Ideal - ly taken with a grain of salt

The passage of years and the cult like growth of Ann Rand’s reputation unintentionally morphs her 1934 stage play Ideal from a meandering philosophical drama to a wonderful piece of satire and homage to the movies of the 1930s. I am sure Miss Rand would not approve, but as staged at 59E59 theater, Ideal is a hilarious black comedy and a rollicking good time if you choose to go with it.
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If taken seriously - at face value, the play Ideal is heavy handed screed about the narcissistic worldview of self-important artists in an age when the average person is struggling to survive the depression. It is serious and a little dull. However, when Ideal is viewed as Ann Rand’s melodramatic and disdainful take on the Motion Picture Industry of the 1930s, it is a raucously funny black comedy. Particularly when you understand she herself was a failed screenwriter and supported herself for a while as an extra in Cecile B. DeMille extravaganzas.
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Before becoming pin-up girl for raging capitalists and tea-party conservatives the world over, Ann Rand was a frustrated screen writer, and her frustration rages throughout Ideal. The play concerns a famous European actress, Kay Gonda, who yearns to be more than a movie star (it is rather obvious nod towards Greta Garbo or early Marlene Dietrich type, but also can be seen as a reference to Ann Rand herself, a European refugee of Soviet Russia). The play opens in the office frantic studio boss, a maniac surrounded by bad PR flacks and bitter associates. The audience learns that his most famous star, Kay Gonda is on the lamb, running from a murder investigation. Miss Gonda’s secretary shows up to inform the audience that the actress came by the house sometime last night to take 6 fan letters from her desk.
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Why six, why so she can visit six people and participate in six vignettes, as any black and white picture fan would know. In these six vignettes, she shows up in the middle of a stereotypical Hollywood problems of the 1930s, disillusioned husband, tortured artist, and down on his luck playboy among them. Echoes of Barbara Stanwyck, Norma Shearer, William Warren and Marie Dressler scream out from the stage. But the author twists the familiar set ups into arbitrary bleakness and distain, “proving” that she is above the mediocrity of the current playwright.
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Ann Rand’s inflated opinion of herself, her dismissal of the petty bourgeoisie of Hollywood (after they ignored her), and her attempt to poison the artificial plots, all of these unintentional motives layer upon each other too thick to ignore. Ideal ultimately ends up being an homage to the very medium she is trying to disparage. It is hilarious, sometimes purposefully and often accidentally.
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As Kay Gonda, Jessie Barr stand outs in the cast. She captures the self-importance and bitterness of the role wonderfully. The author really doesn’t like this character, and Miss Barr has no problem dishing up a vapid, self-delusional character, while still imbibing her with charisma. The fact that the audience identifies with Kay Gonda is a tribute to Miss Barr.
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The other members of the cast play multiple roles. Unfortunately, as a rule, the cast members are too young to play these roles effectively. They do a fine job generally, but their youth often works against them. Three of the ensemble, (Kim Rosen, Andrew Young and Dan Pfau) succeed in overcoming this wonderfully, by ignoring the age issues and plunging headlong into the characters. Dan Pfau is especially effective in wearing his emotions like a worn out raincoat (sorry, the film noir references come hot and heavy after this show).
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Director Jenny Beth Synder does a good job of moving the show along and allowing the right attitude to each of the vignettes, but the real star here is Ann Rand at her self-important and world-weary best. If this sound like something you might like, hurry to 59E59, Ideal is a hoot.
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It is always a little disconcerting when one person seems to be enjoying a play more than everyone else in the audience. It is particularly disconcerting when that one person is yourself. And so, I felt like a bit fish out of water while thoroughly enjoying myself at Ideal, the New York première of Ann Rand’s 1934 play. But then again, I had the same reaction at the first Austin Powers, a box office dud, that only bloomed on home video release. Ideal won't get a home video release - so go see it now.
(tickets)
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IDEAL
The 59e59 Theatre, June 17 – July 3, 2010
Cast list: Liz Aldefer, Jessie Barr, Ted Caine, Bill Griffin, Sean Ireland, Lee Kasper, Emily Marrow, Cara Massey, Dan Pfau, Kim Rosen, Ariana Seigel, Carly Walsh and Andrew Young
Director: Jenny Beth Synder
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Rating: Well Worth The Money
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What works: The echos of 1930s movies and movie stars
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What doesn't work: Some actors are too young for the roles
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What you get to brag about to your friends: It's a newly produced play by Ann Rand - author of Atlas Shrugged - how often do you see that!