Sex, Violence, Deep Ruminations, and Lunch
How Gertrude Stormed the Philosophers' Club
at Phoenix Theatre's Lunch Box Series in the Dial Corp Building
***1/2 (out of *****)
Mark S.P. Turvin
(w) 965-1021  (h) 894-5443
I can be reached for comment via e-mail at: mspt@asu.edu

	Phoenix Theatre has resurrected the "Brown Bag" series of 
mid-afternoon plays, calling them the "Lunch Box Series." The 
first play that they've chosen to resume this enjoyable and 
underrated program is perfect for the suit-and-tie crowd. How 
Gertrude Stormed the Philosophers' Club, written in 1986 by Martin 
Epstein and included in "The Best Short Plays of 1986-1987," is an 
eclectic and very funny mix of philosophy, murder, sex and the 
search for fulfillment. The humor is slightly off-color, and very 
off-kilter. Some may never be sure when to laugh, as is the style 
of this type of comedy, since it's satire often comes off in a way 
meant to make the audience uncomfortable about laughing at the 
situation. Rest assured, though, this thirty minute play comes up 
with impossible situation after impossible situation, and presents 
them with a wonderful tongue-in-cheek humor that, when viewed in 
the right mindset, is uproariously funny.
	This play is exactly about it's title. The setting is the 
stuffy sitting room at the pompous "For Men Only" Philosophers' 
Club, where intellectuals may "check their bodies at the door" to 
ponder their philosophical thoughts while sitting in either the 
"Wittgenstein Chair" or the "Nietzche Chair." Edward and Edgar, 
two philosophers by trade, are interrupted in their reveries by a 
wayward waiter, Jason, who has been driven to the point of madness 
by a downstairs, 'alternative lifestyle' neighbor, whose music 
choice and constant noise has caused him to pack a pistol. Jason 
brandishes this pistol, holding Edward and Edgar hostage while 
downing seven martinis. He exposes the reasons for his madness, 
and while waxing poetic on his neighbor's treacheries, puts down 
the gun, allowing Edgar to pick it up and shoot Jason. It is after 
the philosophers explain away this deed, and inadvertently avoid 
the consequences of such a brash physical action that Gertrude 
enters the scene, upsetting the idyllic mental masturbations by 
introducing a physical aspect to the situation from which both men 
may never recover.
	The play is very bizarre, and realism is never in vogue in 
the world of the piece, ably directed by Brad Erickson. The 
symbiotic philosophers at first finish each others' sentences, and 
are turned into adversaries for the attentions of the lovely 
Gertrude. Gertrude herself directly addresses the audience, often 
to comment on her plight, sometimes to extricate herself from 
uncomfortable situations. For example, the sex scene that occurs 
later on between Edgar and Gertrude is done with an upstage 
Gertrude flipping through a book while Edgar ravishes the plushly 
cushioned "Nietzche Chair." 
	As Gertrude, Christina Suter easily steps into the role of 
the softball-playing Gertrude, who slowly discovers the reason for 
her storming this club while sleepwalking, dealing with Edward and 
Edgar's advances, and addressing the audience. Her matter-of-fact 
delivery and her heartfelt search for the truth are charming and 
invigorating. Her performance is quite enjoyable, and always able 
to walk the tightrope between representationalism and absurdism 
that the play wavers between.
	As Edgar, Mark Haws seems slightly uncomfortable in his role. 
When dealing with Gertrude, Haws' portrayal of the pompous 
philosopher is dead on, recognizing the stakes necessary to 
incorporate Gertrude into his academic world. It is when dealing 
with his twin and adversary, Edward, played by Radford Mallon, 
that his performance partially derails. Both men seem 
uncomfortable with each other, and lack some of the repartee 
necessary to heighten the comedy of their relationship. Mallon's 
portrayal of Edward seems even a little more off, rushing through 
his delivery and lacking the connections to the other actors that 
would keep the world of the piece balanced. Mallon's 
physicalizations, though, especially in the chaotic love scene 
between Edgar and Gertrude, and the hectic fight scene when he 
tries to win Gertrude's affections, are very funny, and partially 
make up for these missing connections.
	Director Erickson also doubles in the role of Jason the 
waiter. He does a very good job playing the harried, homicidal 
waiter, though some of his crucial lines are slurred by his 
breakneck pacing and delivery. As a director, most of his choices 
are perfect for this difficult piece. More work might have been 
necessary for the link between Edgar and Edward, but the rest is 
competently handled. The unit set is impressive for a lunchtime 
performance, and the use of DialCorp's Theatre in the Park 
enhances the play with its professional lighting and 
accommodations.
	This is the first of several pieces Phoenix Theatre plans to 
perform in this space and time period. The only thing missing from 
this series is an actual offering of lunch. This presentation is 
definitely "bring-your-own." The scuttle is that a Mamet piece is 
in the works as the next presentation. I hope that the productions 
that follow this strange and interesting piece can achieve even 
more success, and that this series can continue to bring bite-size 
chunks of theatre to the white-collar masses.

Production Details:
How Gertrude Stormed the Philosopher's Club by Martin Epstein
Phoenix Theatre's Lunch Box Series
The Dial Corporate Center Playhouse on the Park
1850 N. Central Avenue, Phoenix
254-2151 and 258-1974
$3.50 General
June 13-June 16, June 20-23, 12:15-12:45 pm

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