“It’s too clean,” I proasserted, eyeballing the phase collection for Alan Ball’s best-recognized play a few minutes prior to the top of the display. “If Meredith doesn’t waltz onto that bedroom and instantly mess it up, I’m gonna riot.”
You check out, as is regularly the situation with me, I’ve been in Five Women Wearing the Same Dress prior to. Naturally, I have opinions. It deserve to absolutely ruin mirrors that are done poorly. But, as soon as a present is done well, that connection provides you appreciate it so a lot more.
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Under the direction of Traci Rezabek, this present definitely drops into the last category. Full disclosure, I don’t love the manuscript of this play. Alan Ball is not my favorite playwappropriate and I don’t commonly reap the female personalities he writes.
This script in specific takes almost all the drama off-phase and lets you hear around it though the lens of the increasingly inebriated bridesmaids at the homestead wedding of a well-to-carry out southerly debutante. None of the bridesmaids particularly choose the bride, not even her younger sister, whose bedroom the maids repeatedly escape to.
If tbelow Bechdel test were a superhero, this manuscript would certainly be its arch-nemesis.
As a result, successful performances of it are heavily dependent on the womales that inhabit the duties and also the team in charge of placing it up.
And eextremely perkid connected in this production really did the occupational.
Meg Norris was twitchy and conflicted as the innocent, slightly awkward Frances. Her warring desires — to be among the cool youngsters and to preserve her shiny veneer of righteousness — played well against the various other women’s casual, secular ignore. She has actually a difficult project at the height of the show. The first scene happens in near silence, punctuated only by her furtive actions as she snoops approximately Meredith’s bedroom. While I felt that the scene could have used a little bit of tightening, her earswarm fear of being recorded was both endearing and genuinely funny.
Carlee Glenn was bitter and also antagonistic as Meredith. You could check out the bright spots of her longing to sign up with the festivities underreduced by the reactionary vitriol of the young when sensitive topics spring up. Tasked through navigating some dark terrain in this play, her vulnercapacity is essential. Glenn pushed away from that vulnercapability as hard as she could without letting go of it, till her character’s climax wright here she ssuggest broke down right into it, only to actors it off aacquire in muddled defiance.
Jennifer Ford’s Trisha was dead-on, perfect casting. Sexy, smart, jaded — what even more have the right to you ask for from a woguy dedicated to spending a complete play convincing a cadre of bridesmaids that their individual happiness have to always take priority over pleasing a man? Of course, Alan Ball does his finest to muck that up by shoe-horning in a love story in between her and a character that we never accomplish till the last scene of the play. Still, Ford offers these woguys a leader, a role design — and her power infoffers the phase.
Alexandra Olsen de Wallau knocks Georgeanne out of the park also. Her chemisattempt through Trisha is so palpable I’d watch a buddy comedy starring the 2 of them. A character that married for money, cheats on her husband and once slept via her finest friend’s fiancé is not likeable or relatable to me on paper. But Olsen de Wallau absolutely slays it. She’s so funny and also so sweet, it’s disturbingly straightforward to forgive her foibles.
Janette Michael-Little is enchanting and occasionally laugh-out-loud hilarious as the groom’s sister, Mindy. With an elastic challenge reminiscent of Maya Rudolph and a distribution that ranges from bawdy and unstable to fragile and dainty, Michael-Little’s Mindy defies categorization. But she feels actual. And as soon as her perdevelopmental mask drops, it shatters.
Finally, Cody Johnkid was charming as Tripp Davenport, which is around as high of praise as I can provide him, provided that the character and also the scene contents have aged badly because 1993. Honestly this scene, through no fault of the actors or the manufacturing, is simply the worst. The way it’s composed smacks of a bygone era where woguys just had to loss in love or they couldn’t be in the story. I have never watched this scene and not been just generally offfinished as a female huguy. So, kudos for making it bearable.
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In the finish, the strength of the manufacturing right here is the ensemble, the way they gelled. After 2 hours and also an intermission, I would have gladly invested one more hour via them. Tbelow were moments wbelow they can have actually used some reigning in. The freight train of an emotional climax spiraled a bit too much for my tastes, provided the secrecy they were supposed to be keeping. But overall, it was a really well done play you must absolutely go inspect out. It was easily the finest show I’ve checked out at RHCR. Oh, and yes, that bedroom was a right disaster by the finish.
You still have actually two possibilities to see it, this Friday and also Saturday, February 21 and 22, at 1200 second Ave SE. Tickets are $16-19.