Bill W. and Dr. Bob: Missteps

A program note for Stephen Bergman and Janet Surrey's Bill W. and Dr. Bob advises us that performance of the work does not imply affiliation with nor approval or endorsement from Alcoholics Anonymous World Services, Inc.

Smart move, A.A.

Doing for alcoholism what Reefer Madness did for drug abuse (or at least what its New World Stages neighbor Sealed For Freshness does for Tupperware), Bill W. and Dr. Bob is a frightfully melodramatic bio-drama which uses the same kind of character-probing sensitivity one might find in a driver ed movie to tell the story of two men who, in dealing with their own demons, developed the treatment techniques that would birth Alcoholics Anonymous.

After opening cute – the two title characters introduce themselves to the audience as alcoholics, prompting the traditional "Hi Bill"/"Hi Bob" response – the authors turn their heroes and everyone around them into cardboard cutouts, alternating scenes where New York stockbroker Bill Wilson (Rob Krakovski) goes on and off the bottle with scenes where Akron surgeon Bob Smith (Patrick Husted) endangers his patients and nearly ruins his marriage through his addiction.  Circumstances bring the two of them together and they realize that camaraderie among alcoholics communicating on an equal level is the most effective method toward recovery.

Bill W. and Dr. Bob could be easily dismissed as an inspiring story told in an uninspired way if it weren't for director Rick Lombardo, who has his leading men overact to embarrassing proportions, making the evening memorable for all the wrong reasons.  The tall and square-jawed Krakovski alternates between an All-American milk-dripping grin and a violent, demonic glare.  When the homespun Dr. Bob is thirsting for a belt, he maniacally snarls and huffs like Zero Mostel transforming himself into a rhinoceros.  As their wives (who create Al-Anon in Act II) Rachel Harker and Anne Smith spend most of the play wearing assorted forlorn expressions.  Deanna Dunmayer and Marc Carver use broad-stroke acting to play a variety of dames, jerks, alcoholics and other forlorn people.

The five individuals who produced Bill W. and Dr. Bob (along with New Repertory Theatre which premiered the piece) are all actively involved with centers and organizations for treating addictions, which certainly explains why they would be drawn to the opportunity to see the story of Wilson and Smith hit the New York stage.  And while I can't imagine anyone feeling inspired or enriched by this misdirected corn, I know a few more evenings like this could have me swearing off theatre for a while.

Photos by Carol Rosegg:  Top:  Kathleen Doyle and Patrick Husted

Center:  Patrick Husted, Marc Carver and Robert Krakovski

Bottom:  Rachel Harker and Krakovski