By Joe Straw
I was in the lobby of the lovely Pico Playhouse and I noticed the stills
of the performers on the wall, one in particular caught my attention.
I said to my partner, “Wow, this actor is the spitting image of” – and
then I drew a blank. You know! The guy! The
face! Westworld! The guy who’s married to Paula Prentiss! What’s his name? She didn’t know so I
resorted to Google – typing Paula Prentiss – there it was, Richard Benjamin – neurons
and synapses rejoined - I went back to the photos to see the name “Ross Benjamin”.
Ross Benjamin, hmm that’s unusual. I wonder if he is related? I asked
around and found out that Ross was their son. Sometimes I can be so dense. – Narrator
The Pico Playhouse has been changed. They took out all of the seats, the
proscenium stage, and now have the audience sitting on risers three quarters
around the playing area that is on the floor.
It is much more intimate.
The West Coast Jewish
Theatre presents the West Coast Premier of New York Water by Sam Bobrick,
directed by Howard Teichman, produced by Howard Teichman and Bill Froggatt, and
is now playing at the Pico Playhouse through December 17, 2017.
New York Water by Sam Bobrick is theatre of the absurd, or a
farce. That’s all you really need to know
to just sit back and enjoy this wicked and wonderful ride.
Mania: 1.) excessive excitement or enthusiasm; craze or 2. psychiatry,
manic disorder.
Linda Shoup (Bridget Flanery) has problems. It’s not something
that we see or understand right away. On
a pleasant Sunday afternoon in her sparse singles apartment she pulls herself
together and rushes into the kitchen to grab a stack of steak knives and a
crowbar. She places the steak knives
under the cushions of the sofa and chair and she delicately hangs the crowbar on
her quaint inexpensive lamp.
The man she is waiting for is a prospective mate, a fly caught
in her web by way of an unusual personal ad. Finally, he rings the door. Linda, finished with her weaponry placement, runs
to unlock the many latches on the door.
Idiosyncrasy: a characteristic, habit, mannerism, or the like, that is
peculiar to an individual.
Albert Hives (Ross Benjamin) gambols in (slight exaggeration
here) to her apartment. He is a little out of breath, and his brain is not functioning
at full capacity. He has just skipped from the subway to her apartment and then
entered through the broken glass of her apartment building’s front door. It is only by happenstance that he has made
it up the stairs and to her door.
Blindsided by the unknown, in a room alone, they are caught
in the own personal inadequacy; their intercourse lacks a defined authenticity
and intimacy. But here in her own element, Linda is slightly elevated in standing;
she is the puppet master, the controller of her imaginary strings.
On top of developing a relationship, both are looking to move
up in their social status. Albert is an accountant, and a not very good one at
that.
“You said you are a professional.” – Albert
“Yes!” - Linda
“A professional what?” – Albert
“A professional receptionist!” – Linda
It’s almost enough to hastily skip out of her apartment.
Still, Albert stays.
The knives are lying tranquil
under the cushions.
A creeping love always blossoms in inexplicable ways and the
way they have come together is no exception. Linda
hired a clown, of all things, with balloons at Bloomingdales to pick up a wealthy
prospective husband. It didn’t quite
work that way as Albert was just skipping by. Albert won’t go into Bloomingdales
– the cologne nauseates him. But he saw
the clown, filled out the postcard and sent it in.
Linda had the postcards tested, handwriting analysis, et al,
and found some positive things about
Albert.
Albert, still not completely satisfied and ready to bail, learns
that Linda’s rent is $3600.00 a month and really “it’s only twelve blocks from
a nice area!” Despite their physical,
emotional, and psychological handicaps, both are wide-eyed and open in their
approach to finding a substantial mate.
But what was the clicker?
It couldn’t be that Linda, laying all of her cards on the
table, releases information about her alcoholic mother, and her gay father. She also lets it slip that she accidently
killed her grandmother when she was 9 years old!
No, that wasn’t it.
Now, probably thinking of his speed, how fast he can run
from her apartment, Albert tells Linda that he can’t run because of his bum knee.
She could catch him if he decided to bolt, instead he asks for some New York
water, because whatever she is feeling in her manic state, he wants some of the
same.
But, when Linda goes to the kitchen for water, Albert
discovers the crowbar and then the knives, and before she comes back in Albert
has hidden most of her tools of destruction under the sofa.
She interrupts him with a glass of water that is
yellow. She says it’s lemonade, old
lemonade, with no ice. Albert is now a little cautious.
“Drink it!” – Linda
“What did you put in it?” – Albert
Linda might be thinking about the knives right now. But
Albert beats her to the punch by grabbing the crowbar and Linda sees this and
goes for the machete.
“Are you planning to kill me?” – Albert
“No!” – Linda
Sam Bobrick’s New York Water is funny, farcical, and
absurd all at the same time. The play isn’t as absurd as Samuel Beckett’s Waiting for Godot, or as farcical as Michael
Frayn’s Noises Off but manages to
make its mark on making fun of life, liberty and the pursuit of relationships.
For the most part, New
York Water is a story of a love relationship, a love that doesn’t work so
well. But the title New York Water
has little to do with the New York water and does not present a grand through
line for that matter. In this version, water plays little in the actions of the
characters. After Albert drinks the lemonade
(water), he loses some of his inhibitions and asks Linda to marry him. Possibly
this is the reason for the proposal.
It’s hard to see anything else.
They just met.
But after they leave New York for Davenport, Iowa they don’t
take the water with them. They finally
get accustomed to each other. Not drinking the water, secrets are released, and
the relationship gets strained. Bobrick’s
play also makes fun of Hollywood and the way films are made. How that relates to New York water is unclear.
The character Linda falls in love with a character we don’t
even see, Albert’s brother, an interesting non-Pakistani cab driver who writes a
successful book and becomes famous overnight while the main character
languishes in his shadow trying not to succumb.
One would take out the 84-year-old director in this play.
Bridget Flanery
is very successful as Linda Shoup. Her
voice is strong and her mannerisms are excellent when the character moves back
to New York. Manic, or one end of the bi-polar spectrum, is a word that I would
use describe Shoup. Forceful in her vocal prowess she is capable of
anything. That being said the first
scene doesn’t go far enough in the manner she would react to a man completely
her opposite. How are they so completely different that she would accept his
proposal of marriage? She has to love something about him, or at least find
something charming in order to accept the journey she is about to embark upon.
Ross Benjamin
also does well as the unsuccessful accountant Albert Hives. There’s more work
to be done in the first scene in order to discover the love match. Hives has to throw out the bad (knives,
crowbar), find the good (her personality, maybe?) and then find the reasons to
propose. This is his last chance for
love and we should see that, his fears, his sorrows, his joys. All of these
things must come into play in order for him to find his successful mate. After
they leave New York for Iowa, Hives is on a downward spiral, pleading for his
mate to help him. Los Angeles is even harder on him; there, this accountant is mowing
lawns. This is a farce and all movements should include elements of farce and
let the reality take care of itself.
Howard Teichman
is one of the finest directors working in intimate theatre today. He understands acting, how actors relate on
stage, and is exceptional when defining moments. New York Water presents some
challenges in the presentation and in the writing that necessitates a clear
directorial stamp, a defined stamps as to what this play is about. Teichman
manages to define the relationship but we need to see the why. Why do they fall in love? Why do they fall out of love? What are the moments that supremely change
the relationship? Why does an accountant
mow lawns? Why does a producer of a film
allow an eighty-four old woman to direct her film? Possibly these are things that need a visual
element to highlight to moments.
Other members of the crew are as follows:
Bill Froggatt - Associate Producer/Sound Designer/Video
Projection
Henry Lide - Stage
Manager
Kurtis Bedford – Set Designer
Ellen Monocroussos – Lighting Designer
Phil Sokoloff – Publicity
Michael Lamont – Photographer
Run! Run! And takes someone who finds delight in unusual
personalities.
Reservations:
323-821-2449
Online Ticketing:
www.wcjt.org
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