The Ladies of the Corridor: A Rich Revival of a Dorothy Parker Rarity

The collective memory we have of Dorothy Parker usually conjures up images of a brilliant young writer whose verbally stunning wit, high appreciation (but low tolerance) for alcohol and fondness for men -- many of whom considered her independent nature unfeminine (a/k/a intimidating) -- made her a lasting symbol of the free-spirited, proudly intelligent woman of the jazz age.

But there was always the bitter shade of loneliness in much of her work, whether it be in a seemingly glib observation like "Men seldom make passes at girls who wear glasses" or in a darkly humorous poem such as Resume'. ("...Guns aren't lawful; Nooses give; Gas smells awful; You might as well live.")

The Ladies of the Corridor her 1953 collaboration with playwright Arnaud d'Usseau (It's been said his contribution was to structure her writing into a play.) is a 60-year-old Mrs. Parker's keen observation of the battles against loneliness fought by the kind of women who spend their entire adult lives centered around a man, and when he dies they find themselves useful for little more than waiting for their time to join him. There is humor and lightness in the piece, even romance, but it's not the kind of play that might come to mind when you hear the name Dorothy Parker.

Thanks to a sublime production by the Peccadillo Theatre Company, which has recently been remounted with most of its 2003 cast returning, New York audiences have a rare opportunity to enjoy this thoughtful and sober work, a feminist statement for the elderly woman, which lasted a mere five weeks on Broadway.

New York's Hotel Marlowe is a place where women learn to be alone. Two of its residents, a humorously chirping pair charmingly played by Carolyn Seff and Libby George, try and fill every moment of every day, either by gossiping about passers-by in the lobby or making daily trips to the movies. (Perhaps a commentary on Parker's past Algonquin Round Table buddies) The newest arrival, the recently widowed Lulu (Susan Jeffries) politely declines their continual invitations to join them, fearing the complacency of their world.

Lulu soon finds herself in an unexpected love affair with a younger man (Kelly AuCoin), but cannot manage being in competition with his career. The script says there's a 12 year age difference between them, which may have raised eyebrows in 1953 but would barely seem noticeable today, so director Dan Wackerman cast actors who appear closer to 20 year apart. In a superb ensemble, Jeffries gives the standout performance, exuding an evergreen sexiness and romantic longings that playfully mix maturity and girlishness. AuCoin matches her well with earnest, but awkward, dash.

Helping Lulu along is Jo Ann Cunningham as a wise-cracking "career gal", the only woman in the play who makes positive moves to live an independent life. Cunningham crackles with zingers like "He made me feel young again. (Then) he found someone who was young for the first time."

In a second main plot, Domenica Cameron-Scorsese and Garth T. Mark are both solid as an alcoholic woman recently escaped from an abusive relationship and the bellman who takes advantage of her vulnerability.

Rounding out the main characters are Peggy Cowles as a stern wheelchair-bound mother so fearful of being alone that she blackmails her son (Ron Bagden) into being in her constant care. Their scenes are beautifully played with exceptional pathos.

The supporting players (Hal Blankenship, Patrick Boyd, Dawn Evans, Susan Varon and Andy Phelan) all make fine contributions And I'd swear that Katie, the dog, has learned comic timing. She actually gets legitimate laughs with what seems like deadpan underplaying.

As with last season's Peccadillo revival of Counselor at Law, director Dan Wackerman puts up an outstanding production filled with sympathetic characters that fit the period without ever seeming old-fashioned. The set (Chris Jones), costumes (Amy C. Bradshaw) and lighting (Tyler Micoleau) are all excellent.

if The Ladies of the Corridor is not a neglected gem of the American theatre, Dan Wackerman and the Peccadillo Theatre Company sure make it seem like one.