Interludes

VIEWPOINTS – Women of a certain age undergoing existential crises: Rhea Perlman in LET’S CALL HER PATTY and Marie Mullen in THE SAVIOUR

• By drediman
• August 10, 2023
• No Comments

Earlier this week, I attended a pair of tautly-scripted but uneven Off-Broadway plays that explore the late life existential crises of two women women of a certain age. As always, here are my thoughts.

LET’S CALL HER PATTY
Lincoln Center Theater at the Claire Tow Theater
Through August 27

First up at the Claire Tow Theater was Lincoln Center Theater’s production of Let’s Call Her Patty (SOMEWHAT RECOMMENDED) by Zarina Shea. The breezy new play tells the story of one Patty, a prototypical Upper West Side Jewish woman who begrudgingly comes to terms with the fragility and tough realities of life. Ms. Shea efficiently packs a lot of background information about her characters in the 70-minute one-act play. Even if the work seems at times more exposition than played-out drama, the playwright manages to find sufficient humanity and goodwill in her succinct, quick-fire dialogue — particularly as conveyed by Patty’s niece Sammy, the play’s clear-eyed narrator. Although I applaud its attempt at simultaneously highlighting both the significance and insignificance of human existence, the play ultimately falls short of its aspirations to tap into the profound, awkwardly falling somewhere in the realm between a Woody Allen flick and a quirky Craig Lucas play. Nevertheless, the Margot Bordelon’s stylishly-staged production is anchored by terrifically astute performances by distinctive television and film actress Rhea Perlman and fan favorite musical theater actress Leslie Rodriguez Kritzer. The cast of three is rounded out by Arielle Goldman, who sensitively plays Patty’s daughter Cecile, whose bout with her demons is the catalyst for much of the play’s dramatic trajectory.

THE SAVIOUR
Irish Repertory Theatre
Through August 13

Then over at the Irish Repertory Theatre, you’ll find Deirdre Kinahan’s new play The Saviour (SOMEWHAT RECOMMENDED) currently wrapping up performances. The two-hander tells the story of Máire, a deeply religious older woman who after a night of unexpected sexual ecstasy must face the devastating truth about the mysterious man she just spent the night with. The play begins with lengthy monologue about Máire’s newfound outlook on life, which up until that point hasn’t been the most pleasant experience for her. Indeed, abuse and neglect haunt her past but have been swept out of sight by her intense devotion to the Catholic faith. However, when her son Mel enters the picture about halfway into the play, the dramatic cogs of The Saviour inevitably start churning, resulting in heated if histrionic exchanges that can only be described as telegraphed by what has preceded them (this could have been potentially prevented had the play remained in monologue form). As with Let’s Call Her Patty, Ms. Kinahan’s play is salvaged by the production’s fine set of performances. Taking center stage is the great Marie Mullen, who won a well-deserved Tony Award for her performance in Martin McDonagh’s The Beauty Queen of Leenane. In the central role of Máire, Ms. Mullen proves both devastating and tough as nails. It’s a committed performance that’s unafraid to dig deep and excavate what lies deep within the character’s troubled, repressed psyche. In the role of Máire’s son Mel, the capable young actor Jamie O’Neill proves to be a good sport in a thankless role.