Review: Clothes As a Conceit for Life's Little Stories: Good Theater Stages LOVE, LOSS, and WHAT I WORE

The complex, sometimes conflicted, often poetic relationship between what we wear and self image and identity forms the framework of a delightful, delicately lyrical, and warmly wistful play by Nora and Delia Ephron, based on the book by Ilene Beckerman. Presented as a staged reading with a rotating cast of five actresses, Portland's Good Theater brings this exquisitely written piece to life with affectionate wisdom.

The ninety-minute piece recounts the reminiscences of five women who recall the watershed moments in their life by associating them with their attire. Clothes become the conceit for how they present themselves to the world, but more importantly how they see themselves in relation to others and to the core beings they believe themselves to be. What the women wore at key moments in their journeys takes on not only visual and symbolic significance but also psychological meaning for the characters as well. Like Proust's madeleines, The concreteness of the memories about clothing provides the entree into the depths of hidden stories. There are tales of relationships- beloved and maddening - between mothers and daughters, sisters, husbands and wives. Anchored by the character of "Gingy" whose narrative trajectory moves from childhood to old age, the other four women play multiple characters interacting with a fluid, almost musical grace. The Ephrons know how to create dialogue and monologue, to alternate narrative with meditative riffs on themes, and they have an ear for genuine, truthful language. One of the reasons the play engages so much is that the conversation is so universally familiar; we have all heard our mothers say these things or we have said them ourselves.

Steve Underwood directs with an unerring sense of pace, an ear for the lyricism of the work, as well as an unfailing feeling for of the wry wit. The very simple set designed by Underwood and Cindy Thomson (assembled within the set of the main stage production, Shear Madness) consists of three curved white panels and a red and white checkered floor with five stools and music stands. The actresses wear black, and lighting designer Iain Odlin creates a warm and intimate ambiance with basic colors.

The excellent cast for the opening performance on January 20 featured Hannah Daly, Jeanne Handy, Lynne McGhee, Amy Roche, and Casey Turner. Roche made Gingy an appealingly reflective narrator. Lynne McGhee contributed a series of colorful character moments, often as tough-talking New York mothers. Hannah Daly brought a zany, outspoken youthfulness to her various personae, while Casey Turner was quirkily candid and then disarmingly sincere (as the breast cancer survivor). Jeanne Handy rounded out the cast with a quiet sincerity.

Not only was the performance a delightful addition to the Good's roster, but it was heartening to see -on a cold Saturday in January in Maine - that the company was fielding 3 sold-out audiences: the early matinee of Love, Loss, and two performances of their hit, Shear Madness. What better way to spend a winter afternoon and evening!

Photos Courtesy of the Good Theater, Steve Underwood, photographer

Love, Loss, and What I Wore runs from January 20 -March 8, 2018 on Saturdays, Sundays, Mondays & Tuesdays at the Good Theater, 76 Congress St. Portland ME 207-835-0895; the casts rotate and in addition to the roster listed below, special guest artists will appear in some performances.

Cast One: Hannah Daly, Jeanne Handy, Lynne McGhee, Amy Roche and Casey Turner January 20-23 - January 27-30.

Cast Two: Cathy Counts, Kim Gordon, Meredith Lamothe, Allison McCall and Jen Means February 3 - 6 and February 17 - 20.

Cast Three: The Women of Mad Horse Theatre - Shannon Campbell, Janice Gardner, Marie Stewart Harmon, Christine Louise Marshall, Allison McCall February 10-13

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