Testing 1...2...3...Testing 1..2...3...

Five one-act plays

Sage Theatre Company
Tribeca Playhouse Equity showcase (closed)
review by Julie Halpern

Sage Theatre Company's talented ensemble, directors, and playwrights brought focus and a pulsating inner life to five exciting new plays.

A Brief Pause by Greg Cummings pays homage to the absurdist playwrights of the 1950s and 60s. In an unusual take on the boy-meets-girl scenario, a retro near-miss script was redeemed by director Kevin Brofsky's sensitive, lively direction and the exceptional work of Betty Ann Hunt and Scott McGowan. Possessed of band-box good looks and tons of charm, they infused energy into the repetitive proceedings.

In Suzanna Cramer's Number Seven Complex, misunderstandings over a condo purchase threaten the marriage of a young couple. Claiming husband Rob doesn't understand her, Amy decides to divorce him. Their friend Estelle pops in and encourages the couple to unburden themselves of all the lies and secrets they have withheld from one another. Their revelations are so titillating that the two fall more in love than ever. Cramer's dialogue is crisp and fast moving, but there is not enough character development, particularly in the role of Estelle. Anthony Ciccotelli and Leah Smith were adorable as the young couple, and Iris Williams's comic delivery as Estelle was a delight. Director Richard Morell maintained a high energy level throughout.

The Test by Paula Caplan is based on a true story of death-row inmates. Cleveland has been teaching his friend and fellow prisoner Bradley to read. Their reading lessons come from the Bible, and Bradley's desire to better himself even as he faces death is poignant and touching. Bradley is scheduled for a test which will determine if he was of sound mind when he committed a murder. If proven incompetent he may go free. The lifelong low achiever is thrilled by a good score on the test even though he may lose his life as a result.

Caplan's play is riveting, revealing the human and sensitive side of individuals we have been taught to revile. Marlon John's gentle Cleveland and John Joseph Gomes's slow-witted but hard-working Bradley were beautifully realized. Director Caplan guided her talented cast with a gentle, confident hand.

Front Row Center by Pat Hegnauer was the most successful piece. Mrs. Schwartz, an elderly resident of the upscale Feinstein nursing home, has driven her long-suffering attendant crazy with unreasonable demands and cruel insults. A child of the Holocaust, Schwartz suffers guilt over her parents' death and anger over her late husband's affairs. Her son Abe is a marginally employed middle-aged actor. When Abe visits his mother and reveals his homosexuality and that he is suffering from AIDS and may die before his mother, a lifetime of regret is played out. The performances were outstanding, with a bravura contribution from Laura Raynor as Mrs. Schwartz. Dinah Geiger shone in the unsympathetic role of the stern but warm-hearted attendant, and P.J. Marshall was extremely sympathetic as the dying Abe. Director Anthony Ciccotelli's direction was superb, encouraging his fabulous cast to explore every nuance of their complicated characters.

The Greed Gene by Michael Bettencourt is a clever satire of contemporary upper-middle-class mores. Norman and Laura, a young couple expecting their first child, have consulted a geneticist, who has catalogued a list of both parents' genetic characteristics, giving them the option of an abortion if they are not satisfied. Their child has genes for everything yuppies prize, from blond hair and blue eyes to the "greed gene." which is as awful as it sounds. Laura is pleased, believing their child will be a great success, but idealistic Norman is not too sure. Bettencourt's light-hearted treatment of life-and-death subject matter was given a probing treatment by director Larry Rosen. Jim Boerlin gave a winning portrayal of the arrogant, voyeuristic Dr. Targus, and Craig Burke and Kate Marlatt added intelligence and depth to their underwritten characters.

The simple, black-box sets made for quick set changes, and the well-focused lights enhanced the emotional intensity of the production.

Box Score:
A Brief Pause
Writing 1
Directing 2
Acting 2
Costumes 1
Set Design 1
Light/Sound Design 1

Number Seven Complex
Writing 1
Directing 1
Acting 1
Costumes 1
Set Design 1
Light/Sound Design 1

The Test
Writing 2
Directing 2
Acting 2
Costumes 1
Set Design 1
Light/Sound Design 1

Front Row Center
Writing 2
Directing 2
Acting 2
Costumes 1
Set Design 1
Light/Sound Design 1

The Greed Gene
Writing 2
Directing 1
Acting 1
Costumes 1
Set Design 1
Light/Sound Design 1

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Copyright 2000 Julie Halpern