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'Rent a Family' Pays Price for Taking on a Radio Play: Difference between revisions
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'Rent a Family' Pays Price for Taking on a Radio Play (view source)
Revision as of 07:42, 14 November 2023
, 14 November 2023Fix format
(Review of the play 'Rent a family' from the 'LA Times') |
m (Fix format) |
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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 | ||
| Line 20: | Line 21: | ||
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 | ||
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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. | ||