Review: I NOW PRONOUNCE is the Wedding That Happened in Spite of Itself

As an audience member at Tasha Gordon-Solmon's dark comedy I Now Pronounce, currently playing at the New Jewish Theatre, you are a guest at the wedding of Nicole and Adam. Or is it Aaron? Or Arthur? Or Anthony? Oh heck, the rabbi can't remember, although he attempts in earnest to list all the things the couple has in common before an unfortunate collapse that leaves him deader than a doornail. Alas, the reception must go on (although it's not clear why, as it seems everyone in attendance is a hot mess and no one really wants to be there, including the bride and groom). From here, a series of fragmented vignettes featuring drunken bridesmaids and groomsmen, three small ghost-obsessed flower girls, and an angry (and at times downright cruel) bride and groom, who honestly don't even seem to like one another, are patched together into an uncomfortable preamble for the (surely) torturous marriage that will follow. It's very difficult throughout this play to understand how/why this couple made it to the altar alongside one another. The relationships are not clear between the characters, particularly in the beginning, and it's not even clear what some (most?) of the characters want.

That said, Director Edward Coffield, has assembled a very fine cast to sort this thing out, and they try hard to overcome the script's many shortcomings. Craig Neuman is a convincing older rabbi, whose ill-fitting suit and confused state-of-mind emphasize how out-of-touch he is as he slips into his last moments on earth. Frankie Ferrari plays a credible Eva, the super-supportive always-a-bridesmaid-never-the-bride friend, whose relationship with Nicole has always been based on her ability to thrive in Nicole's shadow. The charming Delaney Piggins plays bridesmaid Michelle, carrying a comically giant red patent-leather Betty Boop purse containing everything a woman needs to survive such an occasion. She is cunning and funny, deftly delivering some of the show's quirkiest and most poignant lines as she waits for her own Prince Charming to come along. Jessica Kadish looks beautiful as bride Nicole and does a superb job of conveying her character's disregard for most everyone but herself. "I'm the bride!" Nicole reminds Adam, over and over again, with a biting harshness. Ryan Lawson-Maeske plays groomsman Seth, who has the most interesting story of all the characters in this show. With his own marriage falling apart, Seth is here in the midst of what should be a happy occasion, supporting his buddy Adam, even as his own pain is so fresh and raw. As Seth gets swept up in the emotions of the day though, he undergoes a change that is both interesting and satisfying, and Lawson-Maeske plays this change with notable sensitivity and dexterity. Will Bonfiglio counterbalances as groomsman Dave, whose nihilistic view on relationships and marriage is both hilarious and depressing. Bonfiglio's performance is remarkable, as always, and of all the relationships in this play, his friendship with groom Adam, played by the talented Graham Emmons, is most believable. Emmons delivers a solid performance as a groom who suddenly gets cold feet (albeit after the ceremony), and rightfully so, I suppose as he realizes he's stuck forever with the explosive and verbally vicious Nicole! Millie Eidelman, Lydia Mae Foss, and Abby Goldstein round out this cast as young flower girls, who spend their time bonding over the adult secrets they discover while they entertain themselves running around conjuring ghosts. This trio is most impressive working together, especially with the number of lines they deliver. Plus, they're super cute.

Michele Siler's costumes are attractive, with shades of navy blue for everyone. Nothing is too matchy-matchy, which feels very up-to-date and realistic. Tony Anselmo's lighting is just enough, with hanging twinkle lights accentuating David Blake and Cameron Tesson's practical scenic design. Amanda Werre's sound design includes interesting and apropos songs throughout, and the extended curtain call is entertaining, filled with popular music and dance.

The play has many funny moments, and the toasts given by both groomsmen and bridesmaids are the hilariously awkward highlights of the show. Most all of the clever jokes, however, were lost on the audience the night I attended, which made for some slowing silences. It seemed as if the otherwise skilled cast of actors compensated for this not by picking up the pace (as this play would benefit from super-fast transitions and way more overlap among its many colorful characters) but by increasing their volume and excitement (often going from 0-90 in just a few seconds). This unfortunately lent an air of melodrama to an already problematic script. Also, there was also quite a lot of backstage chatter and foot shuffling the night I attended, which was more-than-a-little distracting, particularly during long monologues when the audience was supposed to be gathering the numerous bits of exposition.

All in all, the work itself didn't seem as deep or refined as I've come to expect from The New Jewish Theatre. Despite the script's inadequacies however, the director, cast, and crew gave a valiant effort, and I do think there is much value in in seeing and considering the newest works in the American canon.

I Now Pronounce, which premiered at the 2017 Humana Festival of New American Plays, plays until June 2 at the Wool Theatre at the Jewish Community Center. For tickets and more information, visit https://jccstl.com/arts-ideas/new-jewish-theatre/.

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