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Off Broadway

He Says: The Lucky One: Poor Tom, Poor Gerald

He Says: The Lucky One: Poor Tom, Poor Gerald
The Lucky One

Photo: Cast Paton Ashbrook, Ari Brand, Andrew Fallaize, Michael Frederic, Robert David Grant
Wynn Harmon, Cynthia Harris, Deanne Lorette
Peggy J. Scott andMia Hutchinson-Shaw. Photo: Richard Termine

The accents are on in full in A. A. Milne’s The Lucky One, currently being staged by the Mint Theater Company at Theatre Row. It feels like an ever so proper British play, served up by a group of fine actors in search of a better Noel Coward play. The play, written by the man made famous by the children’s book, Winnie the Pooh in 1926, had a short Broadway run (40 performances) in 1924.  Although some called his play, “perverse”, it was seen as his attempt to move away from whimsical to a more serio-comedic stance. Ludwig Lewisoh, of The Nation wrote in 1922 after its premiere at the Theatre Guild, that The Lucky One is “simple in a different world from all the other plays of Mr. Milne…It analyzes a moral problem in strictly dramatic terms with both delicacy of touch and weightiness of intention”.

Ari Brand, Robert David Grant, Michael Frederic

Ari Brand, Robert David Grant, Michael Frederic. Photo by Richard Termine.

This production, directed with a simplistic eye by Jesse Marchese is sadly lacking in that delicacy or the weightiness.  It struggles to find intricacy in action or intent, playing British characters broadly.  Terribly bogged down with a clunky set (set design: Vickie R. Davis) with two great staircases taking up so much space that the actors pile up on top of each other in a narrow sliver of acting space in front of a tiny couch. The actors try to engage, but never really connect. Sadly, after descending down that noisy and unnecessary staircase to make their entrance, they must combat some pretty bland direction and stereotypical acting choices, courtesy of Marchese.

It’s a compelling story though, that Milne wants to explore; the difficulty of truly knowing someone beyond the surface and the obstacles that are in place to distract. Two brothers, the youngest gifted with luck and charm, or so it seems by all those that surround him, while the oldest is looked down upon by family and friends. “Poor Bob” is what is usually said first (so often it starts to feel comedic) when others refer to him. It’s no wonder he became exactly that.  All see him as struggling and inept in the world, except by the wise straight-talking great-aunt, Miss Farringdon, a beautifully droll Cynthia Harris. She sees something else, someone in need of some love and care. She also is the only one who sees something other than luck and charm in the younger brother, Gerald.  Even though initially she doesn’t want to embrace Gerald, she is one of the few characters in this play willing to re-evaluate the substance of another beyond the surface.

Gerald, played with a big-grinned good natured charm by Robert David Grant (Pearl Theater/Acting Company’s Hamlet), seems to have it all: worshipping parents; the solid Sir James Farringdon (Wynn Harmon) and the mother, Lady Farringdon (Deanne Lorette), the kind fiancé, Pamela Carey (an engaging but slightly miscast Paton Ashbrook), and an assortment of others singing his praises in typical British postures. What Gerald doesn’t have is Bob. ‘Poor Bob’ is not one of his adoring fans. He is played with a dour one-note quality by Ari Brand (David Cromer’s The Neil Simon Plays), who seems stuck in an  frown and an angry stance. And he has every right to be, especially as it becomes clear that his dis-connect with his family and profession have lead him into a tight spot of trouble. Turning, probably far too late, to his lucky brother for help, he gets met with a light-hearted indifference that sends the already over the edge older brother, even further down the rabbit hole. Or at least it should. The main problem with the direction is that the dynamics are all up front and obvious from every character’s first entrance, leaving the actors very little space (literally and figuratively) to emotionally develop their characters. We are forced to slog through the plot points in the first two acts in order to finally get to the clash where the emotionality of these two brothers can finally alter, shift, and develop beyond the one note given so far.  It’s worth the wait to see these two finally given some meat to chew on, and they both raise to the occasion.

The ending is insightful and layered, something the story had been missing up until the final clash, and its great to see these two finally show some complexities. It’s a welcome arrival into the more authentic world of real human interaction, beyond the pseudo Coward play we’ve been privy to. The love story concerning Pamela is secondary and really just a catalyst to create this final moment. The ‘poor players’, being stuck in that narrow confined space, both literally, figuratively, and emotionally finally are given something worth investing in.

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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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