[ssba]
Boy Gets Girl
Reviewed by Terry Morgan
Theatre Unleashed at The Belfry Stage
Through May 9
RECOMMENDED:
Rebecca Gilman’s 2000 play about stalking, Boy Gets Girl, unfortunately hasn’t become any less relevant 15 years after its initial production. Her observations that male dominance and female submission is culturally reinforced, and that most “romantic” movies are essentially stalker how-to guides, still hold true, which gives the play an undeniable chill. Theatre Unleashed’s effective revival thrives from a terrific ensemble.
Following a reference from a friend of hers, journalist Theresa (Ivy Khan) goes on a blind date with Tony (Jim Martyka). Although she’s not that interested in Tony, she agrees to one dinner date, but as the evening progresses and Tony reveals himself to be off-center, she makes an excuse about work and leaves. Tony doesn’t get the hint, however, sending her a barrage of flowers and showing up at her office, calling her day and night. When Theresa finally gets the police involved, they tell her to move apartments and change her name. Theresa is angry and scared, knowing that unless Tony gets caught trying to physically hurt her, nobody can legally help her.
Khan is excellent as Theresa, showing how the character’s persona of being an experienced, tough journalist gradually breaks down within the nightmare of her situation. Martyka is also impressive as Tony, initially deceptively harmless, but eventually exploding into a torrent of need and rage. Eric Cire is dryly amusing as the Russ Meyer-esque filmmaker Les that Theresa interviews, and Kate Dyler brings sympathetic but clear-eyed gravity to her role as Detective Beck. Bobby McGlynn and Eric Stachura are solid as Theresa’s well-meaning coworkers, and Sammi Lappin is funny although a bit over the top as secretary Harriet.
Director Jacob Smith gets great work from his ensemble, and a moment where Tony pounds on the back wall of the theater and shakes the audience’s seats amps up the tension. As sound designer, his choice to play Aimee Mann’s “Wise Up” during one of the scene changes, with its lyric of “It’s not going to stop,” is inspired.
Gilman has written an important and powerful play, but it does get a bit didactic in Act 2, where characters seem to recite talking points in an essay about stalking. That’s not enough, however, to impede the quality of this fine, nuanced production.
Theatre Unleashed at The Belfrey Stage, Upstairs at The Crown, 11031 Camarillo St., N. Hlywd.; Thurs.- Sat., 8 p.m.; through May 9. www.theatreunleashed.org
