Review: A Riveting BE A GOOD LITTLE WIDOW at the Odyssey
By: Don Grigware May. 28, 2019
Be a Good Little Widow/by Bekah Brunstetter/directed by Brandon Baer/A Visiting Production at the Odyssey Theatre/through June 9
Death is never an easy topic to deal with, read about or view on film or stage. Playwright Bekah Brunstetter has crafted a play entitled Be a Good Little Widow about Melody (Adrienne Visnic) and her new husband Craig (Sterling Knight) who dies suddenly in an airplane crash. How does Melody, totally inexperienced about life and love, cope? Currently onstage at the Odyssey, Widow is a dark comedy that is simultaneously enjoyable and life-affirming entertainment.
Craig bought a home in Connecticut to be near his mother Hope (Sandy Bainum), who also lost her husband and dotes on Craig as the main focalpoint of her life. She is nothing like Melody and cannot understand how Craig could have been attracted to her. The play opens before Craig's death. Hope exercises control over Melody, causing a rift in their relationship. When Craig is killed, the relationship is terribly rocky at first, but gradually the storyline becomes a lesson in how to live your life amiably after losing your best friend. People grieve differently, and Melody's devotion to Craig is put to the test when his assistant Brad (Khylin Rhambo) innocently falls in love with her. It isn't at all a problem for her when Craig is alive, but after he's gone, Khylin's devotion becomes intense and puts Melody in a worse state of confusion. There hasn't been enough time to learn to love Craig. How can she deal with someone she hardly knows and has nothing in common with? The plot of Widow explores Melody's relationship with Hope, with Brad, and of course, in a fantasy state, with the memory of Craig.
Bekah Brunstetter has an edge to her writing that is always gripping and keeps audience on the edge of their seats, caring for Melody. Once analyzed, Hope is not the ogre, the monster-in-law she appeared to be and we begin to feel sympathy for her as well, and for poor Brad, who only has good intentions to help Melody get on with her life. Like life, the play moves forward, hardly in an easy way but clearly and focused. With Baer's detailed direction, the pace is surprisingly upbeat throughout, and even in the blackest moments we never feel uncomfortable or too sentimental.
The ensemble work so well together. Bainum, always a resourceful actress, turns her unlikable mother-in-law into a trusted model of love and friendship. Her scene in which she teaches Melody to dance with a new man and feel out his real intentions is riveting, so personal and unforgettable. (pictured top) Visnic is charming to watch. Her Melody is sensitive yet willing; we root for her every second. I saw some quite remarkable work from this lady. Keep your eye on her! Craig returns in flashbacks and flashforwards to assist the fragile Melody to make a full recovery. Knight is thoroughly likable and we grow to appreciate what at first seemed a husband obsessed only with his work. Brad is loose yet sincere and he too becomes an amicable character within Rhambo's creation.
Pete Hickok's set is neat, functional and adapts well to Brunstetter's concept of a new home being slowly broken in by newleyweds. Allison Dillard's costume design is spot.on, particularly the mourning attire for both women, so distinctly different in taste and style. Kudos as well to Jesse Mandapat for superior sound design and to Matthew Denman for great lighting.
Go see Be a Good Little Widow! I was first impressed by Brunstetter's superb writing. It is not an easy task to concoct a story that is vibrant and alive within the confines of death and grieving, but she does it. Baer's slick pacing is wonderful and the acting, sublime, especially from Visnic and Bainum.
(photo credit: A. Kell Photography
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