Talk about a tour de force, the current Actors Theatre production is
precisely that. ATN's redoubtable veteran, Jetti Ames, doesn't steal this show---she owns it. She's effervescent and fluorescent; bubbling happily as she recites tales of (perhaps
fancied) fabulous parties and soirees, erupting when those happenings are questions by the hard, cold facts of time and place, glowing with the recalled joy of intimate past liaisons (perhaps
fancied), glaring when those same realities cast doubt upon her cherished memories (also, perhaps fancied). The playwright has liberally larded her part with hilarious one-liners, and there
are gems galore therein, but Ames plays them straight. No drum roll, thank you. This needs no offstage italics. She tosses them off with shruggingly casual élan, and to devastating effect. The capacity audience loved every minute
of it, and for good reason.
But be sure The Golden Age
is far from being a one-person show. Bonnie Comley, as Isabel's (Ames) granddaughter and Paul Singleton, as an aspiring biographer, keep the plot, such as it is, moving right along.
Never mind about the plot. It's there, to be sure, but like most of A.R. Gurney's plays (his Sylvia
enjoyed a successful run hereabouts last month) the plot is merely the foundation upon which he builds a soaring structure of slightly tongue-in-cheek observations about the current state of the values that guide our way of life. If that sounds daunting, it isn't. Gurney has a lot of fun with us, and gives it back to us in a most delightful fashion.
Paul Singleton and Bonnie Comely (aptly named: a most comely lady, she) add a great deal to that Gurneyesque dividend. Singleton brings an intriguing
amalgam of dedicated researcher, awed groupie, and overtly commercially motivated author to his persistent pursuit of Isabel's (perhaps fancied) F. Scott Fitzgerald missing manuscript. His
eager, somewhat naďve, yet always with an eye on
the prize, portrayal is well realized---not unlike the young William Holden's character in Sunset Boulevard. Singleton, whose theatrical background is most impressive, can proudly
add his Nantucket debut to his resume. Neatly realized thank you.
Every comedy, and this is a comedy, requires a straight man--someone off of whom the gags and
tricks of dialog or situation can reflect and allow us, the audience, to appreciate the fun without being offended. That's a tough job, and Bonnie Comley does it well. As the
reluctant but affectionately loyal object of Isabel's machinations she adds some depth to an essentially two dimensional character. Ms. Comley's Nantucket debut adds to an impressive list
of credits, and her appearance here is most welcome.
ATN shares yet another debut, but one not merely an island first. The Golden Age
is Stewart Lane's initial turn as director, and he fills the post with class and assurance. The pace and style of the performance add greatly to the evening's fun. Credit Lane with getting the most out of Gurney's amusing script.
As always, the physical trappings of the play are first rate. Richard Cary's set, with a pair of levitating lintels indicating doorways, is simultaneously
imaginative and practical, and Anne Cheney's lighting design neatly enhances the action.
The works of A.R. Gurney have always delighted Nantucket playgoers, and The
Golden Age, as presented at Actors Theatre, is one more fast-moving, laugh-provoking example of why that happy synergy exists.
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