Blame it on Beckett

John Morogiello's "Blame It on Beckett" has an original setting: the literary office of a regional theater in New England. And its focus is even more original: the role of the dramaturge. In this story of theatrical politics, the dramaturge is placed center stage and hit with a spotlight. Clearly, Morogiello has been through regional theater wars and proudly bears the scars, resulting in some interesting observations. There's much talk here about the writing of plays. It's a pity the playwright doesn't follow his own advice. He takes much too long to make up his mind about what kind of play he wants this to be. Ironically, what he needed was a good dramaturge. Still, for those whose fondness is theater with a capital T, there are some genuine nuggets of wit and insight to be found.

Jim Foley (Warren Kelley) is the resident dramaturge and cynic; he stresses traditional theatrical values while "on safari for the perfect dramatic structure." Enter intern Heidi Bishop (Lori Gardner), bright-eyed and brimming with integrity. Also stirring the brew is the ambitious theater manager, John Braschi (Mark Doherty), and the established feminist playwright, Tina Fike (Anne Newhall). Thus begins Heidi's education in the intriguing if treacherous world of nonprofit theater.

A slow start has the play spinning its wheels, gaining no real traction until the second act, when the plot swings into sudden dramatic gear. We're introduced to HIV, sex, lesbianism, betrayal, and the possibility of New York Times drama critic Charles Isherwood's butt going to sleep. The observations on theater often prove to be the most rewarding words spoken. We hear opinions on the dramaturge "as prophet," as "the least important creative role in nonprofit theater," and as the "nuisance factor." Samuel Beckett's entire canon gets dismissed in a witty voiceover elevator ride. And from Tina, a playwright's summary of theater: "It's a calling, like a priest but with a lot more sex." 

Under Jackob G. Hofmann's direction, the characterizations are fairly standard: the naïve beginner, the cynic, the ruthless manager, and the overly theatrical playwright. All the performers struggle to bring some individuality to their roles, with Gardner's naive but ambitious intern and Kelley's fussy but endearing cynic being the most successful.

Presented by the Abingdon Theatre Company at the Dorothy Strelsin Theatre, Abingdon Theatre Arts Complex, 312 W. 36th St., NYC. Oct. 16–30. Wed.–Thu., 7 p.m.; Fri.–Sat., 8 p.m.; Sat. and Sun., 2 p.m. (212) 868-2055 or www.abingdontheatre.org. Casting by William Schill.