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Regional Reviews: Greater New York State Ken Ludwig's Dear Jack, Dear LouisePenguin Rep Theatre
The long-distance romance tale is based on Mr. Ludwig's own parents, who during WWII maintained a lengthy bi-coastal correspondence long before the pair would ever meet in person. The epistolary structure of the play is nothing new, but director Stephen Nachamie does a superb job of keeping the characters' interactions organic and the connections meaningful. Epistolary plays have the inherent hurdle of actors who never look at one another, never physically interact with one another, but have to, nonetheless, display growing affection, tension, etc. Nachamie keeps spirits high throughout the story of Louise, an aspiring Broadway actress, and Jack, an Army doctor stationed across the country in Medford, Oregon. Ludwig's plot, a somewhat fictionalize version of his parents' courtship, is surprisingly optimistic, despite the obvious logistical challenges the characters face (and the omni-present but not overly terrifying specter of a world war raging on). This optimism undercuts the tension slightly, because from the get-go there seems little doubt the two will eventually overcome all obstacles and get together. Initially, Jack (Michael Liebhauser) is certain there's absolutely nothing interesting to say about his life. Obviously, Louise (Alexandra Fortin) is pleasantly surprised when he finally reveals that he is not merely a soldier, but that he's an Army doctor. This discovery is a particularly delightful moment for both and emblematic of their future relationship. Their revelations, his a bit more circumspect, hers a bit more flowing, prod one another just enough to ascertain that this is a relationship worth pursuing. Despite the nature of the play, the action possesses the energy and immediacy of in-person dialogue. After a few straight letter readings at the beginning to set the style, the action devolves, necessarily, into a more traditional dialogue-driven drama. To his credit, Mr. Ludwig never falls into the trap of creating long-winded missives of his "letters." Director Nachamie ensures a smooth stylistic transition, and little "suspension of disbelief" is required. His blocking effectively, physically places the characters in the appropriate proximity to mirror the thrust of their conversations. Chemistry is a mysterious thing–some casts have it some just don't. From their very first interaction, its clear Michael Liebhauser and Alexandra Fortin have it in abundance. Penguin has once again put together a first-class cast–both of whom are making their debuts with the company. Ms. Fortin's "daffy but adorable" Louise slowly and gradually grows in dimension as the story goes on, and captures every heart in the audience. As the charming couple's attempts to meet in person are consistently thwarted by the fortunes of war, their optimism never fades. They share their frustrations and growing desires in a series of innocent innuendos that reveal a growing and maturing bond. Louise's overly lengthy performance of a scene from Arsenic and Old Lace is a hilarious sidebar and provides a hint of the "you need to laugh so you don't cry" nature of life struggling to achieve normalcy during wartime. The pen and ink nature of the courtship is rife with trials and that very nature provides some of the highlights and most affecting moments in the play–but at the same time some of the most audience-challenging moments (when Jack or Louise states: "sorry I took so long to respond" after we just heard them chatting literally a second ago, displays one of the shortcomings not so much of this particular play, but in this particular style of writing). When Jack and Louise lose track of one another, the delicate high wire of their relationship is exposed. The fact that he often cannot reveal where he is writing from only serves to increase Louise's frustration. Louise eventually connects with Jack's family, providing some of the most lighthearted and humorous moments in the play. Humor blunts the harsh reality of world events, but more and more, the horrors of the war begin to take their toll. Jack's revelation, as delivered by Mr. Liebhauser, of one of his human failings is absolutely heartbreaking and the pathos of the moment has the entire audience holding their collective breath. The only moment the play feels the least bit forced and a bit phony is during Jack's deep dive into the horrors that he has seen and his grim recitation on the mammoth losses incurred on D-Day. While a necessary element in the story, the length and breadth of the scene feels too perfunctory. A wonderful conclusion (no spoilers here) shows that even the darkest of nights end and reveal bright new dawns, as the horror of the war dissolves into the joy of V.J. Day. Eventually, all epistolary stories will probably become tales of texts and tweets, so we should be grateful for well-told tales in time-honored traditions like Dear Jack, Dear Louise. Ken Ludwig's Dear Jack, Dear Louise runs through August 18, 2024, at Penguin Rep Theatre, 7 Crickettown Road, Stony Point NY. For tickets and information, please visit https://www.penguinrep.org or call 845-786-2873. Cast: Creative Team: |
