Arpeggio
Reviewed by Arlene McKanic
An arpeggio, explains Gerry, the enigmatic female lead of David
Stallings’ play of the same name, is a chord broken up so you
hear each note separately. In other words, one hears its
essential truth. And truth, lies and the fuzzy logic in between
are the play’s themes.
So the play begins with a soliloquy by Gerry, a devoted follower
of the rock star Tobin Grey, on her almost mystical and
completely illusory connection to him. Indeed, Gerry’s more than
a fangirl; she’s moved to New York specifically to be near him,
even though she doesn’t even have the prospect of a job.
She will soon
tell her amiable roommate Zeb that she’s Tobin’s girlfriend --
though he can’t tell anyone. Zeb in turn is a gofer for Cindy, a
monstrously self-obsessed diva who recalls Madonna at her most
narcissistic. One is tempted to compare her also to Britney
Spears but Cindy’s not that bad, even if her record sales
are down. Zeb’s sweet but touchy boyfriend, Ricardo, is an alien
whose visa is about to expire, despite the fact that he and Zeb
have fallen deeply in love.
So, what does
Gerry do about her obsession, Cindy about her fading career, Zeb
and Ricardo about his visa? The resulting prevarications and
distortions of the truth are fascinating, and give the play much
of its energy.
Arpeggio is directed by Cristina Alicea, who knows both
the value of action -- the characters often throw themselves
over each other like puppies, adorably -- and stillness. Gerry’s
devastated motionlessness when her ruse is discovered and the
tragedy in her eyes as they follow Tobin around says much about
her life. Alicea also gets the New Yorkishness of the play.
How many young
folks have come to New York and stayed with an eccentric
roommate (who they grow to love) in a crummy apartment?
Stallings’ dialogue is snappy and the scenes are punctuated by
songs by Alec Bridges with musical arrangement by Sarah Chaney.
They’re performed by Jonathan Albert as Tobin and a real band,
who work behind a scrim at the back of the stage. At one point
Gerry, who’s flown out to California to once again be near
Tobin, imagines she joins them, and
Allison Ikin’s
voice makes up in passion what it might lack in technique.
Her Gerry is
lovable, maddening -- what on earth is this nearly thirty year
old woman doing with her life? --- and near the end, more than a
little scary. In the interest of not giving away a plot element,
the reviewer will only say that we leave the theater wondering
if she could have done what she might have done. Ikin gives a
beautiful performance.
The other
performances are also affecting, including Andy Travis as Zeb,
who figures out that Gerry might not be what she seems, but he
loves her and who cares? Marino Antonio Minino is good as
Ricardo, who as an illegal must always watch his step and who
will do much, with the help of Gerry and Zeb, to stay with his
lover. Kristina Kohl is at first infuriating as Cindy, though we
learn that beneath that carapace of fantastic arrogance beats a
warm heart. She can at least be warm toward Zeb, who she’s known
since childhood, and inadvertently funny, as when she belts out
her new song and tries to dance to it, both badly.
Albert plays
Tobin as a decent and even bland sort; we’re relieved that he’s
not going to take advantage of delusional Gerry, and that he
tells her the truth, even though it hurts her. We respect his
integrity even though he does all this while in the middle of a
deception himself. (What eventually happens between Gerry and
Tobin is not unbelievable -- not in New York, anyway.) Kudos
also to set designer Craig Napoliello for the nostalgia inducing
set, Ian Crawford for the lighting and Angela Curcuru’s
appropriately downscale costumes.
Arpeggio, presented by Maieutic Theatre Works, will be at
the 45th Street theater till November 18.