That May Well Be True
Peter - Josh WeinsteinJoy - Erin Quinn PurcellRussell - Daniel
Milder Jay Reiss' "That May Well Be True," making its world
premiere at Hudson Mainstage, is an angry and penetrating
exploration of friendship ruined by resentment and jealousy.
Reiss has a knack for writing hostile confrontations and
charging every scene with suspense. But the production is also
clearly intended to be humorous, and the author's witty lines
would be funnier if directed in a freer, less sober style.
Adversarial tension is sparked when novelist Peter (Josh
Weinstein) fights a plagiarism lawsuit instituted by his old pal
Russell (Daniel Milder), a former drug addict. Russell had wild
experiences in Mexico that Peter utilized for a new bestseller,
and he wants $700,000 of the fee promised to Peter for his
screenplay of the novel. When Peter shows up unexpectedly at
Russell's Westchester apartment to hash out the problem,
lifetime grievances are aired that aggravate their bitterness.
Prominent in the mix is Russell's roommate Joy (Erin Quinn
Purcell), an economist who has been hired to counsel an Indian
ashram on how to increase its profits. Russell amusingly defines
their relationship as similar to a marriage ("We eat together,
we bicker in front of friends, and we don't have sex").
Portraying Peter, Weinstein conveys the right blend of integrity
and self-interest. Milder is a courageous, high-strung actor,
and his Russell is a realistic portrait of self-destruction.
What upsets the balance in the contest between the two is his
exasperating, unlikable attitude: It's hard not to repudiate him
even when his viewpoints are justified. An occasional inspired
line ("If it wasn't for me, you'd still be listening to Phil
Collins and defending it") softens him, but it's not enough to
make us care about his fate. The production is at its best
during a scene between Peter and Joy. Director Greg Jackson
carefully establishes a potentially romantic link between them,
and their relationship is so winningly developed that the play
falters after their connection is dropped. This portion also
features the evening's most inventive bit, when Joy lists her
albums of love songs by people who can't sing -- Burt Reynolds,
Tony Randall, Lorne Greene, Ed McMahon, Pele and William Shatner
doing "Mr. Tambourine Man." The final stages of combat between
Peter and Russell consist of a vividly staged physical battle
and criticisms flung in titular game "That May Well Be True."
These accusations stir up frenzied emotion, although a hint that
Russell and Joy may go from platonic to passionate is
unconvincing. The climax, in general, would resolve more
excitingly with a surprise twist. As it is, events trail off
inconclusively, suggesting that the author couldn't quite devise
a proper ending. Purcell's Joy is the evening's most notable
element. The quietly commanding actress suggests a personality
of depth and compassion. Joy is a character who can truly be
called original, imaginative enough to indicate that Reiss,
though a raw playwriting talent, has a solid theatrical future.
Sets, Ryan Wilson; costumes, Erin Quinn Purcell; lighting, Ryan
Wilson; production stage manager, Jesse Russell Brooks. Running
time: 1 HOUR, 40 MIN. -- A Stephen Solaka presentation of a play
in one act by Jay Reiss. Directed by Greg Jackson.