Sharon E. Cooper's thought-provoking new play about the disintegration of a Jewish family received its New York debut at ATA. Ella Fink, a widow in her 70s, has been diagnosed with early stage Alzheimer's Disease. The vibrant and independent Ella, who has had a wonderful marriage and loves her daughter and grandchildren, is frustrated and enraged. Her daughter Sara tries to help by encouraging Ella to move in with her family. But Sara's 20-year marriage is falling apart, and it's questionable how Ella will fit in.
Cooper's premise is intriguing but needs greater development plot-wise as well as with characterization. Ella seemed merely forgetful, and scattered rather than senile ó her youthful, perfectly kept appearance (an early sign of this illness is lack of attention to appearance and hygiene) didn't help. The actress playing Ella looked about 50; far too young to be regaling her family with stories of the Depression and Second World War. The theme of Sara's failing marriage was not developed enough either, leaving too many unanswered questions. After a first act that prepares us for a sympathetic woman's descent into dementia, the second act appears to have been rewritten by the Hays office. There is no more perceptible deterioration on Ella's part, and she becomes reasonable about giving up her independence to live with Sara and her family, and everyone seems pretty happy. But how is Sara's estranged husband going to react, and how will it impact their marriage, their teenaged daughter and young son, and Sara's relationship with Ella? These crucial factors were glossed over, disappointing an audience sympathetic to the family's plight.
Director Rachael Buckner kept the action moving and was fortunate to have the services of a talented ensemble. And if Antoinette Gallo's Ella and Margaret Catov's Sara were too young to be totally believable, they gave their all and created thoughtful, sympathetic characters. The strongest work of the evening was contributed by Amelia Nickles, whose intense, inciteful performance as Sara's teenaged daughter was an emotional powerhouse. Christopher Cropanese was delightful in the smaller role of Sara's son Cody.
The uncredited set and costumes were appropriate and effective. Light and sound designer Marcus Lasalle did exceptional work, creating unflattering early morning lighting and a scary thunderstorm that could not have been any more visceral and unsettling.
Writing: 1
Directing: 1
Acting: 1
Sets: 1
Costumes: 1
Lighting/Sound: 2
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Copyright 2001 Julie Halpern