Interludes

THE HANGOVER REPORT – Liza Birkenmeier’s DR. RIDE’S AMERICAN BEACH HOUSE endearingly depicts women fumbling their way into their own

• By drediman
• November 6, 2019
• No Comments

Kristen Sieh and Erin Market in Ars Nova’s production of “Dr. Ride’s American Beach House” by Liza Birkenmeier at the Greenwich House Theater.

Last night, Liza Birkenmeier’s Dr. Ride’s American Beach House opened Off-Broadway at the Greenwich House Theater, courtesy of the always adventurous folks at Ars Nova. Set in June 1983 in Missouri, Ms. Birkenmeier’s new play primarily tells the story of Harriet and Matlilda, two women who occasionally meet on Harriet’s rooftop to escape the suffocating realities and disappointments of their programmed life (unchallenging waitressing job, mediocre boyfriend/husband, sick children, etc.) under the in-joke guise of attending a book club (“The Two Serious Ladies Book Club”). On the eve of Dr. Sally Ride’s historic trip into space, these two women – along with a frank, openly queer newcomer – convene and find themselves on the verge of embarking on their own world-opening/shattering voyage. As the play begins, it isn’t quite clear what the relationship between Harriet and Matilda is (co-workers, friends, former classmates, lovers?). Regardless, I found their genuine closeness and the depiction of their aimlessness and fumbling yearning to be affecting.

The same can be said of the play itself, which seems to meander of its own accord, which is decidedly charming for the play’s 90 minute duration. Ms. Birkenmeier has a knack for writing dialogue that’s both awkwardly skittish and disarmingly direct. As a result, the play is permeated with sweet naïveté and a jittery nervous energy that precedes a jump into the unknown. In her insistence on real time naturalism (other than a brief foray into fantastical territory late in the play), the playwright seems to be inspired by Pulitzer Prize-winning dramatist Annie Baker’s ultra-naturalistic aesthetic. As with Ms. Baker’s plays, not much happens in this one in terms of plot points. Nevertheless, as the play approaches its conclusion, one can sense a seismic shift in the lives depicted onstage. Although I ultimately left the play slightly less than fully satisfied, Dr. Ride’s American Beach House is never less than fascinating, a welcome glimpse into the quirky, semi-fulfilled lives of pre-woke, pre-queer labels women.

The Ars Nova production has been directed with warmth and an easy going vibe (a Jack Kerouac novel comes to mind?) by Katie Brook. Ms. Brook also has a good handle on creating moments of awkwardness that are both endearing and amusing, without poking too much fun at the play’s unsuspecting heroines. As for the four-woman cast, they’re superb. In the central roles of Harriet and Matilda, the appealing Kristen Sieh and unmistakable downtown favorite Erin Markey give performances that feel lived in and fully-formed; they have fantastic chemistry, to boot. Their portrayal of boredom, uncertainty, and anticipation is something we can all relate to. The rest of the cast (Susan Blommaert, Marga Gomez) is very good, too; they bring welcome dimension to the world of the past carefully conjured by Ms. Birkenmeier.

RECOMMENDED

RIDE’S AMERICAN BEACH HOUSE
Off-Broadway, Play
Ars Nova / Greenwich House Theater
1 hour, 30 minutes (without an intermission)
Through November 23