Presented by and at Manhattan Theatre Source, 177 MacDougal St., NYC, July 14-31.
British playwright Peter Shaffer, best known for his psychological thriller "Equus," has also turned out some interesting one-act plays. Two of them, "Black Comedy" and "The White Liars," were recently in revival at Manhattan Theatre Source—and were a pleasure to behold. The first-rate ensemble acting is surely a result of the clear-sighted direction of Daryl Boling (one of the theatre's founders).
"Black Comedy," first produced in England in 1963 and later in New York, is an hour-long slapstick farce that runs out of gas. Nevertheless, it is very funny and employs a unique theatrical trick, permitting the audience to witness the action with x-ray eyes. The stage is dimly lit for the party that Brindsley (Ben Thomas), a sculptor, has organized to entertain Bamberger (Lex Woutas), a wealthy German who is famous for purchasing the work of unknown cutting-edge artists and thereby establishing their reputations and marketability. Bamberger is flying in from Germany that evening to look at Brindsley's work. But just as Brindsley and his live-in fiancée, Carol (Beth White), are getting ready to receive guests, the dim lights go up to full brightness, and the devastated Brindsley declares that a fuse has blown. Instantly, one perceives that the play has established a day-for-night convention. As guests enter and grab the darkness, the audience can see everything. But in the stage business, there is too much of people in the dark accidentally groping other people in the wrong places. Yes, the German art dealer does finally arrive. But after that, my lips are sealed.
"The White Liars," which comes first, is a compact melodrama of surprising complexity dealing with identity. Shorter than "Black Comedy," it proves more satisfying.
Tom (Christopher Ross) is a musician discovered and managed by Frank (Michael Shattner). They go together to a clairvoyant named Sophie (Sharon Fogarty) to solve an interpersonal problem regarding a woman each presumably loves. But lies about personal history abound and, at the end, Sophie too reveals the life-lie of her identity. The acting is of high caliber. And the costume and set design for both plays—by Miriam Sohn and Maruti Evans, respectively—are striking and memorable, especially Tom's orange jacket and rust-red pants.