Theater review: I Ought to be in Pictures

by Mark-Brian Sonna of MBS Productions

Cast of I Ought to be in Pictures

There is no doubt One Thirty Productions mounts impeccable shows. The talent is always evident on the stage, the production values are tops, and they find scripts that are suited for audiences of all ages, even though according to their mission statement specialize in plays aimed at the “older” or senior citizen set. I have been amazed by the extraordinary plays this small group has presented every time I have attended. They produce some of the best theatre around. It saddens me to say that in their newest production, I Ought to be in Pictures (now playing at the Bath House Cultural Center in Dallas), I can’t glow and wax on about the show. It is merely OK.

While everything in the production side of things still shines, and the talent is evident, what is currently being presented is a too-safe version of this well-known play.

Neil Simon is frequently criticized for his sitcom set ups. His plays seem superficial, which is a by-product of many theatres failing to scratch beneath the surface. I Ought to be in Pictures is about an estranged daughter, Libby, showing up at her father’s doorstep, Herb, determined to make it in Hollywood and re-connect with her long lost dad. His dad is having an affair with a make-up artist, Steffy, who also wants her relationship with Herb to move from sex for fun into something more permanent. Comedic fodder is evident in this plot line as is the possibility of exploring deeper emotions as to the meaning of relationships, and the definition of self when confronted with one’s own past. Neil Simon delivers so many juicy one liners that many times theatre productions fail to realize the seriousness and pathos underlying the characters. Simon’s characters are damaged souls, and in order for his plays to succeed one must not only deliver the laughs but must mine the complexities of each relationship. In this production only the surface is scratched, leaving us the audience wanting to connect more with these people. They come across as one dimensional. Very little subtext is explored.

Whose fault is it that not more of the subtext is explored? It’s always hard to pinpoint where the blame lies: is it the director or the performers? Larry Randolph as the director inhibits some of it by his staging. At one point he has two of the characters deliver a serious discussion with their backs to the audience. While having an actor’s back to an audience can frequently be very powerful, in this case the scene goes on for too long and we are deprived of their faces and therefore their emotions. Michael Corolla as Herb and Marilyn Setu as Libby play their part with much relish, but neither character ever grows or evolves, even though the lines are there for it. Mary-Margaret Pyeatt in the smaller role develops her character arc effectively. She also plays her role more dramatically, and because of it the laughs she generates are more profound, heartfelt and satisfying. Her presence kept reminding me how superb this play could have been instead of being simply adequate.

Should you go see it? Yes, if you want some light entertainment. If you are expecting a more satisfying experience, then you might be disappointed.