As Kenny (Michael Steven Costello), the physical embodiment of the archetypal Joe Six-pack, dangles a packet of Pop-Tarts in the air and whistles for his dog, Dyson (Craig Houk) gapes at him with unmitigated disgust. Adjusting the shoulder strap that holds his rifle close to his body, he disdainfully informs his longtime friend, "There's two ways to go through life, Kenny: first-class or with the dogs." Yet Zeitgeist Stage Company's presentation of "Lady," Craig Wright's powerful drama about friendship and politics, suggests that the walk of life is less often a forked, traversable path than it is a snarled labyrinth of choice and circumstance. The play centers on an annual hunting trip that three best friends have traditionally taken since boyhood. Set in the wake of the Sept. 11 terrorist attacks, this year's outing proves to be overshadowed by unprecedented, dark complications.
Several years prior, Graham (Brett Marks) pushed his way into politics with a loving shove from his two best friends. Recently, his political ideals have shifted from thoroughly liberal to pro-Bush and pro-Iraq war. Kenny, whose life primarily consists of "getting high and watching movies," is unperturbed by this shift in ideology. Dyson, on the other hand, is unable to forgive Graham's newfound hawkish beliefs — especially because he is convinced that Graham's militant rhetoric is the reason that Dyson's son decided to join the Marines.
Despite subjects as heavy as war, democracy and personal failure, the script hardly sags under this weight. Much credit is due to the playwright, Craig Wright, whose résumé includes a Pulitzer Prize and an Emmy. Wright proves that he is deserving of his accolades with careful interspersion of humor throughout the dense plotline.
The use of comedic variety is remarkable: At one moment, the audience laughs at the baby-talk Kenny uses with his adored canine and at another is in disbelief as he admits to smoking his ill wife's medical marijuana. The jokes are as intelligent as they are flexible and are so smoothly woven into the plot that they complement the serious moments rather than detract from them.
The brilliance of the script alone cannot claim full credit for the show's actors manage to strike a remarkable balance between laughter and angst. Although the cast only consists of three people and a stuffed dog, each actor impressively conveys the intriguing layers of his respective character.
Kenny is high for most of the play, but he soberly speaks of his wife's terminal cancer in a few lines. In these moments, Costello beautifully captures Kenny's buried anguish. Costello seamlessly elevates his flat, slapstick character to one of a sympathetic, miserable man who awaits his personal Armageddon.
Costello's performance slightly outshines Houk's and Marks', though these two hardly stink up the stage. Houk is the only one of the three actors to remain onstage throughout the entire play, and thus deserves acknowledgement for the show's overall execution.
The audience empathizes with Dyson from the get-go, embracing his sarcasm in the face of Kenny's spacey absurdity, heating up as he denounces Graham's ideological betrayal, and feeling torn as he becomes aware of his own shortcomings and immense denial. But Dyson's constant, growling derision becomes grueling to watch after a while. When Kenny doesn't step in to lighten the mood, the play begins to drag its feet.
Marks' portrayal of Graham is approximately as enjoyable as Houk's of Dyson. As Dyson's questionable morals begin to emerge, Graham serves as a twisted mirror of what Dyson had the potential to become, had he only been more virtuous and courageous. Graham exudes bravery in waves as he argues vehemently for international democracy and a strong America. But his confidence is somewhat overdone and his role as the moral character is marred by the obvious contempt that he and Dyson both share for Kenny's intellect. Their erudite snobbery bursts out in spurts of cruelty, which humanizes Graham but also makes him immensely less likeable.
Zeitgeist Stage's performance of "Lady" is exceptionally moving and does a solid, though imperfect, job of overcoming the snags that accompany such arduous subject matter. "Lady" is running from Oct. 30 to Nov. 21, 2009 with performances on Wednesday and Thursday at 7:30 p.m., Fridays and Saturdays at 8 p.m. and Saturdays and Sundays at 4 p.m. Wednesday night performances are Pay-What-You-Can nights, with a $5 minimum. Tickets are available in person at the Boston Theatre Scene Box Office at 527 Tremont Street, by phone at 617-933-8600 or online at BostonTheaterScene.com.
