a young guy with all the values of an old school conservative. Maybe
the play wants to say new immigrants with old-fashioned family values are the
future of America. That's also a very positive message.
Then there is Doreen, as played by Marlo Thomas. Doreen is the wife of George.
She is a middle-aged woman who feels born to all the entitlements of wealth,
totally helpless without a house full of servants to look after all the
practical aspects of her life.
She is hilarious in her helplessness. The opposite of Yankee ingenuity and
resourcefulness. She could also represent the worthlessness of decadent
European royalty overthrown by revolutions of the people. That could be an
interesting theme to develop.
But in ATC's production, "George Is Dead" stands at a crossroads. A
lot of the jokes are good, and feel very topical. There is one intense domestic
scene where everybody is shouting at everybody else that lasts about 10 minutes
and feels like powerful drama.
Yet none of these scenes and none of these emotions ever connect with each
other. The intent of the play is lost because there are too many competing
intents. Basically the play inside "George is Dead" is struggling
through its labor pains, still wanting to be born.
Watching this production can be, however, an enjoyable experience for those
theatergoers able to feel detached while analyzing what they see onstage. A
play to be examined by those who think dissecting the messenger can be as good
as receiving the message.
Who don't need to have a direct emotional experience in order to have a
meaningful night at the theater. Who appreciate the truth that "Art is a
dirty business...but somebody's got to do it."
"George Is
Dead" continues at various times Tuesdays through Sundays to Nov. 7.
All performances are in the Temple of Music and Art, 330 S. Scott Ave. Tickets
are $26-$54. For details and reservations, 622-2823, or visit
www.aztheatreco.org