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Clothed In Humor, Borderlands Theater's New Show Examines Middle-ClassIssues.
By Margaret Regan
IT'S NOT OFTEN that a costume gets a belly laugh. In Five
Women Wearing the Same Dress, the new Borderlands Theater
production, not only does a dress get a major guffaw before any
actor utters a word, it's actually a star of the show.
The dress in question is a bridesmaid's dress. Seen five times
over on every woman in the play, a comedy wherein a revolving
set of hapless bridesmaids hide out in an upstairs bedroom during
a wedding reception, it's not a pretty sight. Designed to perfection
by Zan Griffith, it's a Little Bo Peep confection in pink satin
with gigantic leg o' mutton sleeves, cascading skirts and a back
zipper that tends to open down to the waist at the most inopportune
moments. To top it all off, there's a ludicrous straw hat that
heads up to the stratosphere.
"We look like the Flying Nun," fumes the bride's sister
Meredith, an Angry Young Woman deliciously played by Sara Eileen
LaWall. Meredith throws a black leather jacket over the pink every
time she gets a chance to stomp back to her flowery childhood
bedroom. "You look like a lamp," she berates her hopelessly
sweet Christian cousin Frances, played to perfect pitch by Aleta
Palmer.
The ridiculous dress is just one reason that the bridesmaids
keep retreating to the bedroom during this extravagantly funny--and
raunchy--comedy of manners set in the modern South. They mostly
don't know each other well but they draw close in the face of
their common enemies. They're hiding from the unseen bride, Tracy,
a disagreeable Southern belle who's metamorphosed into a bossy
career woman. (She's icily informed her sister Tracy that the
Flying Nun hat is "not optional" at the reception.)
They're hiding from mothers besotted by the rules of etiquette,
from aunts who want to marry them off, from the handsome rake
whom most of them have slept with. They come upstairs to pig out
on pilfered weddding food, to swig Jack Daniels, to take a drag
on a joint, to debate the merits of rigid Christianity versus
free speech, to rail against men who are as "limp as wet
toast."
Most of all they come up whenever they feel the need for a bracing
dose of female camaraderie. When all else fails to cheer them,
they fall back on making fun of the dress.
"Something about this dress makes me feel like Bigfoot,"
laments the clumsy Mindy (Elizabeth Heichelbech,) lesbian sister
of the groom, as her lethal swirling skirt sends delicate things
flying through the bedroom. "I'm being held hostage by my
underwear," cries Georgeanne (Suzi List) of the rigid bustier
her Bo Peep gear requires.
In a ground-breaking essay called "The Female World of Love
and Ritual," the historian Carroll Smith-Rosenberg described
the contemporary wedding as the last vestige of the many female
rites of the 19th century. Playwright Alan Ball has unerringly
tuned into this female world. So irrelevant do men seem to the
goings-on that it's a shock toward the end of the play when one
finally penetrates into the female space of the bedroom, his blinding
black and white tuxedo contrasting with the bridesmaids' pink.
This fella is the alluring Tripp (Dwayne Tripp), a wickedly evolved
male who's in hot pursuit of the cynical Trisha (Caroline Reed),
the "reigning queen of bad rep."
The play sends up the studied rituals of the showy American middle-class
wedding (bridesmaids' dresses actually are meant to ape the costumes
of the long-ago royal courts) at the same time that it uses the
wedding as a lens to examine the lives and loves of contemporary
American women. With the exception of the innocent Frances, the
women in the play are about as far from the girlish Bo Peep ideal
as they can be. Five Women delves into some touchy modern
issues--abortion, childhood sexual abuse, anorexia, discrimination
against lesbians, adultery--but it's hardly a sociological tract.
In fact, it's a hoot.
The script is wonderfully crafted, but the play's success depends
almost entirely on the star turns doled out by the five female
players. Veteran Tucson performer List is funny and moving as
Georgeanne, a married, heading-over-the-hill Southern belle who
can't get over her lust for the indifferent rake. ("I'd like
to date Jesus," she sighs at one point.) The beguiling Heichelbech
plays Mindy with a combination of goofiness and humor. Reed is
bawdy as Trisha, the resident "ho" with a heart of gold,
but the big grin she keeps plastered on her face throughout is
a bit over the top. And nearly all of the actresses fade in and
out of those Southern accents, which might have been better left
untried.
Director Chris Wilken handles all the proceedings with a light
touch, allowing his actors the leeway to deliver performances
as delicious as wedding cake, as bubbly as champagne, and as sharp
as bitters.
Five Women Wearing the Same Dress, a production
of Borderlands Theater, continues through September 7 at the PCC
Center for the Arts Black Box Theater, 2202 W. Anklam Road. Performances
are at 8 p.m. Wednesdays through Saturdays. Tickets are $10, with
discounts for seniors and students available at the Wednesday,
Thursday and Sunday performances. For more information or reservations
call 882-7406.
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