Theater Review by Carole Di Tosti . . . .
In Brooklyn Laundry, John Patrick Shanley elucidates profound themes about family, love, loss, responsibility, and the healing power of truth. The 80-minute play, also directed by Shanley, is currently running Off-Broadway at New York City Center Stage 1 through April 14.
Cecily Strong (Saturday Night Live), and David Zayas (Dexter), meet at a drop-off laundry in Bushwick, Brooklyn. They become involved with each other as a result of desperation, depression and loneliness. Indeed, they are between partners and have not been involved in a successful relationship for, perhaps, years.
The charming Zayas, is Owen the laundry owner who engages in light conversation with Strong’s Fran as the play opens. She is an “on again off again” customer whose boyfriend left. Fran admits later in the scene that she is self-conscious that she can barely scrounge enough laundry to drop off one load. When she was with her boyfriend the bag weighed thirty-eight pounds because she added his laundry to hers.
Former employee Yolanda usually serviced the laundry when Fran came in, so this is the first time Fran meets Owen. She reminds him he still owes her credit for losing a bag of her laundry six months prior. Owen acknowledges the lost bag and the mystery of its whereabouts. With goodwill, he apologizes. However, Fran doesn’t hold back in her snarky comment that the credit doesn’t cover the price of replacing the missing items.
There is a feeling of sympatico between them that generates further chit chat and teasing. Owen notes her negative attitude. He tells her she reminds him of his fiancée, who was “smart, one inch from terrific, but gloomy.” Fran disputes his label and suggests reality has brought issues into her life. It isn’t without reason that her situation doesn’t make her the sunshine kid.
Owen discusses the importance of an uplifted attitude, sharing his life story. He became the owner of three laundries after a car accident settlement and lawsuit against his 9 to 5 boss who unfairly fired him. Assured that she might be interested, he takes a leap of faith and asks her to dinner. Fran tells him it will be “a date,” after she returns from a family visit to Pennsylvania.
Shanley has established the ground rules for these two individuals from different backgrounds with little in common who make a connection simply by being present together and willing it. From this initial spark, the playwright takes us on a journey of how unlikely singles Fran and Owen fall in love out of need.
In the next segment, we understand why Fran is depressed when the scene reveals that her sister, Trish (Florencia Lozano), is ill with cancer and loopy on meds. After her visit, Fran goes on her date with Owen high on magic mushrooms. She offers some to Owen and together they experience the beauty of the lights and delights of romanticism. Their conversation intensifies as do their feelings for each other.
On a sub rosa level, Fran introduces the mushrooms into the situation because she wants to escape thoughts about her dying sister. How pleasant it is to be in a seductive place with Owen. Why spoil it with her Trish reality? Death and dying would drive anyone away. Fran suppresses her emotions to suit Owen, despite the complications with Trish, who has less than a month to live.
Happily, the magic mushrooms encourage their intimacy. Fran helps Owen conquer his sexual problems caused by his car accident. His humiliating and poor performance turned off his former girlfriend. With Fran everything works perfectly. While Owen is candid about a very personal subject, Fran isn’t candid about her sister. By suppressing her sadness, she focuses on pleasing Owen, and thus their relationship blossoms into a budding love, but with a hidden worm.
Rudely, reality intrudes and gnaws away at Fran’s dreams about Owen. Fran’s other sister Susie (Andrea Syglowski is always spot-on), stops by to collect Fran so together they can make arrangements for Trish’s imminent death in Pennsylvania. Fran refuses to go with Susie. She fears if she leaves Owen to spend time with family, she will lose the momentum of their relationship, and he will dump her for someone else. Owen is more important than family.
The argument that ensues between Strong’s Fran and Sydlowski’s Susie about whether to visit Trish before she dies is beautifully paced and authentically threaded by both actors. During their hot exchanges, we learn how high the stakes are for Fran. She has never been married and has been the handmaiden to her two divorced sisters and their relationships with loser husbands. We realize why she elected to escape to a love relationship with someone offbeat, so she doesn’t have to confront the problems engulfing her life.
However, the worm turns. Susie tells Fran she is dying of pancreatic cancer. Fran’s love for her family overwhelms her. She gains the power to act responsibly. Shanley’s characterization of Fran reveals her nobility, self-sacrifice and integrity in honoring her sisters and family. She has made up her mind to take care of them, and whatever Owen does is up to him. Fran puts family first. Will Owen come with her? Does it matter?
Kudos to Santo Loquasto’s involved, three-set, scenic design on a turntable, Suzy Benzinger’s costume design and Brian MacDevitt’s lighting design. MacDevitt presents the magical fairyland lighting of the restaurant scene perfectly. Additional kudos go to original music and sound design by John Gromada.
Brooklyn Laundry is facile and enjoyable thanks to the excellent acting ensemble. Shanley’s rhythms about loss, need and taking risks without ego are empathetic and recognizable.
Brooklyn Laundry. Through April 14th at New York City Center MTC Stage 1 (131 West 55th St between Sixth and Seventh Avenues). 80 minutes, no intermission. www.manhattantheatreclub.com
Photos: Jeremy Daniel
