L-R: Alison Fraser and Janet Zarish in LOVE THERAPY. Photo by Kevin Thomas Garcia. |
Love Therapy by Wendy Beckett,
now premiering at the DR2 Theatre in downtown Manhattan, is just 85 minutes
long without an intermission – or perhaps a few minutes longer if we one
includes the time in which the audience sits wondering whether or not the play
truly has ended. And, indeed, it is not
until the cast emerges on stage to take their curtain calls that one really can
be sure that the play is over.
This
is more of an idea for a play than a fully realized one. Ms. Beckett has drawn several bright lines
delineating the play’s major themes – including the search for “authenticity,”
the limitations of love and sympathy in seeking therapeutic solutions to life’s
crises, and the conflict that exists between playing by the rules and giving
vent to one’s emotions – and she does a fine job of coloring in the areas
between the lines. But one never can be
sure that the colors used were the right ones and that it’s all not a pack of
lies to begin with.
Colleen
Fitzgerald (Margot White) is a psychologist and marriage counselor who believes
that successful therapeutic results can only be achieved through a combination
of “authenticity” and “love” on the part of the therapist, and who is more than
willing to bend, if not break, the rules of her profession to that end. Her patients (or “clients” as she prefers to
refer to them) include Steven Jones (David Bishins), a womanizer who has been
referred to Colleen by his wife; Brian Beatie (Christopher Burns), an angry and
violent man whose business is more important to him than is his marriage; and
Mary (Janet Zarish), who is suffering from severe depression in the wake of the
loss of both her daughter and her husband.
David
claims to support mistresses (which he suggests is the reason his wife has
urged him to go into marriage counseling) but not to frequent prostitutes,
although he subsequently reveals that his wife herself was once a prostitute
and, anyway, it might not have been his infidelities but rather the loss of a
child that prompted him to seek Colleen’s help in the first place. Or, for all we know, none of that may be
true. Additionally, David initially
contends that he does not find Colleen at all attractive – she’s just not his
type – which is one reason that he chose her to be his therapist. As matters develop, that turns out to be
blatantly untrue, and it is Colleen’s relationship with him that ultimately
threatens her professional career.
Brian
is an overtly misogynistic, angry, and violent man, willing to accede to a
divorce from his wife if that won’t entail his having to sell his company. Colleen is aware of his violent nature but
fails to take any action in light of it which, the audience is led to assume,
may have led to serious adverse consequences for his wife. Or maybe not.
Again we really are left in the dark.
Mary,
Colleen’s most deranged “client,” recently lost her adult daughter in a car
crash, the car having been driven by Mary’s husband, which explains Mary’s
depression and Colleen’s willingness to violate the rules of her profession by
involving herself in the dispensation of drugs to Mary in a misguided but
compassionate attempt to alleviate Mary’s misery.. Mary’s husband died, too, but the
circumstances of his death are less clear – which leaves us with yet another
mystery to unravel.
And
there even are some mysteries involving Colleen herself. Her abilities as a marriage counselor apparently
didn’t extend to her own life: she is a divorcee. And if it was her childhood that made her
what she is today, what exactly is that anyway? Is she a woman who loves too
much or one who is unable to love at all?
And
that about sums up the play’s strengths and weaknesses. On the plus side, it is rife with mysteries,
uncertainties, and surprises, just the stuff of which fine plays are made. But on the negative side, it never fully
resolves the questions it raises, and so it ultimately comes across as
disappointingly incomplete.
The
only other characters in the play are Carol (also played by Janet Zarish),
Colleen’s supervisor and mentor who appreciates and respects Colleen’s somewhat
unorthodox therapeutic methods but who, at the same time, is trying to protect Colleen
from herself; and Madge (Alison Fraser), a simple Irish waitress who exhibits
more common sense in dealing with psychologically damaged individuals than do
most trained professionals. And,
ironically, while Ms. White, Mr. Bishins and Mr. Burns perform admirably in
their respective roles, I was especially impressed by Ms. Zarish and Ms. Fraser
in the roles of Carol/Mary and Madge, respectively. Ms. Zarish was particularly outstanding in
her portrayal of the two diametrically different roles of Mary, a deranged
depressive, at one moment, and as Carol, a self-assured therapist, the next.
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