TU's "Mr. Marmalade": Dangerously Funny Child's Play

◊◊◊ 1/2 out of five. 

Mr. Marmalade, a new play by Noah Haidle, is the perfect play for colleges and regional theatres - small cast, one set, and plenty of concepts to chew on.  The first local production of this play, which kicks of the Towson University Theatre Department's Summer Series, opened last night under the direction of Mary Rose O'Connor.  This is a sharp, very funny take on a very sharp, funny and somewhat scathing commentary on how children are raised.  Some of that bite is taken away in a production clearly directed for laughs, which somewhat lessens the serious undertone and impact the play might have.  But this is a completely viable interpretation of the script, which is dense enough that any five directors would likely stage five completely different versions of it.  And for the sheer boldness for taking this on, Ms O'Connor and company are to be commended. 

In short, the plot is thus: Lucy, a four year-old, has an extremely active imagination, including imaginary friends (Mr. Marmalade and his assistant Bradley).  Some of this is due to the fact that she is left to her own devices most of the day.  She meets another four year-old, Larry, who has an equally vivid imagination and some scary psychological issues.  The result is a bizarre series of scenes through which Lucy learns some very adult lessons about relationships, sexuality and abuse (physical, mental, and, likely, sexual). 

In her director's notes, Ms. O'Connor admits that for her, the "play is just playing."  And to an extent it is.  Her cast - six very talented, brave and fearless young actors - dives head first into that very difficult pool - they play out their own age, but recognize that they are still saying adult things.  It is a difficult line to walk, and they do so beautifully, grasping the physicality and the mental acuity of children, from ages four through teenagers.  Clearly, they have done much work at learning to play like children and at seeing the humor in childish behavior, especially when a small child repeats (accurately) adult language patterns and behaviors.  To that end, the company is spot on.  And also to that end, humor and fun rules the day.   

What they miss is the serious question this poses: what outside influences teach our children about family relationships, sex, abuse and power?  For example, where did Lucy see someone beat up another person just because of a temper being lost?  Where did she learn such "playing doctor" ideas as a prostate check or a very accurate hernia test on a male?  What venue brought such terms as "first-class across the board" or "abortion" or "suicide" or even "hara-kiri"? Perhaps Ms. O'Connor meant to bring us this message subtly; the final image of imaginary friend Bradley, alone in the house, using a TV remote and becoming increasingly wide-eyed at what he sees certainly hints at this dangerous theme.  All of that said, despite that opportunity to make the play a bit richer not being taken, this Mr. Marmalade certainly succeeds as a funny piece of entertainment. 

 Haily Wineland, seen earlier this year in Angels in America, displays some serious comic chops in her multiple roles.  She ranges from intentional sterotype (as Sookie, Lucy's single mother) to realistic comedy (as Emily, the hormone crazed baby-sitter) to surreal as an imaginary friend, a cactus).  And she does all three well, sometimes within the space of minutes.  Vince Eustace also does triple duty, and while he might be just a hair over the top as the horny teenager, George, he is smugly dead on as the man Lucy's mother is seeing, and an absolute scream as the imaginary friend, a flower.  (I'm not sure if the script dictates that the woman plays a Yosemite Sam-like cactus and the man plays the effeminate flower, or if Ms. O'Connor chose that, but either way it works!) 

Both of Lucy's imaginary friends, Mr. Marmalade and Bradley, the personal assistant, require actors to play both "real" and "surreal", and Ed Rospies and Christopher L. Moore, who play those roles respectively, are quite good at both.  Rospies has the unenviable task of playing an abuser who must hit and swear (the language he uses actually shocking, including ugly references to female genitalia, for its content and his nasty delivery) at a small child, all while "playing" within the confines of her imagination.  Mr. Moore has actually found a unique way to play fey, hard to do in this day and age when every play includes a gay character.  Interestingly enough, though, he plays the character with such nuance that an argument could be made both ways about Bradley's sexual orientation.  That alone adds some unique flavor to this already flavorful treat of a play.  Well done!

Reece Thornberry, a terrific local actor that I seem to see everywhere, has taken on the role of Larry, the suicidal little friend of Lucy.  I have seen Mr. Thornberry take some incredible risks over the past year or so, which is always commendable.  Some of them have worked, others, not so much.  Here, I am thrilled to say, his risks pay off in many ways.  He has created a complex character that you are at once enraged by, mystified by and that you feel deep pity for - no small task when you consider that he does all of this while playing a five year-old, and is forced to play doctor down to his skivvies!  Mr. Thornberry is fully committed to this character and has nailed, to humorous effect, the awkward mannerisms of a small boy, down to hilarious hand gestures that are both five year-old boyish and surfer dude-ish!  Nice work! 

The center of the play, though, is Lucy.  And should this play grow in popularity (I suspect it will become a staple) I am sure that this will be a much sought after role, leading to some inspired casting and some real stinkeroos.  Well, Ms. O'Connor was blessed when Kelly Lyons auditioned.  Her performance is absolutely mesmerizing.  All eyes are on her, and she, like Mr. Thornberry, has nailed the unique manners of a small girl (when she sits, open-legged on the sofa, her complete unawareness at how inappropriate that will be for Lucy in just a few years is both hilarious and touching).  Her mimicking of adult turns of phrase coupled with well-chosen moments of obliviousness is a scream, and yet, is also kind of thought-provoking.  Where did little Lucy learn this stuff!!??  Ms. Lyons is also deeply in character throughout, regardless of what the script or her director demand of her.  Touching and simply wonderful! 

The scenic design, also by Ms. O'Connor is fun - coloring book colorful, with an ingenious way for the imaginary friends to enter and exit, and with a childlike point of view to it.  The door to the outside looks almost cartoonish, and the huge flowery swirls that dominate the walls are what appear to be huge versions of a more delicate pattern - huge to make the adult-sized kids look smaller, perhaps.  Michael Zablocki's costume designs are clever and colorful as well, particularly the uproarious "flower" and "cactus" costumes, and the sweet "super hero" costume for Larry in act two. 

While the play is from a decidedly childlike point-of-view, I would strongly recommend leaving anyone under the age of maybe 13 at home (maybe older - I think this would be rated R were it a film).  The language, while appropriate, is rough, and the "playing doctor" and ritual suicide scenes might cause some awkward conversation on the way home.  But this is a great way for adults to have a fun night out, with just enough to chew on to keep it challenging.  A nice way to kick off what I hope will be an annual summer series by these talented college folks.

 

PHOTO: Kelly Lyons (standing) and Haily Wineland in Mr. Marmalade.

 

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