I don't wish to violate the anonymity of anyone, let alone myself, but "Liberation," by Bess Wohl is less a play than attending a twelve- step meeting.
Oh, the dialogue and staging are carefully scripted. But they go nowhere.
For baby boomers, remember a phrase we never hear anymore called "Consciousness Raising?" That is the play's construct. Act One is a woman of 1970 as she starts an activist group in a gym in a school basement. The second act has her daughter taking over, questioning the choices her mother made. It is ponderous, non-groundbreaking, and haven't we all heard this before?
It even makes reference to Betty Friedan. As I heard this, I looked about me, wondering how many post-Boomer women even knew who Betty Friedan was?????????
Lizzie, the lead, is played a bit too stridently by Susannah Flood, and she is backed by a company that is able, but because of the flatness of the writing, does not lift the play to any heights. I thought at one point that, had it been cast with the likes of Lily Rabe, Celia Keenan-Bolger, Cynthia Nixon and others it might have given the work a boost. But the writing by Bess Wohl is less a play, and, like I said before, a recording of a twelve-step meeting.
Can I blame the director, Whitney White? Darlings, even if this play had been directed by Whiteney Cummings, it would have not worked because there is nothing for the director to direct or the actors to play against.
The set and costume designs are so pedestrian, I hate to embarass David Zwenn and Qween Jean. Think back to the original 1981 production of "Merrily We Roll Aong," especially now that the success of that musical is in the public eye. That setting got more criticism than this one, and for one reason only. The material was noticeably better and people had expectations. Girls, for this one, leave your expectations at the door. This play wants to say something, but succeeds in saying nothing.
However, there are two moments, one planned, one not that gave the performance a glimmer of interest.
At the top of Act Two, the performers come on, with the lights dimmed low, and are seen doing something. When the lights come up, and the actresses are seated in their places, they are completely nude. Well, darlings, I almost fainted!!!!!!!!!!!! Not a peep from the audience, though, but, as David said, it was a "New York audience." They go on to play an extended scene, unsheathed, and I could not understand what the point was. And, lest some think I am being sexist here, I felt exactly the same way about the nude scene in "Take Me Out," back in 2003.
Because of the above, something new was implemented for patrons. We were required to take these locked pocketbooks and put our cell phones into them. The staff would lock the small cases until the performance was over, when they would be unlocked for us. This was to prevent anyone from taking a photo of the nude women on stage. Hey, would they have done the same thing today, with men? I mean, I could care less. And I hear they are doing the same thing, over at "CHESS." Now, I am really scared! I do not want to see that grotesque creature named Lea Michele in the nude!!!!!!!!!!!!!!!!
The real, almost tragic event, came fifteen minutes into the show. As Susannah Flood was delivering one of her rambling monologues, someone in the orchestra (we were seated in the mezzanine) called out "Medical emergency!" Several people in the front rows began to move about, and I could see a man with a stethoscope, listening to the chest of an elderly male audience member. Someone called 911, and I imagine an ambulance was summoned, but, remarkably, the man was escorted out of the theater on foot. After a bit of time to settle down, the performance resumed from where it had left off.
My heart goes out to that man and his family. I hope all is OK. Never, in my 50 plus years of theatergoing has this ever happened to me. I hope never again.
And I bet Frank DiLella (really Delilah!) wouldn't know what to do. Can't wait to see him shill this crap!!!!!!!!!!!!!!!


















