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The play is a new work by ATC alum Steven Dietz and a very interesting, thought provoking look at what is real. The three main characters, a wife and husband who are actors, and their director, quickly and frequently change character from a play they are in to the real life they are playing with. Told in flashbacks to heighten the mystery, we begin with Lisa and Matthew playing the roles of a waitress wife and horny director. In real life, Lisa and her director, Adrian, are just now ending their affair and trying to find the way to break the news to Matthew. But does Matthew already know? Are Lisa and Adrian really having an affair during those late night rehearsals, or are they just playing the parts? The second act begins as Matthew meets with his frank therapist, Frank, and the missing pieces of the story are filled in as Matthew starts from the first day of rehearsal.
While you might not follow all of that, it really isn't all that complicated while you watch. The first act is quite funny and very thought provoking. If you like those late night coffee shop discussions about truth and reality, this script is for you. Adrian remarks to Lisa "You just don't come out and tell the truth - not after you away with it!" Lisa on the other hand feels that "honesty is not an afterthought." What is fidelity? Is a mere glance that is a little too long the start of an adulterous affair? When is the line crossed? In a kiss, a touch, or in the heart?
The cast for this show came straight from the coffeehouse capital of the U.S.; Seattle. Once again, ATC has recruited a top notch group of actors who did a fantastic job with this dialogue heavy script. Sally Wingert as Lisa was exceptional as an actress in a play playing an actress playing a waitress in her opening scene. You could tell who she was at any moment because her characterization, right down to body position, was distinctive for each character.
David Pichette as the director Adrian played his British wise arse competently. He was often getting the most laughs as the touchy-feely director who could become quite the pessimist. Jeff Steitzer as the frank psychologist, was hilarious. He played the role of narrator, addressing the audience often, but never seemed unnatural. He appeared to represent fuzzy truth, the truth as it is supposed to be. The truth on Prozac. Marianne Owen played Cory, a mystery woman, a private dic, who did not get enough stage time. Owen did a good job with what Dietz gave her. She represented stone hard reality.
Matthew, played by R. Hamilton Wright, represented the innocent. No blame, no glory, Matthew represented life with all stripped away. I felt Wright went over the top with some of his diatribes many times and for too long. This might be a directorial (David Ira Goldstein) or playwright decision, but I didn't feel Wright had as much range as Matthew. When the show begins and Matthew is playing a director at an audition, he is much more believable. His performance didn't detract from the play, but Wright playing Matthew as a screaming lunatic evokes little sympathy.
The set design by Scott Weldin, while not overwhelmingly impressive, did set the tone nicely. The red brick high walls accompanied by interludes of jazz greats like "Making Whoopee" reminded me of Chicago. Lighting provided by Rick Paulsen as well as set pieces for the bedroom and restaurant, did not disturb my suspension.
Private Eyes is an adult look at truth and love. While not racy, the script is not one kids will appreciate. Judging by the laughs on Sunday evening, I'd say that the adult audiences are loving it. Truly!
Private Eyes continues its run at the Herberger's Center Stage through June 16. Tickets are going quickly. For performance dates and times, and to charge tickets by phone, call 252-TIXS (8497).
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