Clean Alternatives: Dirty Business

Brian Dykstra's mastery of language gets a thorough workout in his latest play, Clean Alternatives. Beginning with the Mametian patter of the opening scene, and flowing into the hip-hop poetry and languid monologues of the latter, Mr. Dykstra manipulates and blends English into a fascinating blend of highbrow and lowbrow.

If only the play itself, beyond its use of language, were so fascinating. Or, I should say, so consistently fascinating. For while Mr. Dykstra works wonders with language, the story itself, and its presentation, volley between brilliantly effective and disappointingly pretentious.

When two lawyers make an indecent (or at least barely legal) business proposal to an idealistic young woman, all three are forced to reassess their values and philosophies. Through much soul-searching, philosophizing, and clever banter, the characters analyze the politics of business, the business of politics, and how nice guys so often finish last.

It's scathing, it's satirical, and it's scornful. It's also about as subtle as an anvil, which unfortunately negates the effect of much of Dykstra's clever wordplay. While social commentary and satire do not necessarily need to be subtle, the heavy-handedness of half the script perpetually threatens to overwhelm the very powerful arguments. Meanwhile, a series of sermon/speeches delivered in hip-hop rhyme and rhythm lose their effectiveness by their very nature. No matter how emotional or serious the subject of the speeches might be, it comes across as a Dr. Seuss book when delivered in rhyme.

Fortunately, there is enough humor and intelligence to keep the play afloat, and the energetic cast makes the most of every moment, keeping the rhythms of the patter and the poetry in perfect time. This may be helped by the fact that the playwright himself plays the aptly named tough-talking pragmatic lawyer Mr. Cutter, a character lifted right out of Glengarry Glen Ross. With a dynamic intensity, Mr. Dykstra makes Mr. Cutter a joy to watch, whether describing tragedy or waxing prosaic on the carnivorous pleasures of corporate law. Mark Boyett is smarmy and sympathetic in the less showy role of Mr. Slade, a closet idealist whose discovery of a conscience makes for much of the plotline. As the outspoken and actively moral Jackie, Sue-Anne Morrow is given the weakest material, but gives depth to the character with her wonderful expressions and reactions.

Margaret Perry's solid direction keeps pace with Mr. Dykstra's ever-changing text, giving the somber moments sufficient weight and the more hyper ones plenty of energy. Maruti Evans' apt set makes certain that the overall theme of the evening remains front-and center: an enormous hundred-dollar bill serves as a backdrop, with Franklin's knowing smile silently mocking the greed of industries and the government that supports them.