On a cold, grim, grey, rainy evening in Rain City USA, a room full of people were staring at an empty stage with a backdrop of New York City. Presto-chango, some windows slid in front of the back-drop and SUNLIGHT flooded the stage. The audience applauded as Simon & Garfunkel's upbeat song, Feelin' Groovey worked magic on the depressed Seattleites.
Thus started Sylvia, a play about a wedge driven between a couple; Greg and Kate, by the husband's dog Sylvia (or as the wife calls her Saliva). The author manages to stage every difficulty dogs present to their owners: defecating on the floor, sitting on the furniture, slobbering, alienating friends and sexual activity in the park. In an extremely humorous manner which was endearing to both petophiles and petophobes, the dog becomes a focal point for other unresolved conflicts in the couple's marriage.
The strength of this play was in the dialogue, which was hilarious, as the couple battle about Sylvia. Expertly played by Linda K. Morris, Sylvia is triangulating and manipulative. The conflict between the couple is intensified because Greg's career is destined for the garbage can, partly due to Sylvia. On the other hand Kate, played by Mari Nelson, has recently liberated herself from suburban matronhood, and is excited about going back to work teaching Shakespeare to middle-schoolers. The needy Greg, played by Alban Dennis, wants the dog for narcissistic reasons: the dog exists to serve his emotional need for validation and adoration.
As the dog, Linda K. Morris, with movement choreographed by Geoffrey Alm, was superb, at times very sweet and at times literally a vulgar "bitch in heat" Through frenetic movement and very dog-like behavior-often of the obnoxious variety-she really conveyed the emotions, wants and desires of the species, including the slavish devotion to the head of the pack(Greg). Darrragh Kennan almost stole the show from the dog, playing three small parts with panache. He played 1) a wise-cracking dispenser of ultimate wisdom about the relations between dogs and their owners 2) an over-the-top repulsive orthodox New Yorker in drag and 3) a new-age marriage counselor whose Buddhist tendencies were also revealed in movement. (NB. Until I looked at the program, I thought they were all different actors)
With scene changes going back and forth between the apartment, the street, and the park, Sylvia could easily have been a film script. Dominated by a backdrop of New York City skyscrapers, the scene changes were executed swiftly and the audience was kept entertained by upbeat music.
The play itself was not in the A or even B list of plays. There was little real plot, no sub-plot and little character development. The serious aspects of petophiles i.e. that they attach themselves to dogs in order to get emotional fulfillment, otherwise lacking in their lives, was not explored. Nor were the more positive aspects of dog ownership i.e. that dog-ownership provides an imperative to exercise, or that it can save you from burglaries and muggings. At no point did the needy husband, have any psychological epiphanies about his excessive attachment to the dog. The end of the play, when the wife makes an abrupt about-face and decides not to give the dog away, was disappointing and syrupy sentimental.
However, the defects of the play were expertly covered up by Wright's direction, by the brilliant special effects, and the enjoyable performances of the actors. If this is Wright's treatment of a mediocre play, I can't wait to see what he will do with a really good play.
Sylvia, by A. R. Gurney Seattle Repertory Theatre, Nov 11 to Dec. 11. Directed by R. Hamilton Wright. Seattle Center, 155 Mercer St. Seattle, Tue-Sun 7:30. Some Wed, Sat and Sun matinees at 2 pm. Tickets (206) 443-2223 www. seattlerep.org
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