Pulitzer Prize winner Paula Vogel (How I Learned to Drive) has written a bitingly funny and unflinchingly honest new play about the hold our family has over us and the surprises we find when we unpack the past.
It’s 1962, just outside of D.C., and matriarch Phyllis (Jessica Lange) is supervising her teenage children, Carl (Jim Parsons) and Martha (Celia Keenan-Bolger), as they move into a new apartment. Phyllis has strong ideas about what her children need to do and be to succeed, and woe be the child who finds their own path. Bolstered by gin and cigarettes, the family endures — or survives — the changing world around them. Blending flares of imaginative theatricality, surreal farce, and deep tenderness, this beautiful roller coaster ride reveals timeless truths of love, family, and forgiveness.
While most of the production works flawlessly, there are two major missteps. Because viewers are well aware of the time periods (Martha calls out the years throughout the show’s 105-minute run time), some of the major plot points are highly predictable, taking away the story’s emotional power. Moreover, one particular scene of Phyllis at home alone simply doesn’t work. The segment is supposed to depict her loneliness and isolation, but the wordless 10 minutes is overlong and dull, belaboring a point that could have been made in less than half the time. Still, despite its imperfections, “Mother Play” is a genuinely engaging examination of a family trying to find equilibrium.
The play works because of the cast’s incredible ability to play both young and old characters, and solemn and funny ones. In particular, Parsons’s humor shines as Carl, a quick-witted genius who holds the family together. One of the play’s throughlines is touch — or rather, the lack of it. Director Tina Landau beautifully incorporates moments of closeness and distance through careful staging.
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