Mrs. Fisher is upset that her naïve daughter Amy appears head over heels in love with egotistical exhibitionist and pathological liar, Aubrey Piper – the show-off. Older daughter Clara is concerned that her husband Frank Hyland pays Aubrey’s accumulating debts out of guilt for having once treated a woman badly (?!) and jealous of her sister’s relationship, even if a poor match. Young son, Joe, an inventor, is too busy with projects to be more than peripherally irritated by Aubrey’s encroaching presence. Aubrey repeatedly gets away with inexcusable behavior until possibly redeeming himself at the end.
Ian Gould, Emma Orelove
The first question is why revive this piece. Its program tells us films were based on the play in 1926, 1934, and 1946. I can only conjecture the earliest sensibilities to have been more in keeping with their times and the latter to have been rewritten. Aubrey ranges from irritating to infuriating. Amy is stupid. Clara switches her judgment and behavior without sufficient underpinning. Frank is a cipher.
The second is a matter of two acting styles at war. While the excellent Tirosh Schneider (Joe), Douglas Rees (Mr. Fisher), and Marvin Bell (Mr. Gill), are naturalistic, Emma Orelove (Amy) veers yeoman-like between this and affected style in a role that requires consistency to be credible. Aubrey (the talented Ian Gould – think Stephen Fry), meanwhile, delivers good pastiche. Aaron Gaines does nothing to make Frank even a little distinctive. Elise Hudson is, at least here, a self conscious actor with zero sense of stage timing. Director Dan Wackerman, who moves his players around with great skill and captivating small business, has given us far better in terms of performance.
Elise Hudson, Annette O’Toole, Emma Orelove
It doesn’t help that Annette O’Toole (Mrs. Fisher) looks like Clara’s sister, not her mother, and Clara looks like Frank’s mother, not his wife.
Annette O’Toole seems to be trying to outdo Ian Gould’s appropriately exaggerated manifestation of Aubrey. Though we understand and sympathize with Mrs. Fisher’s apoplexy, the actor’s gestures grow broader, expression increasingly amplified, physical reaction more studied as the play goes on. Since she starts completely wound up, emotional progression emerges as overplaying. Even grief appears false.
In order for a play like this to work at all, casting must be believable and style consistent.
Ian Gould, Tirosh Schneider, Annette O’Toole
Harry Feiner’s Set (and Lighting) is simply great. This is the second time I’ve seen the designer’s work recently. The first was for The Violin (at 59E59) about which I also raved. Here, with more space, we’re treated to opportunity for flow with multiple entrance and exit portals and the evocative chance to watch several scenarios unfold at once. Detail is again thorough and suggestive. Love the old Singer Sewing Machine, the framed family pictures and prints, the gramophone. Even his color palette is just right.
Barbara A. Bell does an excellent job of Costume Design, except for Clara whose daytime satin and flats I question.
Also featuring Buzz Roddy
Photos by Jeremy Daniel
Opening: Annette O’Toole, Emma Orelove, Ian Gould
The Peccadillo Theater Company presents
George Kelly’s The Show-Off
Directed by Dan Wackerman
Theatre at St. Clement’s
423 West 46th Street
Through October 21, 2017
