We Call Her Benny – No “…and the Jets” jokes, please
Duncan Pflaster
I can best liken We Call Her Benny, the new play written and directed by Suzanne Bachner, to a roller-coaster ride, or better
yet, one of those new-fangled ones that veers off in unexpected and thrilling dimensions when one least expects it. It's one
of the most theatrically interesting pieces I've seen in years.
It's the story of a girl/woman named Anna (played by two women, both named Anna, who play, in alternating scenes,
teenaged Anna and adult Anna). Anna's life is complicated: she was adopted as a baby, and when she's diagnosed with
bipolar mood disorder, she searches for her birth mother, even though her real mom is in the hospital, which disturbs her
father. Meanwhile, she's experimenting with sex (both as an adult and teenager). She's married, she's frigid, she's seeing
visions of her stillborn brother (who taunts her that he's the reason for her adoption), and is highly disappointed when she
does meet her birth mother. The play presents all of this in non-linear fashion, with scenes ingeniously blending into each
other, with only the 10 actors and 4 black cubes.
The direction is startlingly crisp and clean- everyone onstage (and everyone is onstage nearly the whole time) is totally
focused at all times. Those actors not in a particular scene are background, but not passive- they move and contribute to
the scene providing counterpoint or visual subtext.
The writing is deft and fearless; my only complaint was that it was too short. It left me wanting more. I could have sat quite
happily involved in Anna's world for another hour.
This is not least because the ending is something of a letdown- there didn't seem to be much resolution; the actors came out
to bow, and I was all, "oh, that's it?". Actually, much like a roller-coaster ride; after all the thrills, you end up back in the same
place.
The cast is incredible, with nary a weak link. Special note must be made of the two superb leads - Anna Bridgforth, as Anna,
is supremely the too-smart-for-her-own-good adolescent, bubbling over with excitement and angst by turns, trying to find her
way in a world where she's not sure how she fits. Anna Cody, as Anna, is a wiser, sardonic presence, though she shows her
vulnerability- Cody makes it clear that as an adult, though she's learned to cope a bit, Anna is equally as lost in her confusing
existence. Cody's dry, frequently comic delivery reminds one of a young Joan Cusack (she probably gets that all the time).
I also very much enjoyed Candice Owens as Judy, the birth mother: she paints a beautifully realized picture of a woman who
could quite easily have become a caricature; she's hilarious but full of her own angst and issues poking out beneath the
surface.
Morgan Lindsey Tachco is touching as Mrs. Boyd, who works at the adoption clinic, as well as Gaby, an old friend of Anna's
who has become a swinger and tries, with her smarmy husband (the hilarious Bob Brader) to seduce Anna and her husband
(Thaddeus Daniels) while on vacation together.
Danny Wiseman is great as Anna's first assholish lover, Bob Celli is nice as Anna's burdened father, Sean Dill is perfect as
Anna's therapist, and the hunky Francis P. O'Flynn is ominously funny as Brother.
This play should be seen by anyone wanting to know the future of theatre. Catch it while you can- I hope it'll go places.
The production features choreography and assistant directions by Julie Rosier, costume design and associate production by
Deborah Alves, lighting consultation by John Tees, III, technical direction by Douglas Shearer, consultations by Fred Poole
and Marta Szabo of The Authentic Writing Workshops, photography by Scott Wynn, and graphic design by Michael Koch.