Writing a play with strong autobiographical elements, particularly after publishing a presumably candid autobiography, sets that later work up for inevitable comparison. Arthur Laurents' "Original Story By" (2000) is clearly in the background of "2 Lives" but the author's real concern at eighty-some is more basic. This drama is, not surprisingly, a meditation on life and death, on art and dependency. It happens in an idyllic country house setting right out of theatrical tradition, even though the source of this imaginary landscape is the real private park created by Laurent's life partner. The death of the character standing in for his significant other at the end of the first act doesn't bring a detective or result in accelerated to-ing and fro-ing,. Instead the playwright brings up a simple concern, "How do we go on?" His answers are satisfying, if not new. We go on.
Veteran actor Tom Aldredge plays Matt Singer, Laurents' surrogate, a seventy-something playwright planning a production of his latest finished script and scribbling away on another. Handsome James Sutorius plays Howard Thompson, a few years his junior, much better preserved, perhaps from the outdoor life in spite of his years as an alcoholic. The two make an engaging old couple. The first inkling that this show won't be simply a theatrical gay domestic comedy occurs with the arrival of Elizabeth Wilson, not a grande dame this time, but as Howard's aged mother, Eloyse. She's equally hearty but suffering from the early stages of Alzheimer's. When stressed Eloyse communicates by singing snatches of old popular songs. Wilson's performance in the most difficult role in the play is superb, as she struggles with not always being there plus the lifelong suspicion that she's not loved.
The first crisis, a comic one of course, occurs when Helen McElwain, Meryanne, a young local caterer and wife of Howard's groundsman, zips in with the news that the local drama group has canceled their production of one of Matt's old plays. The mayor's found out that the main character played by his son is gay. The son of course is also gay, but small town propriety has reared its head. Meryanne stands to lose much-needed income since the opening night feast has also been canceled. This whole sequence, of the outside world intruding on Matt's little Eden, while believable, doesn't ring quite true. Dialogue suggesting unsophisticated county ways escapes even a bright young comedienne like McElwain, who handles the contrivance convincingly well tending to Eloyse as well. Laurents' may have rolled too many memories of his adopted hometown into one minor character.
The same descent into theatrical shorthand similarly limits IRNE winner Jeremiah Kissel's portrayal of Leo Kondracki, the movie mogul. Currently vacationing in one of the houses on the property, and theoretically putting Matt's play entitled "Robbers" on Broadway during the next season, this character is believable as well, but too predictable. He's there simply to serve the storyline, which Kissel does faithfully. Finally, there's Meryanne's husband "Scooter", played by Michael Kaye, a Huntington Theatre staffer. He too is right on target, but limited by the material. Scooter does have a touching scene near the end when as a ordinary straight guy he overcomes his own trepidation and puts an arm around Matt to comfort him. The implication that "Scooter" and Meryanne function as the next generation in this unique family is hardly explored otherwise.
On the other hand, Laurents' stylistics work splendidly for Susan Kellerman's Willi Thurman, a socialite of uncertain years and her companion, Nerissa Grey, a London actress of foreign extraction played exquisitely by Cigdem Onat. The pair, in the throws of an affair--though each seems to play all sides of the fence--bring the tone of the show up from domestic comedy to high farce. Willi's, between earlier marriages was once Howard's protector. That's where he met Matt. Nerissa is looking for a producer to remount her last West End hit, "Antigone in America" in New York. Her seduction of Leo, who's perfectly aware of the game, is by the book. These mature two female roles alone will probably mean that regional theatres and liberal community groups will latch onto this script even if it doesn't make it to Broadway. Parts like this for experienced actresses are few and far between, not to mention sympathetic older gay men. Of course, in the case of the ladies, Theoni V. Aldredge won't be there to provide perfectly styled costumes, but most groups will manage.
The set currently features dyed shag rug grass, which looks a bit too artificial given the Lyric's seating rake, but which is much more comfortable for lolling than Astroturf. Designer James Noone has created a pleasant fantasy in three-quarters, which might not best choice for this script. Leaving more to the imagination would make the play seem less of a throwback. Perhaps, if all the artificial greenery could be struck for the second act, leaving just a few pieces of necessary furniture, the supernatural elements in the second half could be heightened. Jeff Carnevale's lighting works realistically enough while Robert Waldeman's music and soundscape is effective without intruding. More could have been done with both in the second act.
There's definitely a play here, and Boston should be glad the Nicholas Martin, the Artistic Director of the Huntington Theatre Company was able to arrange this small-scale "tryout" at the Lyric. Martin has already had success moving "Hedda Gabler" and "Observe the Sons..." to New York. We can hope that more Gothamites will consider hopping on the Acela and showing their wares here. The synergy might help to support a somewhat struggling live theatre industry in both locales. The Huntington hopes to open a smaller venue for just such a purpose. What's more local musical producers have the talent and expertise to give a first rate hearing and longer runs to new works.