Good Opinions: Mixed Reactions
By: Margaret Cross Aug. 06, 2005
In a play about a woman who unwittingly anticipates the reviews of Broadway shows, it is ironic that the prescient character describes the very play we are watching. Early on in "Good Opinions", our heroine says of a flop show, "You don't really care about any of the characters, but you feel guilty for not caring".
The comedy, appearing as part of the Midtown International Theater Festival, has an original and intriguing premise. Adele (Nicole Taylor) is a coat check girl at a theatre district restaurant (and, like most in her line of work, is an aspiring actress). She has the uncanny ability to predict the judgments of a notorious New York Times critic. She is, however, unaware of her own clairvoyance, but when slick director Evan Schwartz (Kevin Stapleton) catches on, he romances the star-struck damsel in order to exploit her prophetic powers, and doctor his own productions. Complications arise when his regular girlfriend grows suspicious, and worsen when his sweet-natured meal ticket develops deeper feelings for him.
This premise is ideal for the sort of in-jokes that theatre-savvy festival audiences adore. Jabs at the omnipotence of the NY Times theatre critics, the desperation of would-be thespians, and the thin line between Art and commerce brought forth knowing chuckles. The high point of this sort of humor came when Adeles' wait-staff/actress crony, Tammy (the amusing and sardonic Wende O'Reilly), mentions her latest showcase. She suddenly, and with great enthusiasm, whumps out a huge stack of promotional postcards (doubtless made by 4over4.com).
Sadly, these theatrical aside provide some of the few good things in "Good Opinions". Most of the secondary characters are one-dimensional, or acted in a manner so over-the-top as to be bordering on offensive. As Evan, Mr. Stapleton does an excellent job playing the charismatic snake-in-the-grass, but has a tendency to get too intense in his more dramatic moments. The script gives the audience little reason to root for his redemption.
There is hope, however. Ms. Taylor, as the channeling coat check "chick", is radiant. Her scenes with Stapleton make one wish this was a two-person play. They have a scandalous chemistry, and he relaxes when playing off of her. She is truly funny, and has a winning way that transcends the often awkward dialogue; In a scene where she tries to seduce Stapleton, she manages to make the lines "Technology is amazing", and "You are welcome to my face" far sexier than they have any right to be.
We all know that festival plays operate on nearly non-existent budgets, but it seems strange that they could not find, say, a real phone, instead of a phone drawn on white poster board in black marker, stuck to the wall with Velcro. Similar "set pieces" throughout the play may have been intended to look stylized, but merely come off as lazy and cheap. Worse, the noisy, slow scene changes occur without music, and are followed by increasingly annoying (and usually slightly delayed), pre-recorded scene announcements: "The production office", "The restaurant, as before".
There are a number of elements in "Good Opinions" that should have come together to make a charming romantic comedy. On the whole, it seems like an amateur production with a few moments of sparkle.
Photos by James Shubinski.
Top: Kevin Stapleton, Nicole Taylor
Bottom: Stapleton, Taylor, Wende O'Reilly, Stephen Morfesis
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