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Tag Archives: David Lindsay-Abaire
Long ago, my sociology professor made much of the fact that there were not specific social classes in the United States: that, like the Horatio Alger model, everyone had the ability to rise. This has become more and more debatable in the last half-century, as social forces clamp some into specific spaces in our national culture , not all of which are related to race.
In illustration, find the McCoy Rigby Entertainment production of “Good People,” David Lindsay-Abaire’s examination of class and culture in Boston, now at the La Mirada Theatre for the Performing Arts. Lindsay-Abaire, whose powerful examination of the nature and collateral damage of grief, “Rabbit Hole,” was a signature piece of last year’s MRE season, looks at the issue through the lens of a “Southie” – someone from traditionally blue collar, Irish, South Boston.
Margaret is a middle aged Southie at the end of her rope. Having just lost her most recent job, in part due to her struggles to care for her disabled adult daughter, she’s desperate for work. Her lifelong friend bumps into an old classmate, briefly Margaret’s love interest, who escaped the life of South Boston for a career as a doctor. Margaret decides to push him to lift her up, at least as far as giving her a job.
Has he become a “lace curtain Southie,” thinking he’s better than everyone else? Is her anger toward him justified? Is the lifestyle he now lives the dream Margaret thinks it is, or does class create struggle even there? What, in the end, are these characters’ actual truths, as the two possible endings for a Southie kid come face to face.
Katie MacNichol creates a distinctly edgy, biting quality to the desperate Margaret: quick to assume, aggressively judgemental and painfully honest, yet gifted by a sense of community on her home turf. As her buddy Jean, Gigi Bermingham offers up the same cynically humorous view of their individual desperations, while Anne Gee Byrd makes Margaret’s upstairs landlady obstinately practical, but caring in her own distant way.
As Mike, the doctor, Martin Kildare gives subtlety to the divide of sensitivities inside a successful man with Southie roots. Sophina Brown, as his wife, offers the third element: a woman raised with greater sophistication, whose struggles to connect her husband’s present image with his past may loom as large as Margaret’s.
Though not touted as a comedy, “Good People” has many laughs in the midst of these tensions. The title of this play comes from the phrase, “He (or she) is good people” – an important valuation in South Boston.The rest of the play is, in the end, an examination of what it means to be, or not be, good people – a goodness which resides in there somewhere, apparently particularly among people in extremity.
Though not as compelling as “Rabbit Hole,” as a play, the performances make the thing worth watching, as does director Jeff Maynard’s handling of this episodic tale. He smooths the transitions from place to place, and makes great use of Stephen Gifford’s representational set pieces. Adriana Lambarri’s costumes create instant class separations, and underscore the central themes of the piece.
For us west-coasters, who may have only heard of Southies in relation to the more local arrest of Whitey Bulger, it’s a look at a part of the country where the turf wars are more distinct, and more ingrained in social history. It’s also a good examination of why, at least in certain parts of the country, my sociology professor was probably wrong.
What: “Good People” When: Through October 12, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 p.m. and 8 p.m Saturdays, and 2 p.m. Sundays Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20-$70 Info: (562) 944-9801 or (714) 994-6310 or http://www.lamiradatheatre.com
Loss hits each person differently, yet there are similarities which bind all of humanity together at such times. Even those who consider themselves straightforward, logical people can be so thrown by tragedy that the universe must shatter – at least for a while – and then rearrange itself into a new pattern of living. To bring this onto a public stage without turning it into a cliche or a Lifetime movie proves the greatest challenge, but one playwright David Lindsay-Abaire has overcome.
Which is why “Rabbit Hole”, now finishing a run as part of the McCoy Rigby Entertainment Series at La Mirada Theatre, won the 2007 Pulitzer Prize: it approaches the universal qualities of personal grief in an understated, and thus far more realistic way than most dramas, and also offers a keen portrait of a couple whose individual heartaches are balanced by an underlying, tenacious, mutual bond.
Becca and Howie, a fairly typical middle-class couple, wrestle daily with the aftermath of the accidental death of their 4-year-old son, who chased his dog into the path of an oncoming car. Their normalcy has edges, into which bump Becca’s flighty, irresponsible, and now pregnant younger sister, and her wry, quirky but observant mother. The strains between all of these people are evident, as they bounce off each other and wrestle with the process of moving forward. Yet, the connections seem to hold.
Deborah Puette is Becca, maintaining a stiff, almost obsessive normalcy amidst an increasing internal isolation. Michael Polak’s Howie moves between supportiveness and anger – some of it misplaced, but all of it sincere. Kristina Johnson gives Becca’s sister the oblivious and self-absorbed qualities which make her both an active irritant and a casual observer.
Lori Larsen’s entertainingly straightforward turn as Becca’s mother adds a certain kind of wisdom and patience into the entire environment. In a short, but important turn, Seamus Mulcahy creates a disarmingly innocent immaturity as the sincere teen who was driving on that fateful day.
All of this has been pulled into a natural, flowing cohesion by director Michael Matthews, who takes what is essentially a very episodic tale, and aided by Stephen Gifford’s modular, open set, turns it into a single story. And believe it or not, that story ends up not in grim detachment but in what actually happens, usually, in cases like this: the eventual movement back into life – peace, if not yet joy.
“Rabbit Hole” is funny, wrenching, sad and hopeful by turns. It holds a mirror up to relationship under stress, and a particularly intense aspect of the human condition in a way which is human, warm, and filled with connection. It is most certainly worth taking the time to take in.
What: “Rabbit Hole” When: Through November 17, 7:30 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 p.m. and 8 p.m., and 2 p.m. Sunday Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20 – $70 Info: (526) 944-9801, (714) 994-6310 or http://www.lamiradatheatre.com