Becky's New Car at Park Square Theatre on 9/19/09
By: Janet Preus
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| Virginia Burke, Christopher Denton & Bob Davis in Becky's New Car. Photo credit: Petronella Ytsma |
In classic domestic comedy style, Becky’s New Car transforms the innocuous into something important, dynamic and deeply personal. In this case, a small, pivotal event plucks Becky (Virginia Burke) from her mundane dilemma (she is overworked and mildly discontented) and drops her into a far more serious situation: the temptation of an affair with a fabulously wealthy man who has become enamored of her. Comedy, of course, is always about something serious. This script (eventually, at least) delivers the laughs without entirely making light of its darker ramifications.
What put me off was the style of acting – dated, and in the overdone style of TV’s original Bewitched. I half-expected our befuddled heroine to mew “Darrin!” and wiggle her nose, but by intermission I had quit muttering under my breath, “I don’t like this,” and decided the plot and dialogue were going to be clever enough to finally elicit a laugh out of me in Act II. My companion (male) was thoroughly entertained, but he’s a big fan of Married With Children, so I guess it fits. (In particular, I found the dialogue between mother and son, “Chris,” played by Sid Solomon, completely not believable. Back off!)
The deftly-scripted plot complications lifted the second act to another level. The entanglements were predictable by that point, but so skillfully delivered by writer Steven Dietz that the anticipation became part of the amusement. As it should be.
Happily, we had the satisfaction of watching the idiotically wealthy suitor, Walter (Christopher Denton), squirm, discovered more about the irresistible steadiness of Joe (Bob Davis), and delved deeper into Steve’s (John Middleton) angst.
In fact, the best moments were watching Steve relive the circumstances of his wife’s tragic demise – over and over and over again. That his suffering could be so funny is precisely what makes great comedy. Unfortunately, his dilemma and character were actually more interesting than Becky’s, and the hugely satisfying (and short) scene with Chris, Joe and Steve made Becky’s denouement less important, by comparison.
A unit set concept functioned well, especially given the presentational style of much of the play. However, the area we were to believe was a kitchen was inexplicable, and the space denoting the outdoor balcony for Walter’s house was much too cramped for all the actors and activity demanded of it. I don’t know why the action wasn’t moved to center, which would have allowed many more interesting blocking possibilities.
The stage left and right set division and openly obvious lights-up, lights-down approach created more openings for Burke to play with the audience – a dandy device for warming them up by allowing a peek at the thought processes of the actor while playing the character.
Supporting performances by Emily Eve Shain, as Walter’s daughter, Kensington, and Walter’s neighbor, Ginger, played by Sally Ann Wright, were also overdone out of the chute, but ultimately settled in a bit. I just don’t like seeing the technique; I would prefer to forget that the actors are acting. In this show, given it was so pervasive, it had to be a directing decision – one I just don’t get.
Generally, the play is somewhat overwritten, needing a 15-minute trim – not because it was too long, but because there was more there than needed to be, especially the ending that went on like a sermon the preacher can’t seem to wrap up properly. When we finally got there, it was the perfect twist, and a believable mix of silly soap opera and real love.
But, when all is said and done, if you’re up for a relaxing night and want to feel comfortable bringing your mom, or a business associate you don’t know well, this show is a safe bet. You’ll all have a good time.
Becky’s New Car runs through October 4.
Location Info:
Park Square Theatre
Artist Info: Park Square Theatre
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