Will Gartshore (Max Garrett) and Michelle Six (Becky Shaw). Photo by Danisha Crosby.
Some people enter our lives and make ripples. Others make waves. But every so often someone comes crashing into our worlds like a monsoon – someone like Becky Shaw. In the Pulitzer Prize nominated play by the same name, one little blind date sets off a series of calamitous events that throw the lives of one family into utter chaos and the audience into hysterics.
…you will definitely laugh. A lot.
The premise of Becky Shaw is simple enough. After a death in the Slater family, thirty-five year old Suzanna Slater (Alyssa Wilmoth Keegan) is coaxed out of her depression and back into society by her adopted brother, Max Garrett (Will Gartshore). After a brief tryst between the two, Suzanna marries thirty-one year old artist and writer, Andrew Porter (Rex Daugherty). All is well until Andrew decides to set up Max on a blind date with his friendly yet flighty co-worker, Becky Shaw. Strange decision considering Max and Becky are complete and total opposites. Needless to say, things go from bad to worse to downright hysterical until everyone is forced to face the consequences of their ill-advised choices.
Alyssa Wilmoth Keegan (Suzanna Slater) and Will Gartshore (Max Garrett). Photo by Danisha Crosby.
All five of Gionfriddo’s characters are more colorful and exaggerated versions of people we’ve all met or with whom we personally identify. As Andrew Porter, Suzanna’s good-natured and perhaps unambitious husband who “saves women then abandons them,” Rex Daugherty is gentle and affable even during the play’s more hostile and contentious moments. In fact, Daugherty’s “nice guy” portrayal counters amusingly well against the edgier and forthright demeanor of Suzanna Porter. Played with fluctuating waves of frailty and resolve by Alyssa Wilmoth Keegan, Suzanna’s more brash and insensitive decisions belie her good heart and mostly good intentions.
As Susan Slater, family matriarch with a decidedly bemused outlook on life, Brigid Cleary is an absolute riot. Susan as the resident elder has earned the right to “tell it like it is” and Cleary delivers each one-liner, double entendre and snarky retort with flawless comedic timing. In fact, the final scene of Becky Shaw belongs to Cleary as Susan whips her family back into shape and back into reality with outrageously sarcastic yet learned wit.
Michelle Six is layered and multifaceted in her portrayal of the troubled, emotionally damaged and penniless Becky Shaw. A biting retort here, a ditzy anecdote there, or perhaps an unexpectedly keen observation – Six’s delivery suggests a full understanding of a person who is creepily more than what she appears to be. Still, Six’s perky and bubbly demeanor make Becky hard not to like despite the havoc the character inadvertently inflicts upon the people around her.
Perhaps the play’s most polarizing character is Max Garrett, Suzanna’s responsible, financially savvy yet shockingly brash adopted brother. The character never lets up and neither does Will Gartshore who portrays Max with a super-sized helping of testosterone and bravado. Gartshore’s in-your-face delivery is both appropriately intimidating and hilarious as Max often speaks out loud, the offensive joke or brutal truth that everyone is likely thinking. However there is some glimmer of human kindness in an otherwise relentless man. During his later interactions with Alyssa Wilmoth Keegan in particular, Gartshore softens just enough to lend Max a bit of dimension and humanity.
Rex Daugherty (Andrew Porter), Will Gartshore (Max Garrett), Michelle Six (Becky Shaw) and Alyssa Wilmoth Keegan (Suzanna Slater). Photo by Danisha Crosby.
Scenic Designer, Daniel Conway revives Round House Theatre’s revolving set, offering fluid transitions between scenes. The sets themselves are precise, top notch reflections of each character’s personality and lot in life. Max’s New York hotel room is crisp and polished and upscale. Andrew and Suzanna’s starter home is simple and contemporary (think Ikea showroom). Becky’s apartment is lived in and bohemian with lots of trinkets and pictures strewn about. And the home of Queen Bee, Susan Slater is an intricate maze of woodsy, formal interiors and Victorian furnishings. Also notable are the mellow, bass-laden jazz riffs courtesy of Sound Designer, Eric Shimelonis, which play between scenes. Smooth, skilled technical delivery all around.
Director Patricia McGregor clearly knows a thing or two about humor and timing. This comedic knock-out is in expert hands. Every joke lands and every message and poignant moment resonates. Written by D.C. native Gina Gionfriddo, Becky Shaw is loosely inspired by William Makepeace Thackeray’s 1847 novel, Vanity Fair in which the main character, Becky Sharp is at once cunning and sympathetic. Gionfriddo’s characters are equally layered; they are an ambiguous lot none of whom stand out as clear heroes or villains. This, along with Gionfriddo’s quick wit and smart dialogue give this play its star quality and mass appeal. Who you will root for, who you will loathe, etc. is not at all obvious or predetermined. Rather, your opinions about each character will arise from your own personal experiences and moral code. It’s the kind of story you will debate with friends long after the show’s end. Not to mention you will definitely laugh. A lot.
Running Time: 2 Hours – 15 Min Intermission.
Advisory: Contains adult language.
Becky Shaw plays at Round House Theatre, 4545 East West Highway, Bethesda, MD 20814, Thru June 23, 2013. For tickets click here.
