FringeNYC 2013: Who's Afraid of Me, Myself, and Edward Albee?
When a neurotic businessman is joined by an outlandish stranger at a bus stop, his daily routine is dramtically rerouted. Secrets, repressed feelings, and self-discoveries will ultimately cause one life to change direction forever. But which one?
Official production websiteShow details/ticketing at FringeNYC
Review by Cory Conley · August 10, 2013
Just in time for summer vacation, Matt Thompson gives us yet another reason to avoid taking the bus. There were plenty of reasons before, of course, but Thompson's clever play Who's Afraid of Me, Myself, and Edward Albee? raises the prospect of an alarming new hazard for motor travel: you could face an existential crisis at the bus stop.
That's more or less what happens to Thompson's protagonist Larry, a nervous soul who settles in at the depot around the corner from his house, only to discover a mysterious button-down shirt sitting next to him. He picks it up, and is greeted by ominous music that accompanies the arrival of Herman, a man with an vengeful look who turns out to be the owner of the shirt. After angrily putting it on, Herman starts to engage in an extended inquisition that will test Larry's endurance (and sanity) throughout the play's ninety minutes.
As the title implies, this setup recalls the work of Edward Albee, especially his early play The Zoo Story, which features a park bench and a pair of odd men who fight for territorial control. Thompson doesn't try to mimic the original, but he does manage to capture Albee's fascination with the failures of communication, and his commitment to the exploration of absurdity for its own sake. The script features plenty of digressions (mostly voiced by Herman) on unrelated topics like paintings, baseball fandom, cybernetic squid, and much more. It doesn't always work--- some of Thompson's self-contained wordplay falls flat--- but somehow it all adds up to more than the sum of its parts.
In large measure, that's thanks to the gifted performers. As Larry, Jarrod Weintraub quietly telegraphs all the bewilderment and rage that starts to build inside this man as he's pulled out of his cherished routine. As Herman, meanwhile, Jeff Hillman blazes through his many monologues with a theatrical playfulness that rarely feels forced. Both of them have been well served by Thompson, who also directs, and Julianne Eggold, who provides the spot-on musical score.
Albee's characters tend not to be very nice, and neither are his plays. Thompson follows that lead, in depicting an encounter between people with whom you probably wouldn't want to strike up a conversation anywhere, bus stop or otherwise. But there's something captivating and almost lovely in watching the dark ridiculousness of human affairs, and Thompson has brought that to us in a thoughtful way.
Preview: Interviews with Artists from Who's Afraid of Me, Myself, and Edward Albee?
We're asking artists from each show to answer questions about themselves and their work to help our readers get a detailed advance picture of the festival:
Theater Beats Movies · Jeff Hillman (Actor)
- Why do you do theater (as opposed to film, or TV, or something not in the entertainment field)?
Theatre is of the moment. There are no do overs. Plus, if there's something in my teeth, no close-ups! - What jazzes you about having a live audience to perform for?
I love the instantaneous reaction to performance. If the audience is into what we're doing, we'll know right away. And no audience reacts the same way as any other audience. Keeps me on me toesies. - Do you prefer to read plays by yourself, read them aloud, or perform them?
I definitely prefer to perform them, although reading to myself and aloud leads up to performance. I just need to be validated by an audience. I'm needy like that. - What moment or section in this show do you really love to perform? Without giving away surprises, what happens in that moment and why do you love it?
I really love to perform the "car wash" section. That's really when my character's absurdity assets itself, which drives the other character crazy. A close second to that moment has to do with bacon. You'll have to see it. - People who like which iconic film would like this show: THE SOUND OF MUSIC, STAR WARS, AIRPLANE, or FELLINI’s 8 1/2?
I'd you liked AIRPLANE, you'll like what we got goin' on, jive Turkey!
Gettin' Social · Libbey Lazarus (Other)
- Where were you born? Where were you raised? Where did you go to school?
Ojai, California. Raised in Ventura, California. School: Buena High, Ventura College, San Diego State University, International Dermal Institute, Lu Ross Academy - How did you meet your fellow artists/collaborators on this show?
I went to San Diego State University. This is where I became best friends with writer Matt Thompson. We fight like 2 old people. Its pretty funny to be around us. - If you had ten million dollars that you had to spend only on theatrical endeavors, how would you use the money?
Theater, Music, and Dance for At Risk Youth. - If you're a New Yorker: why is FringeNYC an important part of the summer theater scene?
If you're not a New Yorker: what are you most looking forward to doing and seeing (apart from the festival) while you're here?
Off Broadway, Shakespeare in the park, Ellis Island, Ground 0 memorials. :( - Describe your show in a tweet (140 characters or less).
Two complete strangers that are opposites find themselves at the same bus stop. Funny, strange, compelling.
Journey to FringeNYC · Matt Thompson (Director)
- Tell us about the process you used to achieve your vision of this play in this production.
The show was workshopped at several theatres and was developed by The San Diego Playwrights Collective through readings. - What are some of your previous theater credits? (Be specific! Name shows, etc.)
Directing Credits: "The Car Plays: 2012" at the La Jolla Playhouse. "Mistletoe, Music & Mayhem, King 'o the Moon, Ted Williams: A Tip of the Cap, A Midsummer Night's Dream" at North Coast Repertory Theatre, "Moonlight & Magnolias" at Scripps Ranch Theatre. - If this is your first appearance in FringeNYC -- why did you want to be part of this festival? If you have appeared in FringeNYC before, tell us what show(s) you have done here previously. What about your prior experience led you back to this festival?
I was striving for this play to have a larger audience in order to be exposed to the themes that drive this production. Plus New York is such an amazing city for new and innovative works of theatre. - Why are theater festivals important?
Festivals give a platform for the seeds of creation. - What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
We were rehearsing the show in my living room and someone called the police because they thought there was an actual fight going on! When the police entered my house we had to do a scene of the show just to show them we were acting!
All About My Show · Matt Thompson (Writer)
- Complete this sentence: My show is the only one in FringeNYC that...?
is a comprehensive look at the human condition through the eyes of Edward Albee. - What do you think this show is about? What will audiences take away with them after seeing it?
A deeper understanding of the choices we make as human beings. - Why did you want to write this show?
I want people to think about how life circles around and how to break or embrace those choices that lead you to where you are. - Who are some of the people who helped you create this show, and what were their important contributions to the finished product?
The members of this production team - the actors, the assistant director, the designers, and our producers. - Which character from a Shakespeare play would like your show the best: King Lear, Puck, Rosalind, or Lady Macbeth -- and why?
I think that Timon of Athens would enjoy this show the most. In "Timon of Athens" the lead character's major antagonist is humanity itself. It forces this character to deal with the choices that he has made himself.
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