Wed., Jul. 13, 2005
Walk Two Moons
(Lucille Lortel; 299 seats; $35 top)
A Theatreworks/NYC presentation of a play in one act by
Julia Jordan, adapted from the book by Sharon Creech. Directed by Melissa
Kievman.
Salamanca Hiddle - Sarah Lord
Potential Lunatic, Ben, John Hiddle - Lucas Papaelias
Sheriff, Mrs. Winterbottom, Mrs. Cadaver - Heather Dilly
Phoebe Winterbottom - Susan Louise O'Connor
Grandpa Hiddle - Charles H. Hyman
Gram - Peggy Scott
By ROB KENDT
"It's not the done thing," characters advise
one another correctively at key points in "Walk Two Moons," a spunky,
mostly sparkling new stage adaptation of Sharon Creech's Newbery-winning
children's book. Production kicks off the touring company Theatreworks/NYC's
first New York sit-down season with down-home flair and just the faintest whiff
of it's-good-for-you obligation.
For independent-minded 13-year-old Salamanca (Sarah Lord),
of course, the "done thing" is the last thing she wants to be
lectured about--not by her well-meaning father (Lucas Papaelias), who uproots
her from their old Kentucky home to an Ohio exurb after her mom disappears; not
by her loosey-goosey grandparents (Charles H. Hyman, Peggy Scott), who take her
on a rambling road trip of dubious purpose and possibly reckless driving; and
certainly not by her high-strung new best friend, Phoebe (Susan Louise
O'Connor), a pint-sized drama queen prone to paranoid snap judgments.
It's Phoebe who sets the play's central story-within-a-story
in motion, with her crisscrossing suspicions about an ostensibly creepy
neighbor (Heather Dilly) and a phantomlike, guitar-wielding "potential
lunatic" (Papaelias), who leaves cryptic notes that reduce Phoebe's
otherwise impassive 1950s-housewife mom (Dilly) to tears. In one of the play's
odder twists, Phoebe simultaneously idealizes and diminishes her mother's
"tiny life" of chores, cholesterol-free cooking and perfect clothes--and
her daughter's disdain in fact seems to be a catalyst for Mom's liberation.
But things aren't always what they seem here, and in her
bemusedly earnest probing of modern life's complications, Creech captures a
pre-teen's awakening consciousness that all is not right with the world and
that grown-ups don't have all the answers. As Salamanca puts it with inarguable
succinctness, "Moms are weird."
There are matter-of-fact hints at parents' extra- or
post-marital peccadilloes, subtle swipes at constraining gender roles, a
stages-of-grief undercurrent--elements that, in a few years' time, would
constitute grounds for full-blown teenage angst, but here, stirred with remnant
traces of childlike wonder, create a sort of junior-high magical realism.
Director Melissa Kievman's production has its store of unfussy
theatrical wonders, from Papaelias' fragrant live-guitar underscoring to
lighting designer Paul Hackenmueller's evocative vistas. Louisa Thompson's
expansive, elemental set, centering a picture frame within the larger
proscenium frame, rhymes nicely with the piece's stories-within-stories
structure.
Playwright Julia Jordan has translated this to the stage
with a deft and sure hand, and Kievman's versatile cast generally nails the
right blend of goof and gravitas. The dark-eyed Lord suggests a cross between
Harper Lee's tomboy Scout and querulous Dorothy Gale, while O'Connor gives full
range to Phoebe, from cartoonish to crumpled. Dilly is offhandedly masterful in
her various roles, while the shaggy-haired Papaelias is blankly engaging.
The roles of the road-tripping oldsters--to whom Salamanca
unspools her yarns, and who in turn try to loosen her up with their gosh-darn
spontaneity and glee--would be thanklessly cutesy in anyone's hands. But Hyman
and Scott waltz smilingly right into the familiar faux-folksy traps.
The show's final revelations and life lessons won't rock
anyone's world, probably least of all the pop-saturated youngsters who are the
show's target audience. But "Walk Two Moons" embodies the axiom that life
is about the journey, not the destination--it's in the doing, not the done
thing.
Sets, Louisa Thompson; costumes, Anne Kennedy; lighting,
Paul Hackenmueller; original music, Lucas Papaelias; sound, Eric Shim;
production stage manager, Sara Jaramillo. Opened July 13, 2005. Reviewed July
12. Running time: 1 HOUR, 10 MIN.