Sometimes, if we're lucky, the right person happens into our lives at the right time and helps us get through a rough patch. That's essentially what happens in William Gibson's "Two for the Seesaw," which won Anne Bancroft a Tony and launched her career in 1958. Marin Theatre Company's production captures the comedy's bittersweet qualities, thanks to Domenique Lozano's direction and the actors. Set in two New York City apartments in 1956 and 1957, the action focuses on two lonely people. Jerry Ryan (James Carpenter) is a Nebraska attorney who has moved to New York because his wife is divorcing him. Gittel Mosca (Amy Resnick) is a native of the Bronx and aspiring dancer. Neither has much money. He calls her after meeting her at a party, and the seesaw ride -- the ups and downs -- begin.
Despite the differences in their background, they both have things to gain from and give to each other. Jerry, who realizes he has lived on what he calls handouts all of his life, needs to be needed. Gittel, who has had a string of unsuccessful romances, needs to believe in herself and stop allowing herself to be used. In other words, he's been a taker and she's been a giver. Both need balance in their lives. As their relationship develops, it would seem they can eventually make a go of it, but there's one big catch -- he's still in love with his ex-wife. Hence, he's emotionally unavailable to Gittel even though he has grown to love her.
Both emerge stronger because of their relationship, but the play feels a bit dated. Even though Gittel is drifting when the play begins, she has the grit and spunk that label her a survivor. She might even be seen as a precursor for the women's lib movement, but she allows herself to be used by men. Although Jerry helps her to realize this, he persists in calling her "Infant." He seems to mean it as an endearment, but it's really an insult to her adulthood, yet she doesn't react. If the play were taking place post-women's lib, there's no way she would allow him to get away with it.
Carpenter makes Jerry's unhappiness and edginess almost too palpable in the first act, but as the play progresses and Jerry relaxes, both the actor and the character are easier to take. Resnick is immediately likable as Gittel, a bit of a character, a bit scattered but endowed with a better sense of humor than Jerry. She also displays a broader range of emotions, especially as Gittel tries to keep Jerry from knowing how ill she is one night when he's angry with her.
The theater's wide stage adapts well to Leigh Henderson's two-apartment set design (complemented by Michael Palumbo's lighting design), which reflects their occupants' differing lifestyles. Keri Fitch's costumes also reflect those differences, and Norman Kern's sound design provides subtle New York ambience.
Even though "Two for the Seesaw" is dated in some of its details, its underlying themes still resonate, and Resnick's performance is a delight.