The Plank Panel attend Marla's Party

Marla's Party, nothing like a family reunion to make you realize you're nuts!

*The Play:* Marla’s Party, an offbeat domestic comedy by Darrah Teitel.

*The Panel:*
*Alison Broverman* is a Toronto-based playwright and arts reporter.
*Andrew Templeton* is a Vancouver-based playwright and accidental reviewer

Alison: You know what I like? I like a play that isn't afraid to be downright BATSHIT CRAZY. Marla's Party didn't always hold together for me, but it definitely entertained. I'm always interested to see how Judaism is portrayed in theatre (and elsewhere, but I just saw a play. I also saw "Pineapple Express" today, but you probably don't want to talk about that. The two main characters are Jewish, though. But it's not important.) Ultimately, though, I wanted more - the characters were clearly complex and interesting, we just weren't given enough to understand their choices. Why did Ella dump her hot girlfriend to become an orthodox Jew? What was up with that creepy psychiatrist? Why did Ella and Ari stop speaking?

Andrew: You've summarized the main weakness of the script. Why? What is driving these characters forward? The core of the piece is about the twin girls - Ella and Ari - but we're not really given any insight into their relationship or, indeed, why they both have taken very drastic measures to opt out of the world (Ella by becoming orthodox, Ari by attempting suicide). Clearly, with a mother like Marla these options do start to have some appeal but that's not enough. The play is nuts on top, with incidents and quirky characters piling up on one another. I like ambiguity and mystery but I had no confidence that there was any pattern or structure underneath the madness holding everything together. I suspect it was an early script by a young playwright (the notes in the program would tend to support this). While I'm happy to be introduced to the work of Darrah Teitel, I didn't understand the passion that led to this particular production. Hasn't she got something newer we could have a look at?

Oh, and speaking of Jewish, didn't you find it strange how Valarie Buhagiar (as Marla) would slip into the occasional "oy vey". I think the idea was that when she got excited she reverted to her normal accent. But it just made Marla seem crazier than she already is (which is saying something).

Alison: Actually, the moments where Marla slipped into yid-speak (I can call it that! I'm a Jew too!) were the ones that rang truest to me - where did her predilection for voodoo come from? And what about her dreamy Argentinean? How did they even meet? The play moved so fast that I didn't really notice how many unanswered questions I had about it until long after it was over. I liked how the sisters kept locking themselves in the bathroom. But I didn't understand why Marla would invite the pedophile psychiatrist (his speech about 14-year-old Ari? EW EW EW EW EW!) to dinner in the first place.

Andrew: She was fourteen at the time! My delicate sensibilities must have blocked out that vital piece of information but with so many shocking revelations, who could keep track? Ah yes, the bathroom. In fact, ah yes, the set. Not only did they have to fit six actors onto a tiny stage, they had to fit in that set! Beyond pondering the wisdom of a wooden stove, the stability of the bathroom door - which tilted alarmingly back and forth - was a constant source of unease for me. I must confess that I felt like jumping up on stage, stopping the show and with a couple of volunteers from the audience clear the stage so the actors could, you know, act. This took bumping into the furniture to a whole new level.

Alison: I don't think she was 14 at the time that they had sex, but he definitely rhapsodized over her 14-year-old self at some point in his creepy, creepy speech. I thought the set was ambitious, but it did turn out a bit (ok, more than a bit) cluttered on the little Factory Studio stage. It was a shame about the wobbliness - this play could have used a few more good door slams.

Andrew: You’re right, it could have done. But that’s what sound effects are for. They really should have dispensed with the set and relied on the acting talent they’d collected, which was impressive. They all did great work, with special recognition for Natasha Greenblatt (Ella) for her ability to remain so grounded as she went through three (by my count) major life-changes in the space of 50 minutes.

Marla's Party by Darrah Teitel; Directed by Kate Lushington; Presented by Rabiayshna Featuring Jeffrey Aarles, Valerie Buhagiar, Natasha Greenblatt, Lindy Greenwood, Carlos Gonzales-Vio, Susanna Fournier. Part of the 2008 SummerWorks Festival. You can find out more information and show times here.

By Alison Broverman and Andrew Templeton