L-R: Stephanie Seward, Anna Holbrook, and Alexandra Hellquist in THE HOT L BALTIMORE. Photo by Bob Degus. |
The
Hotel Baltimore has seen better days (as evidenced by the missing “e” on the
hotel’s sign which accounts for the play’s somewhat unusual title). So, too, have its long term residents,
including three members of the oldest profession. Suzy (Jill Bianchini) is so accepting of her
submissive state that she is prepared to return to a former pimp should she be
forced to vacate the hotel, all the while persisting in flouncing about as if
she were a glamour queen. April Green
(Stephanie Seward) simply does whatever if takes to keep going, including turning
tricks on the floor, on a table, in a bathtub, or wherever. And the Girl (Alexandra Hellquist) has so
little understanding of who she really is that she cannot even decide on a name
for herself and persists in seeking alternative worlds incorporating ghosts and
concepts of reincarnation which ostensibly would prove to be more palatable to
her than her own reality.
Nor
will the three hookers be the hotel’s only casualties in the event that it is
forced to close (which seems highly likely now that all its residents have received
eviction notices). What is to become of
Jackie (Lisa Sobin), a tough, conniving thief and her passively pathetic
brother, Jamie (Philip Rosen)? Or the
older folks: the mildly eccentric Mr. Morse (Peter Judd) and the sedate Millie
(Ann Holbrook)? Indeed, we might also ask
what will become of the hotel’s employees, Bill Lewis (Jerry Topitzer) and Mrs.
Oxenham (Joan D. Saunders).
Not
that we’re going to find out. The Hot L Baltimore by Lanford Wilson, won
the Drama Desk and Obie awards for best play when it was first staged in 1973, and
it is now being revived in a very professional production by T. Schreiber
Studio for Theatre & Film at The Gloria Maddox Theatre on West 26th Street
in Manhattan. But the play wasn’t big on
plot structure when it was first produced and, not surprisingly, it isn’t any
bigger on plot structure in this latest incarnation. Rather, its claim to fame rests on its
depiction of various individuals and their relationships (trivial though they
might be) under all sorts of circumstances.
In
my opinion, that is the play’s shortcoming.
This would have been a much better play, I believe, if Wilson had
allowed his plot ideas to evolve and then resolved them, instead of just leaving
them out there as unresolved background issues, focusing solely on his
characters’ emotional reactions. Given
the play as it has been written, however, the cast has performed splendidly. I was particularly impressed by the
performances of Jill Bianchini, Stephanie Seward, and Alexandra Hellquist as
the three hookers; Lisa Sobin as Jackie; and Ann Holbrook as Millie.
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