Strangers In a World Of Angst

Initially, "Strangers on Earth," by Mark O'Donnell, has the air of a cabaret or a nightclub. Each of its opening scenes is independently very funny, but is unconnected to the rest. The play threatens to remain disjointed throughout--fortunately, it becomes more cohesive as its characters begin to interact. "Strangers On Earth" is about five people; each is introduced alone, each in a scene with a clever twist.

Priscilla Fairburn is an emotionally needy Radcliffe alumna, a self-described writer whose role seems limited to one line about needing psychiatric assistance. She lives with fellow Radcliffe alum Margaret Gaminsky, a psychology researcher who work with chimpanzees. When they decide to renovate their apartment, the two women hire Mutt Vespucci (Chris Wilder), a crude, unpretentious handy-person, bike messenger and bouncer who delves into a tortuous love-hate relationship with Margaret.

Strangers on Earth

by Mark O'Donnell Boston Rep. Theater at the Boston YMCA

Pony Crocker (Morgan K. Nichols) is an untalented singer born to strict Mormons. He writes original songs, all of them about Jesus, and comes to New York after singing an amusingly disastrous proselytizing song in an elementary school. The final character, Hank Knox (Francis Henry), is the son of wealthy, influential parents. Hank is as emotionally secure as Priscilla is not. He is kind-hearted but confident to the point of overbearing arrogance.

The plot has the simplicity of a daytime drama: Margaret is overly repressed and unable to express her attraction to Mutt. Mutt expresses his desire for Margaret crudely in the beginning but refines his feelings as he gains maturity. Hank hires "Pris." Hank gives Pony his big break. Pris falls in love with Hank. Pony falls in love with Hank. Pris and Hank marry. Pris, who cannot deal with her own superfluity, feels that Hank is too whole as a person. Pony descends into cocaine and alcohol abuse. Pony grows to accept with Hank's inaccessibility, but never grows to accept himself.

Margaret and Mutt find common ground in the end, but the many of the characters remain unsatisfied at the play's conclusion--Hank isolated, Pony despairing and Pris only tenuously optimistic.

As Margaret, Maryellen Rowlett is empathetic and at times delightfully caustic when analyzing the other. When she portrays her characters's anger, however, Rowlett's performance falls flat; "emphatic" gestures and a raised voice are insufficient to carry these scenes.

Natalie Rose, as Pris, is convincingly pathetic as a would-be writer, hysterically entertaining in her weakness. As Hank Knox, Henry delivers perhaps the most consistent performance. The role calls primarily for a straight face; Hank's most salient feature is his inability to relate to the other characters. His arrogance is tainted with just enough impending doom to make his character likable.

Nichols' Pony appropriately annoys the audience with adolescent behavior, interspersed with glimpses of desperate insecurity. His final breakdown is strained and his subsequent apology not contrite enough, but this does not mar his performance.

In his portrayal of Matt, Wilder turns in a solid performance. But he and Rowlett flounder in a few scenes together; when their characters are supposed to be uncomfortable themselves.

The plot of "Strangers on Earth" is somewhat weak; the play is carried by frequent one-liners, often in series. Mutt, commenting on the disastrous effects of alcohol, notes that "Absolut corrupts absolutely." Margaret, dealing with the stress of losing a job by shopping, observes: "When things get tough, the tough get things." A wide variety of puns liven up a script that might otherwise be lifeless.

Neither the set nor the lighting is remarkable. Amusingly dressed men change the set to strains of eclectic music. At one point, the set-movers are cleverly integrated into the play.

The show's main weakness is pacing. Were the lines delivered slightly faster, audience members would exit smiling. The play begins rapidly enough, but slows down towards intermission.

Since the plot falls predictably into place once Pony's homosexuality is revealed, the play has little to carry it besides well-written jokes and the actors' solid talent. While the "Strangers on Earth" drags at a few