L-R Eddie Dean, Paige Elisse, Jay Fuqua & Milicent Wright – Courtesy of Rob Slaven. Used with permission.
One of my all-time favorite TV shows is “The Carol Burnett Show,” starring the brilliant comedian, who, along with her wacky co-stars, kept American television audiences in stitches for 11 seasons, beginning in 1967. The pop culture classic, which featured broad, over-the-top physical sketch comedy with a focus on satire and parody, has stood the test of time. The show continues to draw new generations of fans who access episodes on Peacock and other streaming services. Causing me to recall and reminisce about Burnett and company’s zany oeuvre was “Two Mile Hollow,” seen Friday at Phoenix Theatre. An absurd romp written by Leah Nanako Winkler, a Japanese-born American playwright based in New York, the play’s run continues through April 30.
Milicent Wright – Courtesy of Rob Slaven. Used with permission.
Making Winkler’s screwball comedy about a wealthy, dysfunctional family even more hilarious is its major premise that a specific category of Caucasians is easy fodder for mocking, reinforced by the casting of Black actors playing white characters. They include Milicent Wright (Blythe Donnelly), Jay Fuqua (Christopher Donnelly), Eddie Dean (Joshua Donnelly) and Paige Elisse (Mary). In the role of Charlotte, a person-of-color character, is Arianne Villareal who is Asian.
Set in the tony Hamptons, the Donnelly family gathers to divide their belongings in their ocean-front mansion following its sale. Led by a domineering, pill popping matriarch, the constantly clashing unit consists of two sons, including one who is a TV star and the other holding two MFAs, although he has never had a job in his life, and an insecure, twice-married daughter, completely at loose ends. A guest at the assembly is a personal assistant for the family celebrity. During the alcohol-fueled proceedings, long simmering sibling rivalries are reignited, and dark family secrets are revealed. And though Winkler pokes wicked fun at familiar tropes found in “Long Day’s Journey into Night,” “August: Osage County,” and “The Glass Menagerie” and the people who inhabit their worlds, she leaves room for one to feel compassion for and even like these characters despite their chronic flaws and weaknesses.
An added treat in Winkler’s campy script are its cultural references, literary quotes and musical theatre references during which characters break into song and dance. It’s all tickling fun.
L-R Eddie Bean & Arianne Villareal. Courtesy of Rob Slaven. Used with permission.
“Two Mile Hollow” has the distinction of being overseen by Butler graduate and former NoExit Performance company member, Mikael Burke, whose distinguished national reputation as a sought-after director is soaring. Under his keen guidance, each member of the ensemble turned in a winning performance.
Wright, the most experienced of the group, having performed for years in local professional theatres, was an absolute delight as the cold, impervious matriarch; Bean was convincing as the narcissistic TV star; Fuqua charmed as directionless loafer Christopher; Elisse was hysterical as downtrodden Mary, who yearns for love and validation; and finally, Villareal was superb as the play’s only non-white character of any substance and the only sane one in the bunch.
Continuing its course towards presenting shows with exemplary production values, Phoenix has once again assembled a superb creative team that includes set designer Insung Park, costume designer Tonie Smith, lighting designer Eric Watkins, and Brian Grimm who designed the sound and score. Though a credit was not listed, whoever was responsible for the intentionally cheap-looking, blonde wigs worn by the Donnelly family characters deserves high praise, indeed.
My takeaway from “Two Mile Hollow” is that it’s high time to move away from the tired old stories skewered in this tasty confection of a social commentary and hear from the diverse voices that are finally having their say in the American theatre. And hopefully, inclusiveness, both on and off stage, is finally here to stay.
“Two Mile Hollow” continues through April 30. For tickets visit phoenixtheatre.org.
