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An American musical theatre production about a bunch of psychologically troubled individuals and the odd gratuitous moaner slogging through their last group therapy session together sounds unpleasant on paper, but don't let such a dubious description put you off. This show is an easy-going joy; sharp, funny, well-composed and performed, and absolved of any possible accusations of navel-gazing by a rich seam of cynicism.
Staged by Philadelphia's pleasantly named Nice People Theatre Company, the play requires no more than seven actors, seven chairs and Thomas Brady's accompanying piano – in the absence of co-composer Conor Mitchell until late in the run. However, there are only six places in which to sit at first, until overbearing, talkative mom Jackie turns up with her new best friend, Amy. The pair have met earlier in the day and Amy has agreed to attend what she thinks is a social group. Figuring out what's really going on, she's politely dismissive and wants to leave.
Cue the rest of the group talking (and singing) her through their problems. There's a brash idiot who's along only to get laid with vulnerable women, and a sweetly pitiable mummy's boy who can't get over the fact his mother has a new man. A borderline psychotic is conducting a vicious hate-mail campaign against an ex-boyfriend, and a teacher with anger management issues who swears at five-year-olds and barely caps a well of disgust for every man who's ever wronged her. Even the group leader, Patrick, has father issues which are unexpectedly aired. There's comic material to spare for the right hands here.
The staging is seamless, and the lively musical numbers with their sassy, laugh-out-loud lyrics are interspersed with sharp one-liners and dialogue. Amy Acchione's edgy Barbara (the one writing the hate mail) screws up a word-association test with pin-sharp comic timing, for example, while Jean (the teacher) lays into Amy for her own shortcomings with brutal efficiency (the pair are played by Nicole Paloux and Miriam White, the company's co-directors).
For the songs and for the breezy black comedy, audiences should welcome these characters' final 90 minutes together. |
