Whether it’s about love rekindled, money lost or morals discovered, a Central Park bench can tell many stories. Attempting to capture the broad diversity of the iconic park bench, Brian Connors showcases three plays in the “Plays in the Park” series.
Because of the start-studded cast, the lighthearted plots and the perceptive writing, all three productions superlatively lend themselves to the stage.
Elegantly witty, Connors’ plays capture the feeling of one generation and provide insight into a different one. His characters range from the spunky young to the bitter old, and the intricacies of each is not lost on Connors. Capable of crafting believable personality quirks, like obsessively collecting tiny swan figurines, the playwright creates relatable characters through their disarming flaws.
Furthermore, since the plays are filled with fun, fresh dialogue, Connors allows his creativity to soar. In a series of unfortunate accidents, orange farmer Joey (Mark Rydell) is left bankrupt, heartbroken and lonely, pronouncing his inevitable death in headline form: “Fruit Farmer Freezes in Florida Forests.” Hilariously inappropriate, Joey’s line suitably defines the series’ facetious tone.
Undoubtedly, the actors’ on-stage dynamism is electrifying. Because of the stellar writing, the actors feed off each other’s lines and energy, especially in the second play “Swans.” In this vignette, a persuasive girlfriend forces her free-spirited boyfriend into begrudgingly revealing his intentions to marry her.
The unfettered attraction and unmistakable love between Dahlia Waingort and Esai Morales is contagious, as is their enduring commitment. Although Waingort and Morales charm the audience through their enthralling love affair, George Segal, Rydell, Beege Barkette and Susan Ateh equally captivate with their own wonderful pizzazz and irresistible hutzpah.
Focusing solely on the plays, the set design is simple and straightforward. Two average park benches face the audience in front of a black back-drop, while spotlights underscore the action. Because of the exceptional dialogue, there is no need for frivolous furniture and design. The writing is and should be at the forefront, not fancy props.
While each vignette is impeccably crafted, “Park Strangers” dives too quickly into the depressingly somber. One minute, Beege Barkette and Susan Ateh dismissively joke about type-casting, and the next, they’re gravely discussing cancer and AIDS. As a result, this short play becomes disjointed and abrupt, leaving the audience in a unwarranted daze. To bring “Park Strangers” to the sophisticated level of the other two plays, Connors needs to find a better transition between the uproarious and the dim.
Presented as staged readings, all of the plays in “Plays in the Park” succeed in conveying the human condition. Without a doubt, Connors is a literary genius, and the actors are magnificent superstars.
Playing at the Santa Monica Playhouse, “Plays in the Park” will continue its run until August 12. Tickets cost $20, and the theater is located at 1211 4th St. in Santa Monica.
Natalia Evdokimova has been involved with theater throughout her life and has reviewed theatrical productions for local and citywide publications since 2005.