Review: THE GOOD DOCTOR at Washington Stage Guild

Washington Stage Guild kicks off their 2022-23 Season with a charming production of The Good Doctor by Anton Chekov and Neil Simon that sets a high bar for the rest of the season. The show is a delightful evening of theatre, and perfectly suited to WSG's cozy performance space.

The Good Doctor is a compilation of ten comedy sketches, adapted by Simon from Chekhov's short stories. A cast of five experienced actors (Morgan Duncan, Scott Harrison, Cameron McNary, Lynn Steinmetz, and Arika Thames) create a diverse group of characters of all ages and backgrounds. It's a very talented cast, and they each have shining moments that showcase both the depth of their individual strengths and creativity, and the way they function as an ensemble.

McNary, who narrates the show (and serves as Chekhov's avatar) opens the show at a writer's desk, bemoaning the life of an author beset by writer's block. But inspiration strikes while he's sharing his angst with the audience, and as he rushes to his desk to scribble a few notes, the show segues smoothly into the first sketch. The Sneeze is the only sketch that includes the full ensemble, and it's the first hint of the laughs to come. Harrison and Duncan do the heavy lifting in the piece, showing terrific physical comedy skills.

Steinmetz and Thames are featured in The Governess, with a chiseling employer attempting to cheat her governess out of her wages. The piece has some subtlety of reactions and motivations that can use a bit more polish, but there's a nice wrinkle in the ending. Surgery features McNary and Duncan as overly exuberant dentist and reticent patient, respectively, and the piece hints at the wonderful onstage chemistry between the two. It's another physical piece, very deftly handled. Next Duncan and Steinmetz provide a tender interlude with Too Late for Happiness, a touching exchange between an older man and woman that features the only singing in the production. The blending of their voices is the highlight of the piece. The Seduction rounds out the first act with McNary's writer narrating his own Machiavellian attempt to seduce an acquaintance's wife...by manipulating the husband. It's a clever piece - McNary is a brilliant puppet master, and Harrison plays the unwitting husband with great panache.

Harrison and McNary lead off the second act with The Drowned Man, a delightful piece of theatre of the absurd that is Harrison's moment in the spotlight. McNary plays off him brilliantly, and Duncan arrives mid-scene to take the absurdity to a new level. In The Audition Thames makes the most of having the stage to herself, with McNary's writer supplying a disembodied voice. Her aspiring actress is desperate and vulnerable, and she does a nice job with the humor in the scene. A Quiet War is the high point of the entire show - Duncan and McNary as two old codgers sitting on a park bench (every Tuesday), debating each other on whatever topic strikes their fancy. Today it's what comprises the perfect lunch, and they go hammer and tongs at one another, course by course. Both actors have perfect comic timing, with pacing, cadence and volume rising and falling as the battle of wits unfolds. It's a joy to watch these two accomplished actors working with a strong piece of writing. A Defenseless Creature is Steinmetz's tour de force, with support from Duncan and Harrison as her foils. The piece itself is somewhat predictable, but she does an admirable job with the material she's been given. The Arrangement rounds out the action, with McNary playing a father determined to make a man of his son (Harrison) on his 19th birthday, haggling with the local madam (Thames) over the price for one of life's great lessons. The poignant end of the piece leads nicely to McNary returning to his writer's desk to close the show.

Director Laura Giannarelli has done an admirable job of creating a lively, cohesive and well paced show. The action moves smoothly from one part of Joseph B. Musumeci, Jr.'s lovely, minimalist set to another, with deft use of the furniture pieces and platforms. Sígrid Jóhannesdóttir's costumes are beautifully constructed and layered, and all the more impressive given the number of quick changes in the production. Lighting by Marianne Meadows and Sound by Marcus Darnley provide the perfect foundation and support to the action on stage. Both are understated and subtle, which is just what this production needs.

Overall, this show checks all the right boxes - strong acting, creative direction, solid technical elements. The result is a thoroughly delightful show that will keep you laughing from start to finish. This is classic Neil Simon, done right. Make it a point to see The Good Doctor before it closes.

The Good Doctor runs through October 23rd. Running time is 2 hours, with a 10 minute intermission. For more information about Washington Stage Guild click here.

To post a comment, you must register and login.