A bickering married couple and an unlikely murder suspect comprise two one acts by the deft Lanford Wilson.
“Breakfast at the Track”
Two years into their marriage, a couple has not reconciled the fact that he’s a morning person, she thrives evenings. The difference in waking hours is so extreme they hardly see one another and rarely have sex. We meet them vacationing in Saratoga.
He rises at dawn with infectiously cheery anticipation of breakfast at the track- watching horses parade, eating eggs and kippers. Never removing her sleep mask, cocooning herself in blankets, she grumbles at the hour, promptly falling back asleep every time he attempts to get her up. Neither enthusiasm nor cuddling evokes success.
“I feel as if we’re on separate vacations,” he says. “I can’t believe you’re still talking,” she gripes. That’s about it. Never the twain shall meet. The piece is so slight, it seems like padding for what follows. Both actors are completely credible, Geoff Stoner in his lightness and frustration, Margaret Curry in her stubborn insistence. One has the feeling both are capable of more demonstrative comedy.
“A Poster of the Cosmos”
1987. A career baker wearing slightly blood stained whites (bravo for nuance), has been brought to a police station for questioning. Wilson doesn’t give the interrogated man a name. Johnny is dead. Was he murdered? “You don’t look like the kind of guy who would do something like this,” he says presuming aloud what the cops are thinking. “What kinda guy is that? I ain’t that kinda guy.”
We learn about the mentally challenged deceased and a relationship that began platonic, then evolved to love. Description of Johnny’s struggles are realistically detailed and wrenchingly described with restraint that makes it all the more powerful. Not until almost the end do we discover precise circumstances.
Geoff Stoner is marvelous. Accent and meter create a whole character. The play’s emotional arc is beautifully paced and moving. Wilson slowly unpeels his story like an onion with parchment like layers. Stoner presents dignity in despair.
Director Mark Cirnigliaro offers solid characters eschewing distracting fuss. He exposes the heart of things creating empathy. Timing is splendid.
Photos by Matt Simpkins
“Who We Become” – One Act Plays by Lanford Wilson
With Margaret Curry and Geoff Stoner
Directed by Mark Cirnigliaro
Part of East to Edinburgh
59E59 Theaters https://59e59.org/