“The Morons” at the cell By Dan McCormick Directed by Christopher Scott Reviewed by David Roberts Theatre Reviews Limited
Imagine Arthur Miller’s Loman family: Willy, Linda, Biff, and Happy. Now add Edward Albee’s Martha and George and their “son” to the mix. Finally, append Shakespeare’s thoughts on old age from “As You Like It” beginning with “All the world’s a stage” and concluding with “Sans teeth, sans eyes, sans taste, sans everything.” The resulting blend resembles something close to Dan McCormick’s play “The Morons” currently running at the cell as part of the 1st Irish Festival’s Next Generation Series.
Utilizing the extended metaphor of creating a reality television series called “The Morons,” Mr. McCormick tackles the weightier issues of economic recovery post the 2008 mortgage crisis, dysfunctional families, joblessness, addiction, infidelity, sexual identity, and (yes) texting.
Like Willy, The Father (Steve) is a salesman whose job is unfulfilling. He does not like the world around him anymore. Like Martha, The Mother (Barbara Suter) prefers the affections of a man other than her husband and prefers her Tanqueray gin to the more challenging gig of mothering. And like George and Martha’s phantom “son,” Billy (Timothy Mullins) might as well exist only his parents’ minds: they rarely see him or rarely interact with him. All three escape from the tatters of their reality by having sexual encounters with the Millers (including with the family dog). Given the issues of sexual identity (is the Father gay as his wide suspects?) it would have been better if both parents had sexual trysts with Mr. Miller. It would also have been much funnier.
The Father’s passion for winning the reality show contest has sufficient energy to drive the plot of “The Morons.” However, the play sometimes seems overlong despite McCormick’s skill at comedic writing. The creation of the audition tape – including confessions, talent, and the theme song – provides considerable humor. Having young teen Billy the same age as his parents is stark and introduces the more dark humor that pervades the piece.
In order to achieve the prize of the reality show, The Father broadcasts his family’s interactions on a large screen mounted outside the house: there are cameras installed throughout the home. Remaining unabashed, he and the rest of the family play out the drama to its predictable end: they are willing to die in order to star in a reality television show. Their death is, of course, redemptive and their blood is the spilled blood of the Middle American family facing extinction at the beginning of the 21st century.
Under Christopher Scott’s inventive direction, the cast succeeds in bringing life to their characters and they never lose focus on the message Dan McCormick is trying to offer the audience. They risk being the ultimate morons so that we might achieve something more meaningful in our remaining days.
The delightful music from the beloved Looney Tunes cartoons counterpoints the sadness of the Father’s final line from “As You Like It.” Aging is not pleasant in a world unprepared to deal creatively with that process. Our attempts to make sense of life might be moronic but we do the best we can in an often equally moronic world. As Jaques proffers, “All the world's a stage,/And all the men and women merely players:/They have their exits and their entrances;/And one man in his time plays many parts,/His acts being seven ages.” Sans laughter, “The Morons” gives us the opportunity to play out the rest of our seven stages with hope rather than despair. Perhaps the Millers’ double suicide and the morons’ death and suicide will not be without meaning.
THE MORONS
Dan McCormick’s “The Morons” is presented by The New Millennium Theatre Company in association with the 1st Irish Festival’s Next Generation Series. It is directed by Christopher Scott.
The cast includes Steve Hayes (Father), Barbara Suter (Mother), and Timothy Mullins (Billy).
The creative team includes Katy Moore (stage manager); Jon Ospa (audio coordinator); O Tomas Bell (music coordinator); Amanda Tracy (graphic designer); Eldon Hernandez (web designer); and June Rachelson-Ospa (advisory chair). There were no program credits for set, lighting, or costume design.
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues) on the following schedule: Friday September 27th at 9:00 p.m.; Saturday September 28th at 4:00 p.m.; and Sunday September 29th at 9:00 p.m. Tickets are $18.00 and can be purchased by calling 212-868-4444 or visiting www.1stirish.org
Permalink | Posted by David Roberts on Thursday, September 26, 2013
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