How I Learned to Drive

 How I Learned to Drive
Manhattan Theatre Club
Samuel J. Friedman Theatre
April 28, 2022 

Photo courtesy of Manhattan Theatre Club

The Manhattan Theatre Club production of Paul Vogel’s How I Learned to Drive is mesmerizing.  Mary-Louise Parker and David Morse step into the award winning roles they created in the original 1997 Vineyard Theatre Off-Broadway production.  Director Mark Brokaw finds a pace that eases the audience into the unsettling events of the story.  We are lured into the action of the play as the darker side is exposed.  The story does not unfold, but jumps around in time, requiring the audience to piece the details together.   

David Morse & Mary-Louise Parker
Photo courtesy of Manhattan Theatre Club

When we first meet Li’l Bit (played by Mary-Louise Parker) and Peck (played by David Morse), they are sitting in a car.  There is a physical distance between them, but the sexual tension and discomfort is potent.  They could be any two people, until we hear her call him “Uncle” Peck.  The action jumps back to Li’l Bit's younger years.    She grew up in Maryland, in a family that made her feel less than whole.  At first, she finds companionship in her Uncle Peck.  Her company helps him stop drinking.  The affection between them grows, until Li’l Bit becomes unable to escape.  Her mother (played by Johanna Day) warns her against spending time with him.  Her Aunt Mary, Uncle Peck’s wife (also played by Johanna Day), is somewhat aware of what is going on, yet waits for it to pass.  Both women feel Li’l Bit is to blame what happens to her.  Li’l Bit survives the sexual misconduct inflicted on her by her Uncle Peck over the years, yet she carries him with her for her everywhere she goes.

Mary-Louise Parker and David Morse are brilliant as Li’l Bit and Uncle Peck.  Ms. Parker embodies a darkness within her throughout the play.  Mr. Morse flavors his character with a soothing southern charm.  They find moments of connection, attraction, disdain, and surrender that draw you into the events.  As Li’l Bit’s resistance builds in the later years of the story, Ms. Parker infuses the character with fierce determination.  Mr. Morse portrays the beginning of Uncle Peck’s downfall with a surprising level of vulnerability.  They are enthralling together.  

Alyssa May Gold, David Morse, Mary-Louise Parker,
Johanna Day, & Chris Myers
Photo courtesy of Manhattan Theatre Club

Johanna Day is powerful as Li’l Bit’s Mother and Aunt Mary.  Her characters have distinct voices, yet share a rhythm that shows the destructive forces that surround Li’l Bit’s upbringing.  Adding to this damaging atmosphere are Alyssa May Gold and Chris Myers as Li’l Bit’s grandmother and grandfather.  Ms. Day, Ms. Gold, and Mr. Myers work as a tight ensemble (“Greek Chorus” as listed in the program), building tension and keeping the action flowing.

Since 1997, Paula Vogel’s How I Learned to Drive has been produced across the country, giving voice to victims of sexual molestation.  It is a most valuable work, addressing the effects of holding in a secret that can have a long term effect.  This Manhattan Theatre Clun production is well directed, skillfully acted, and masterfully produced.  Go see it!  

Domenick Danza

The Sound Inside

The Sound Inside

Studio 54

October 5, 2019

Photo courtesy of The Sound Inside

Adam Rapp’s play, The Sound Inside, is mesmerizing.  It is an intimate story of connection and regeneration.  Mary-Louis Parker is riveting.  You hang on her every word.  She does not leave the stage for a full ninety minutes.  Director David Cromer finds moments of profound insight that pull you deeply into the soul of the main character.  Just when you think you’ve gone as far as humanly possible, Mr. Rapp takes you further through the despair and gives you a glimpse of hope for the future.

Bella (played by Mary-Louise Parker) is a creative writing professor at Yale University.  As she tells her story, she takes notes, writing the sentences that ring with poetic truth.  She tells of her mother’s painful death by a rare cancer that spreads through her stomach.  As she sat with her during her final days, her mother seemed to vanish before her eyes.  She then tells of her own recent diagnosis, not as severe as her mother’s, but no less fatal.  Before the reality of that news sinks in, she jumps back in her story to an unscheduled office visit by a student, a freshman, Christopher (played by Will Hochman).  He tells her how much he loves her class and that he is writing a novel.  Christopher is awkward and unconventional.  He returns the next day to tell her about his novel, again an unscheduled visit.  Their connection has a distance that cannot be crossed.  His third visit is appropriately on Bella’s calendar.  When an unexpected request is made, their fates become parallel, both tragic and optimistic.

Will Hochman & Mary-Louise Parker
OPhoto courtesy of The Sound Inside

This is a must-see play.  Adam Rapp’s writing is profound, prolific, and succinct.  The mood is haunting, mysterious, and at times wonderous.  Mary-Louis Parker and Will Hochman fill the expansive Studio 54 theatre with a resounding and quiet intimacy.  Their performances are honest, natural, and deeply moving. 

The Sound Inside is running through January 11.  Don’t miss this play!

Domenick Danza

Heisenberg

Heisenberg

Manhattan Theatre Club

Samuel J. Friedman Theatre

September 24, 2016

Photo courtesy of Manhattan Theatre Club

Mary-Louise Parker is astonishing in Heisenberg, presently in previews at Manhattan Theatre Club.  She creates a character that is witty, needy, and neurotic.  Her chemistry with costar Denis Arndt is magnetic.  Together they captivate the audience in this intimate, two character play by Simon Stephens.

Georgia Burns (played by Mary-Louise Parker) kisses the back of the neck of a total a stranger, Alex Priest (played by Denis Arndt).  She then proceeds to weave a tale of lies.  A few days later, she seeks him out in his butcher shop to tell him the truth about herself.  Alex gradually opens up to her.  She then reveals her true motivations.  What occurs next surprises the both of them.

Denis Arndt & Mary-Louise Parker
Photo courtesy of Manhattan Theatre Club

To create an intimate setting at the Samuel J. Friedman Theatre, director Mark Brokaw and scenic designer Mark Wendland seats the two hundred or so audience members from the balcony on stage.  The playing area is forced to the narrow downstage section.  With only two tables and two chairs to move around to represent various locations, your focus goes directly to the connection between the two characters.  The push and pull between then plays out for ninety minutes and comes to a calm and gratifying fulfillment for both of their needs.

Heisenberg is a unique and tender script.  The characters are quirky and real.  The production is minimal and perfectly conceived.  It opens on October 13, and runs through December 4.

Domenick Danza