A Memory of Two Mondays
An evocative portrait of a specific time and place with very little plot, Arthur Miller’s semi-autobiographical play transports us to Eagle & Sons, an automotive parts warehouse in 1930s Brooklyn. Captivating character studies and a few stand-out performances make this an evening worth investment.
Cliff Wagner (Set Design) and Karen Landry (Scenic Painting) deserve accolades for creating a rich onstage world. There is tremendous attention to detail in the set, from the hand lettered signs to the thin layer of dust on every horizontal surface. It borders on naturalistic -- every scuff mark has a story to tell. Mike Reilly’s lighting cues assert themselves a bit too much at times (particularly in the transitions), but his plot generally contributes to the realism of Eagle & Sons.
Richard Leighton owns the stage with each entrance. His brutish, voluminous Gus fills the space, commanding attention in even the smallest moments. This is an actor fully plugged in to the material, the moment, and his fellow actors.
Other stand-out performances include Lynn Wanlass who delivers an endearing turn as switchboard operator Agnes. Julia McLlvaine (“Patricia”) and understudy John Wickersham (“Larry”) wring every ounce of subtext from their brief moments together. Understudies Max Baumgarten, Adam Hale and Chad Wood ring with authenticity in relatively smaller roles. Lane Compton has the thankless job of playing Arthur Miller (i.e. “Bert”); thankless because the role does not offer much for an actor to dig in on, but Mr. Compton brings an appealing, earnest spirit to every moment. The melancholy of Bert’s two Mondays (and part of one Tuesday) transmits effortlessly from Mr. Compton. The acting overall was superb from every player.
Amelia Mulkey’s staging flows elegantly. Her transition device -- a sort of impressionistic cacophony of the sounds of Eagle & Sons -- is a bit jarring at first, and plays a little too loudly over a key monologue. However, the final reprise of this device at the end of the play provides a wonderful counterpoint to that moment in Bert’s journey. Ms. Mulkey’s blocking is active and beautiful, blending the reality of an auto parts warehouse with the grace of a waltz.
A Memory of Two Mondays resonates with this Angeleno. A decade after moving here I still remember the people I worked with at dead-end jobs. I can recall those Mondays where everything seemed to happen at once. I suppose the Ruskin Group selected this play because of the unfortunate similarities between the Great Depression and our Great Recession, but the play has rich thematic relevance to us transplants, those of us who have moved on from our own Eagle & Sons, who will never forget the impact those fleeting moments in our past have had upon our lives.
A Memory of Two Mondays is performed Fridays and Saturdays at 8 pm and Sundays at 2 pm through August 28, 2011.
The Ruskin Group Theatre is located at 3000 Airport Drive in Santa Monica, just south of the 10 via Bundy Drive.
Ticket prices: $25; $20 for students, seniors, and guild members.
Reservations online at www.ruskingrouptheatre.org or by phone at (310) 397-3244.