Regional Reviews: San Francisco The Book of Matthew (Leibowitz) Also see Patrick's review of Of Mice and Men
Matthew is a writerbut not the New Testament author one might infer from the title. And like most writers, Matthew is engaged in more than one epic struggle. To write. To be read. To be true to his artistic integrity and still put food on the table and pay the rent. To manage his relationshipswith his wife from whom he has recently separated, with his pragmatic brother and yenta of a sister-in-law, and with his upstairs neighbor, an aging (and expanding) Broadway chorus boy. That's a lot of epic struggle. Enough for more than one play, which is sort of what Abravaya (also the artistic director of the Spreckels Theatre Company) has staged here. Play one is a wisecracking Neil Simon-esque comedy about a neurotic Jewish writer with a quirky family and a flamboyant neighbor and friend. Play two is a kitchen sink drama recounting the woes of a struggling artist whose wife has left him and whose father, nearly catatonic with grief over the loss of his wife, has been dumped on his doorstep while his far-more-successful brother and sister-in-law jet off for a vacay in the tropics. For the most part, Abravaya gets these two plays to pull in unison. The comedy is often there to lighten the mood when things get too heavy, and the drama reminds us that only the truth is funny. And the truth is that dreams don't always come true, people let you down, and family members can mess with your head like no one else can. The problems with The Book of Matthew come when the drama gets a little too deep for even the wisest of cracks to elegantly restore a sense of balance. Tragic secrets, heaving sobs and sardonic wit are a tough combination. Like sweet and sour soup, getting the proportions right is critical to success. Abravaya hasn't got the equilibrium quite yet, but this run might help him see where he needs to adjust his recipe. Luckily, he has a solid cast supporting him in this effort. Though on opening night it was clear their timing still needs work, the six actors mostly do an excellent job of inhabiting their characters. As Matthew, Jeff Coté is in almost every scene, and is the sun around which everyone else in the show orbits. Fortunately, he brings a Steve Carell-esque likeably neurotic charm to the role. If he were as dour as his life would seem to be, making pizzas during the day and waiting at tables at night so he can cobble together a few early morning hours to write, the play would be unwatchable. He's a spinning vortex of thwarted ambition and negativitybut he's lovable, so like his family we let it slide and love him anyway. Tim Setzer, as busybody neighbor and chorus boy Vincent Alcedo, was given a plateful of gay clichés and leaves not a crumb behind. He does his best to channel Nathan Lane and, though the audience lapped it up right along with him, I think there's more to Vincent Alcedo than just a collection of swishy mannerisms. Setzer (and Abravaya) would do well to try and discover him behind the paisley shirts and show tunes. Vincent is perhaps the most tragic character here, but his first act confession pulls focus from Matthew's story. I'd suggest cutting it, but it includes the line that most completely encapsulates what The Book of Matthew is about: "Isn't it amazing the things that stay with youeven when you think you've let them go?" It's not that Setzer doesn't have a delightful, casual appeal (he does), or that Vincent is one-dimensional (he's not). It's that his multiple dimensions are sometimes out of synch with each other. Kudos to Madeleine Ashe as Matthew's sister-in-law, Karen. She's the distaff version of Vincentalways in your business, offering advice even when it's not sought. Ashe has a terrific focus and wonderful presence. When she's onstage, it's hard not to look at her. As Matthew's father, Norman A. Hall does the best with what he's given, but the character is the least explored and least thought through. He's described as "catatonic" and "mute," yet even in his first scenes (spoiler alert: he talks), he's clearly engaged with everything going on around him. Whether it's Abravaya's writing/direction or Hall's acting choices, it's not working. Once he opens up, Hall's Howard is finefunny, plain-spoken, a bit curmudgeonlybut I didn't buy the grieving catatonia or the transition out of it. Despite this, there's a lot to like about The Book of Matthew (Leibowitz). There are some terrific lines (a favorite being "I'm not just your brotherI'm your accountant. And I'd like to not have to fill out a short formI'd like to itemize."), a wonderfully shabby set created by Eddy Hansen and Elizabeth Bazzanonot to mention the chance to ponder the profound questions everyone faces as we figure out what it means to be human. The Book of Matthew (Leibowitz) runs through April 13, 2014, at the Bette Condiotti Theater at the Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park. Shows are Fridays at 8:00 p.m., Saturdays at 2:00 p.m. and 8:00 p.m. and Sundays at 2:00 p.m. There is also a 7:30 p.m. shows on Thursday, April 3 and 10. Tickets are $22-$26 and are available by calling the box office at 707-588-3400. Box office hours are 12-5 p.m. Tuesday through Saturday. The box office is also open one hour before showtime. Additional information is available at www.spreckelsonline.com.
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