The Ensemble Theatre's Beyond Therapy at Phoenix Theatre's Little Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 3/25/00
(out of )Durang is an acquired taste, like caviar or sadomasochism. His dry humor and flailing satire are either an enjoyment or a torture to audience members. In his 1981 comedy Beyond Therapy, he takes aim at two of his beloved sitting ducks, relationships and psychoanalysis. When done correctly, it can be a laugh riot that also manages to drive a fifth of the audience to leave at intermission in outrage. As performed by The Ensemble Theatre under the direction of Gus Edwards, it is a turgid stammer-fest that drives a fifth of the audience to leave at intermission in puzzlement. Is this a funny drama, or a dramatic comedy? Many of the elements of farce have been wrung from this production, leaving a whiny, underplayed husk in its place.
Bruce and Prudence are two New Yorkers who have met via the classifieds. Each is a bundle of neuroses not exactly made for the other; he's an overly-emotional, high strung bisexual, and she's repressed to black hole measurements. They try to create a relationship anyway, over the protests of Bruce's live-in lover, Bob. Of course, they're never going to get help from either of their therapists, who are in even worse shape. Prudence's therapist is a male chauvinist and idiot with whom she slept just after they started their analysis, and Bruce's therapist is a crazed, scattered woman with a penchant for malapropisms.
As Mr. Edwards presents the play, every line must be followed by a pause. The two leads seem to have been directed from the next room, while the rest of the ensemble fares slightly better, but has been pulled back from playing their expressed stereotypes until this farce reeks of realism. Realistic Durang is about as fun to sit through as The Odd Couple performed as a tragedy. And, tragically, there is actually an impressive performance and two solid ones that are torpedoed by the problems of the show.
Mr. Edwards seems to have forgotten the golden rule of farce: never let the audience stop to think for very long. The pacing of this show is lethargic, and the conversations between Tim Hart and Shelley Reece stretch on endlessly, extended by his stammering search for lines and her methodical and stilted presentation. One would hope by the second week of a run that an actor would know their lines, but Mr. Hart flubs so many, even introducing his lover as himself, it makes the audience wish for a teleprompter. Ms. Reece is nearly automatonic in her early scenes, to the point where you can see her reacting to the line said to her, pausing, then reciting hers.
With this level of performance from the leads, the supporting cast is reduced to acting in a void. DeAnna Robbins, as Bob's therapist, Charlotte, takes full advantage of this, presenting this wild character the way she should, forging ahead despite the lead's lack of a similar level. She is the only true link to the way this script should be presented. Talented actor Ken Love underplays Bob in what is ordinarily a flamboyant character. While it undercuts the comedy, it is still light years ahead of the leads. Mike Prindiville is also asked to underplay, but he still succeeds in drawing the laughter from his deeply conflicted character. Finally, Jeff Miller is yet another victim of this underplaying, as he presents the gay waiter in a subdued way.
The unit set even manages to get in the way of the pace of the show, as moments are taken to set up and dismantle the restaurant to make way for the doctors' offices. Anthony Runfola's lighting is not overwhelming, although the limited space is partially to blame for this. Jonathan Howards' sound design is workable, though it was muffed by the run crew on the night we attended. Finally, Bethany Stover's costumes were more accurate of character than some of the actors playing the roles.
While this script is not one of my favorites of his, it still has some very funny moments and observations. Almost none of these were translated to the stage for this production. This is one couch trip that winds up going nowhere.
Production Details:
Beyond Therapy by Christopher
Durang
The Ensemble Theatre
Phoenix Theatre's Little Theatre, Phoenix
(602) 254-2151
March 17th - April 2nd, 2000