The Geffen Playhouse is a pleasant venue...
The front foyer is softly lit and aesthetically-pleasing to the eye. And, the courtyard is a lovely sanctuary to sip on a glass of wine, munch on a cheese and fruit plate, or engage in a quiet tete-a-tete.
As the curtain call rang, my eye quickly scanned a brief synopsis of the featured play I was attending - "Third" - by celebrated playwright, Wendy Wasserstein ( Heidi Chronicles).
Laurie Jameson is a professor who has made a number of important inroads - academically-speaking - at a private Liberal Arts College.
When Woodson Bull III (as in "Third") - a jock - who, in his own words, "just wants to learn, wrestle, and graduate" - is accused of "alleged plagiarism" by Jameson, the two hard-heads end up sparring over politics, Shakespeare, and campus culture - with dramatic results.
Sub-plots weave through the main story, which include - an insightful peek at the emotional trauma of a friend who is terminally-ill; the baffling rebellion of a troubled daughter; and an intriguing foray into the issue of "senility" and its impact - by way of a father...who, in the words of the daughter, "always made me feel safe".
The play is in two acts; each consisting of small scenes, which suffice to cut short material which often strains a little here and there throughout the production.
There are a number of problems with "Third" in its new incarnation at the Geffen.
First and foremost, it appears that Christine Lahti is miscast in the lead.
A case in point...
In the opening classroom scene, Lahti stands center stage, and talks to the audience as if they are her students.
Right off the bat, it is evident that Ms. Lahti lacks the ability to make the scene work; there is no subtlety or appropriate nuance in her characterization, for example.
While stage acting may require a role be played "bigger" - as opposed to those in another medium such as Film or Television - here, Lahti struggles to attain a proper balance.
Consequently, her acting comes across as forced and stilted; realism suffers, as a result.
Part of the problem is with the material.
Ms. Wasserstein's characters are mere puppets, manipulated to spill out her ideas, philosophies - whatever.
At times, it appears the playwright is using Jameson's character as a mere vehicle, to convey how intelligent, insightful, or educated she is...but frankly, people don't talk like that; subsequently, the material falls flat.
Matt Czuchry - who plays "Third" - uses a lot of body language in this play to effect a macho stance...but he lacks the acting ability to pull it off; in fact, at times, the excessive posturing - the strange flexing of upper-body parts, for instance - is distracting, does not ring true.
Years ago, a coach offered up classes on how to act "straight", with the aim of making actors more marketable for producers who oft times are homophobic - when it comes to leading men, anyway.
For some inexplicable reason, I got the distinct impression Czuchry was schooled there, but failed to land a certificate.
At times, his performance reminded me of another play by renowned writer, Edward Albee - "Who's Afraid of Virgina Woolf".
In the movie version, George Segal effectively plays the role of young stud on campus. At times, I surmised Mr. Czuchry was imitating Segal, poorly.
I wouldn't write him off entirely, though.
In one key scene with Jameson's daughter, his acting style transformed considerably...became more natural.
A chemistry between the two young characters registered honestly, and showed a lot of promise, for both actors.
Maybe, Czuchry needs more seasoning, a better director, material of higher calibre... so that his talent may render itself more palpable to a paying, theatre-going public.
Originally, "Third" was a one-act play, which was expanded.
Maybe, this is where the trouble arises.
Material that is re-worked is often best left alone.
Here, there is too much dabbling, intellectualizing, mind-speak, shallowness of character...to be substance of a hit, or even a satisfying night of theatre.
Ironically, the promotional material in the program notes,
F. Scott Fitzgerald once proclaimed that there are no second acts in American lives...
Here, it applies to the "T", as in Theatre 1.
