|Arden Myrin and Patrick Breen. Photo by T. Charles Erickson|
Deep inside, does the lamb shelter a tiger, does the hummingbird repress an eagle? What might happen if, one day, the lamb and the hummingbird were confronted by their inner tiger and eagle, forced to deal with their alter egos? Such is the premise of Steve Martin’s new comedy, Meteor Shower, which is having its world premiere at Long Wharf Theatre under the direction of the theater’s artistic director Gordon Edelstein. This light comedy, heavy on word play and sexual innuendo, is a diverting parlor game that works its premise for all it’s worth, generating a lot of laughs but somehow leaving one wanting just a bit more, a final moment, perhaps, that comments on the human condition as the century turned rather than relying on a sight gag.
As the lights go up we are introduced to a couple that has “worked out” their marriage by learning to express their feelings and thanking each other for doing so in a hand-holding ritual that is scripted by all of the “How to Save Your Marriage” manuals. There’s Corky (the delightful Arden Myrin), whose head occasionally “explodes,” but otherwise sincerely…oh so sincerely…appreciates her husband’s willingness to express his feelings and admit, contritely, when he has said something that might shatter her tender ego. Then there’s Norm (Patrick Breen), who is, well, “normal,” a true marital mensch who has learned to confess his sins instantaneously. They live in a neat, stylishly appointed home in Ojai, California, compliments of scenic designer Michael Yeargan, that will revolve to allow the couple and their alter egos to alternately spar in the living room and stand out on the patio to observe a meteor shower, a cascade of flaming interstellar visitors that will disrupt Corky and Norm’s “happy” home.
The doorbell rings, and the contented couple welcome Gerald (Josh Stamberg) and Laura (Sophina Brown) into their home – of course, Gerald and Laura have always been lurking in the home, for they are the tiger and the eagle that Norm and Corky have repressed, but now here they are, in the flesh, the exact opposites of the happy couple. Whatever Norm has chosen to bury deep in his psyche Gerald wears as a badge of honor; whatever Corky has hidden from herself Laura flaunts. The dichotomy is enhanced by Jess Goldstein’s costumes: Norm is dressed in what might be called country casual and Corky has apparently taken her couture clues from The Donna Reed Show. Gerald is dressed all in black, all muscle and motor-cycle toughness, and Laura is the ultimate femme fatale, wearing a red dress that makes love to her body. As an aside, it’s seldom that a costume change (perhaps “enhancement” might be the better word) elicits one of the biggest laughs in a show, but Norm’s entrance in the second act required the entire cast to hold on line delivery until the audience members ceased their chuckles and guffaws. Remembering that entrance now, a day later, still engenders laughter.
So, the confrontation, which is the sum and substance of the play. Gerald and Laura flaunt their carnal desires in language that Norm and Corky would not think of using. While Norm and Corky speak to each other with controlled politeness, Gerald and Laura tell each other to…well…fuck off! The tame couple is nonplussed by the heat, passion and vulgarity of the man and woman they have invited into their home but, then there’s the meteor shower, which will allow the gods to intervene. A meteor – okay, well a meteorite – lands on the patio and in the resultant smoke and fire eyes are opened and personas are shed, leading to a delightful second act in which the tables are turned and the lamb accepts his inner tiger and the hummingbird embraces the eagle lurking within.
All four actors work wonderfully to bring this transformation to life, chief among them Myrin, whose hummingbird-to-eagle conversion is a joy to watch, especially once her character realizes that the meteorite has opened up a new world for her. Equally engaging is Breen’s seduction of his alter ego as he unmans the man’s man.
Playing characters that are dominant and dominating in the first act, Stamberg and Brown deftly pull in their horns in the second act as Gerald and Laura become somewhat nonplussed by what the meteor shower has wrought. Oddly enough, although set in 1993, there is a strong element of 30s madcap comedy in Meteor Shower -- the classic battle of the sexes complete with zingers and double entendres, albeit the battle is an internal one as repressed psyches come to the fore.
If one were to chart the transformation that occurs during the play, there might be some quibbles with regards to logic, but Edelstein has wisely opted for a fast-paced delivery that does not allow for reflection – you just go with the flow, sit back and enjoy.
Meteor Shower runs through Oct. 23. For tickets or more information call 203-787-4282 or go to www.longwharf.org.