‘Becky Shaw”- Terrific, Crackling Theater

By Alix Cohen

Unable to reach her mother, Susan, for days, Suzanna (Lauren Patten), who has a tendency towards the dramatic, is freaking out. Susan has MS. Despite their antagonistic relationship, her daughter is ready to hop a plane. The logical thing to do would be to call mom’s “rent boy” Lester, but Suzanna has drawn a line in the sand; she can’t afford plane fare, nor, it’s shortly pointed out, does she know where the two are staying.

After the briefest courtship, on the rebound from her father’s death and an unexpected sexual encounter, Suzanna married Andrew (Patrick Ball), a sweet man with regular guy bonafides she met on a ski trip. That pornography makes him cry is an indication to her that he’s “good.” She’s in graduate school for psychology, he’s an office manager/aspiring writer. They live in Rhode Island.

Andrew has chosen this evening to tell Suzanna he wants to go back to a less demanding job in order to have time for his novel.
In the midst of strained discussion, the doorbell rings. They’ve invited Becky (Madeline Shaw), a coworker of Andrew’s, to meet Suzanna’s adopted (by her parents) brother, Max (Alden Ehrenreich.)

Becky is protectively described by Andrew as “sensitive, delicate, a melancholic.” He’s told her Max’s “coarse delivery belies a softer heart.” Suzanna, on the other hand, advises,“Just, as far as you can, don’t show him any weakness.” Without a cell phone and apparently lost, she calls from a mini-mart. “Is my date Amish?!” Max quips.

Andrew goes to fetch her. Becky is blonde, pretty, feminine- Max notes her layered mini makes her “look like a birthday cake.” At first, she appears vague, then makes several astute comments which are decidedly not that.

Max and Suzanna were raised together. They’re closer than either admits. Arguing is a kind of subliminally affectionate language. Having become a highly successful money manager and devoted to the family, he handled what was left of their father’s estate. Both Suzanna and her mom, Susan (Linda Emond) depend on him. He’s attractive, smart, egotistical, cynical, and judgmental. One imagines the workaholic gives women short shrift.

Though sarcastic to, even dismissive of her, Max acquiesces to taking Becky to dinner so that Suzanna and Andrew can deal with the mother situation – and perhaps resolve their argument. Two incidents occur on the date. Becky is traumatized, provoking Andrew’s potent Florence Nightingale instincts- ones which may, in fact, have attracted him to his wife.

Max has taken nothing that occurred seriously and would just as soon never talk to last night’s date again. Suzanna feels responsible and literally begs him to call Becky. She even suggests a script. He relents. They meet. Becky approaches like a heat seeking missile. She wants him.

Act II finds Becky acting out, Andrew in frequent attendance, Suzanna worried for her marriage. Susan’s lover is jailed. Everyone assembles at mom’s. How the group couples up and whether relationships last is a crap shoot. Only Susan is sure of her commitments. All four characters offer reason to be unlikable, yet effortlessly intrigue. My Cliff Notes are the tip of the iceberg.
After curtain discussion is likely to be lively.

Playwright Gina Gionfriddo, a two time Pulitzer Prize finalist, is expert at black comedy. She never sacrifices distinction of characters for humor. Each opinion, comment, or zinger arrives from a place of history. Pinball-like dialogue is inspired. There are moments one holds one’s breath; circumstances that elicit a collective “Ah!” or “Oh” from the entire audience. The tale is smart, intricately woven, riveting, and fun.

As Suzanna, Lauren Patten always seems at loose ends. We feel her listening and see response migrate across her face. The actor is thoroughly natural. In the hands of Patrick Ball, Andrew is addicted to suffering women. The audience observes danger where he does not. Bland temperament might fade the character. Ball holds his own.

Madeline Brewer’s Becky initially seems vulnerable, but increasingly reveals an inner core of reckless determination. Brewer’s portrait of the perpetual victim reveals nothing before its time. Susan is a tough, attractive old bird, satisfied with her rent boy arrangement, always ready to offer opinion and advice. The inimitable Linda Emond arrives elegant, calculating, and resolved.

Becky Shaw, refers back to Thackeray’s socially ambitious Becky Sharp. Gionfriddo’s main character, however, is Max. Inhabited by Alden Ehrenreich, he sees and manages everyone’s problems but his own, oblivious to emotion, particularly his own. The actor capably bestows him with the kind of stealth charisma that convinces people to overlook failings. Beautifully manifest.

Direction is wonderful. Characters are whole. Timing/reactions emerge a master class. Scene change is handled by sometimes puzzled cast as well as crew. The ski trip is indicated in theater of the absurd fashion. Small gestures enrich. There’s no credit for an intimacy director, but the little we see is hot and realistic. The last scene is extremely unsettling.

David Zinn’s scenic design eminently suits each home.
Lighting (Stacey Derosier) covertly enhances.
Costumes by Kay Voyce unmistakably manifest each personality. Susan’s cane design is a splendid touch.

Photos by Mark J. Franklin
Opening: Back- Alden Ehrenreich (Max); Patrick Ball (Andrew Porter)
Front: Linda Emond (Susan), Madeline Brewer (Becky), Lauren Patten (Suzanna)

2ndStage presents
Becky Shaw by Gona Gionfriddo
Directed by Trip Cullman
The Helen Hayes Theater 240 West 44th Street https://2st.com/