'Rent a Family' Pays Price for Taking on a Radio Play: Difference between revisions
Review of the play 'Rent a family' from the 'LA Times' |
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cooks, cleaners, escorts and other companions, why not rent a family | cooks, cleaners, escorts and other companions, why not rent a family | ||
for a day, a week, a month? The implications are clear. | for a day, a week, a month? The implications are clear. | ||
At the heart of Paul Verdier's stage adaptation of Frank's | At the heart of Paul Verdier's stage adaptation of Frank's | ||
"Rent a Family" (now playing in plain English at Stages Trilingual | "Rent a Family" (now playing in plain English at Stages Trilingual | ||
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behind Frank's words. There is something there that stings in deep | behind Frank's words. There is something there that stings in deep | ||
and much deadlier fashion. | and much deadlier fashion. | ||
It is the plausibility of such a notion. The very idea, | It is the plausibility of such a notion. The very idea, | ||
couched as it is in soothing corporate conundrums and ad-agency | couched as it is in soothing corporate conundrums and ad-agency | ||
Line 26: | Line 28: | ||
is... agitating. It typifies much, if not all, that is wrong with our | is... agitating. It typifies much, if not all, that is wrong with our | ||
American lives. People are collectively unnerved. | American lives. People are collectively unnerved. | ||
They react. That is the strongest case that can be made for | They react. That is the strongest case that can be made for | ||
Verdier's attempt to stage a radio play, which, by its very | Verdier's attempt to stage a radio play, which, by its very | ||
definition, is a static affair. | definition, is a static affair. | ||
The director splits our focus between a meeting of two | The director splits our focus between a meeting of two | ||
corporate executives and two experts who discuss the merits and | corporate executives and two experts who discuss the merits and | ||
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divorcee with children and few options who decides to take a job | divorcee with children and few options who decides to take a job | ||
hiring out with this corporation. | hiring out with this corporation. | ||
For an hour, we hear the pros and cons from both sides. The | For an hour, we hear the pros and cons from both sides. The | ||
corporate panel is the conscience of the piece, examining it from all | corporate panel is the conscience of the piece, examining it from all | ||
angles like a corpse. | angles like a corpse. | ||
In highly stylized and frequently hilarious fashion, the | In highly stylized and frequently hilarious fashion, the | ||
impassive experts (Tony Pandolfo, Charles Parks) and executives (Tom | impassive experts (Tony Pandolfo, Charles Parks) and executives (Tom | ||
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being stuck with one father, a variety of fathers offers a smorgasbord | being stuck with one father, a variety of fathers offers a smorgasbord | ||
of experiences - what could be better than that? So it goes. | of experiences - what could be better than that? So it goes. | ||
From the divorcee's point of view, things proceed more | From the divorcee's point of view, things proceed more | ||
cautiously. Eleanor (an eloquent Grace Zabriskie) is prudent as she | cautiously. Eleanor (an eloquent Grace Zabriskie) is prudent as she | ||
Line 53: | Line 60: | ||
Prospective renters are videotaped so she can see them. It's | Prospective renters are videotaped so she can see them. It's | ||
computer dating. | computer dating. | ||
Addressing us from a corner of the tiny Stages auditorium, she | Addressing us from a corner of the tiny Stages auditorium, she | ||
outlines her concerns, shares her thoughts with us. But as she | outlines her concerns, shares her thoughts with us. But as she | ||
investigates, it begins to seem... workable. Possible. She's even | investigates, it begins to seem... workable. Possible. She's even | ||
able to develop enthusiasm for the idea. | able to develop enthusiasm for the idea. | ||
Right about then, of course something happens to illuminate | Right about then, of course something happens to illuminate | ||
another, more scabrous aspect of our American lives. It is a | another, more scabrous aspect of our American lives. It is a | ||
predictable but chilling finale to Eleanor's hapless little saga. | predictable but chilling finale to Eleanor's hapless little saga. | ||
This must work beautifully as theater for the ear. Frank is a | This must work beautifully as theater for the ear. Frank is a | ||
master of provocative understatement who looks at contemporary | master of provocative understatement who looks at contemporary | ||
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price of everything and the value of nothing - and paying more dearly | price of everything and the value of nothing - and paying more dearly | ||
than it knows for the lapse. | than it knows for the lapse. | ||
But is "Rent a Family" theater for the stage? Not really. | But is "Rent a Family" theater for the stage? Not really. | ||
The suspense is the same either way: We are told, not shown, | The suspense is the same either way: We are told, not shown, | ||
what happens. This is discursive theater where all action is | what happens. This is discursive theater where all action is | ||
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experiencing it with an audience of live, listening bodies - and | experiencing it with an audience of live, listening bodies - and | ||
talking about it afterward. | talking about it afterward. | ||
As such, and only as such, it is recommended, particularly | As such, and only as such, it is recommended, particularly | ||
since Verdier has directed with considerable wit and everyone in the | since Verdier has directed with considerable wit and everyone in the | ||
cast is good at restrained emphasis. If it's action you want, you | cast is good at restrained emphasis. If it's action you want, you | ||
won't find it here. But if you're after moral gymnastics, try it. | won't find it here. But if you're after moral gymnastics, try it. | ||
At 1540 N. McCadden Place in Hollywood, Wednesdays through | At 1540 N. McCadden Place in Hollywood, Wednesdays through | ||
Saturdays, 8 p.m., with matinees Sundays at 3, until May 7. | Saturdays, 8 p.m., with matinees Sundays at 3, until May 7. |
Latest revision as of 07:42, 14 November 2023
4 Part VI/Wednesday, March 22, 1989 STAGE REVIEW
'Rent a Family' Pays Price for Taking on a Radio Play
CALENDAR Los Angeles Times
By Sylvie Drake Times Theater Writer
At the heart of Joe Frank's short radio play, "Rent a Family, Part One," lies a provocative idea: That just as we rent and abandon everything else in our society - cars, apartments, furniture, clothes, cooks, cleaners, escorts and other companions, why not rent a family for a day, a week, a month? The implications are clear.
At the heart of Paul Verdier's stage adaptation of Frank's "Rent a Family" (now playing in plain English at Stages Trilingual Theatre) lies the same provocative idea. Never mind the satirical jab behind Frank's words. There is something there that stings in deep and much deadlier fashion.
It is the plausibility of such a notion. The very idea, couched as it is in soothing corporate conundrums and ad-agency jargon, has a chilling effect on any audience, but particularly a live one with its collective unconscious huddled in a small dark room. It is... agitating. It typifies much, if not all, that is wrong with our American lives. People are collectively unnerved.
They react. That is the strongest case that can be made for Verdier's attempt to stage a radio play, which, by its very definition, is a static affair.
The director splits our focus between a meeting of two corporate executives and two experts who discuss the merits and demerits of the RAF (Rent a Family) Corp. - and the account of a divorcee with children and few options who decides to take a job hiring out with this corporation.
For an hour, we hear the pros and cons from both sides. The corporate panel is the conscience of the piece, examining it from all angles like a corpse.
In highly stylized and frequently hilarious fashion, the impassive experts (Tony Pandolfo, Charles Parks) and executives (Tom Fuccello, Kenneth Danziger) rationalize the advantages of renting a family, of not making commitments ("it allows people to be more spontaneous"), of the idea is the sine qua non of the free enterprise system, and of the long-term effects on the children. Instead of being stuck with one father, a variety of fathers offers a smorgasbord of experiences - what could be better than that? So it goes.
From the divorcee's point of view, things proceed more cautiously. Eleanor (an eloquent Grace Zabriskie) is prudent as she approaches this new career. She tries to be careful - as careful as it is possible to be. There are lots of forms to fill out. Lots of screening. Everyone at RAF is very pleasant. There's no pressure. She and the children are videotaped for prospective renters. Prospective renters are videotaped so she can see them. It's computer dating.
Addressing us from a corner of the tiny Stages auditorium, she outlines her concerns, shares her thoughts with us. But as she investigates, it begins to seem... workable. Possible. She's even able to develop enthusiasm for the idea.
Right about then, of course something happens to illuminate another, more scabrous aspect of our American lives. It is a predictable but chilling finale to Eleanor's hapless little saga.
This must work beautifully as theater for the ear. Frank is a master of provocative understatement who looks at contemporary behavior through a more timeless moral prism and knows exactly where to aim for the kill. He indicts a society sick with terminal cynicism, fulfilling Oscar Wilde's worst nightmares of knowing the price of everything and the value of nothing - and paying more dearly than it knows for the lapse.
But is "Rent a Family" theater for the stage? Not really.
The suspense is the same either way: We are told, not shown, what happens. This is discursive theater where all action is virtually motionless and the stage bare except for a table and chairs. The characters don't move from the spot where we first see them. No. The only advantage to watching "Rent a Family" on stage is that of experiencing it with an audience of live, listening bodies - and talking about it afterward.
As such, and only as such, it is recommended, particularly since Verdier has directed with considerable wit and everyone in the cast is good at restrained emphasis. If it's action you want, you won't find it here. But if you're after moral gymnastics, try it.
At 1540 N. McCadden Place in Hollywood, Wednesdays through Saturdays, 8 p.m., with matinees Sundays at 3, until May 7. Tickets. $15
[picture caption] Charles Parks, from left, Tony Pandolfo, Kenneth Danziger and Tom Fuccello with Grace