Theater Review: Half a Gurney is better than none at TheatreWorks Theater Review: Half a Gurney is better than none at TheatreWorks (December 17, 2003)

By Bryan Wiggin
Almanac theater critic

I've often enjoyed the plays of A. R. Gurney for their intelligence, wit, and stylish dialogue. "The Fourth Wall," being offered by TheatreWorks for the holidays, has all of these elements, but it's an uneven work. It's enjoyable, but not fully satisfying.

A program note tells us the play was written during the first Bush administration, updated during the Clinton years, and has been revised again "to reflect the current political climate after George W. Bush became president."

And, indeed, the play is larded with timely political references, all of them critical of Bush and his doings. The audience generally enjoyed these, and if there were any affronted Republicans in the house, they courteously kept silent.

But the constant hammering of the current president grew a little tedious, as though some clever high school students had put on a show so they could bray their prejudices.

The fourth wall of the title is located at the front of the stage. It's in the living room of Roger and Peggy, a successful, happily married couple in the suburbs of New York. Peggy has insisted that the wall be left blank, and that all furniture in the room must face it. She thinks that maybe, just maybe, there are people on the other side.

Their friend Julia, a New York society woman of many amours, is enlisted by Roger to try to make Peggy see reason. But all they seem to see is that the life they are living looks more and more like a play. Even the champagne Roger offers to Julia is only ginger ale -- "stage champagne," he tells her.

Seeking guidance, they phone the theater department of the local college and are visited by Floyd, a teacher who wants nothing more than tenure. He becomes caught up in the surreality of the situation and, like a good director, begins trying to give it structure. He compares their dilemma to other plays, and likens Peggy, in her political fervor, to Shaw's Saint Joan. Peggy doesn't mind this comparison, but draws the line at being burnt at the stake.

Complications threaten when Roger and Julia climb into bed together, but when their preliminary rollings around cause the TV remote control to turn on, they watch television instead of whatever else they were going to do. Floyd high-mindedly declines a dalliance with Peggy because, "Basically, I've always considered myself gay." The goings-on are abetted by a player piano that leads them into Cole Porter songs at helpful moments.

That's about it. There's not much of a plot, but in one act of 90-minute duration, not much is needed. The charm of the characters and the quaintness of the situation are enough to sustain interest.

All of the actors give good performances. As Roger, Jackson Davis has a gangly earnestness as he tries to understand what's going on. Suzanne Grodner has a nice self-mocking laugh. Kimberly King is earnest as Peggy. As Floyd, Danny Scheie alternates between a very sibilant effeminacy and the roaring of commands. He also uses a couple of very coarse words that feel distastefully out of place.

Director Jules Aaron has his cast performing like a well-rehearsed string quartet. Everything is well-modulated, with only Floyd's roarings giving the feeling that someone has suddenly turned up the volume.

"The Fourth Wall" may not be Gurney at his best, but it brings a lot of laughter -- if not the author's customary rueful insights -- and it's an entertaining show for the holiday season.

"The Fourth Wall," by A. R. Gurney, is being presented by TheatreWorks at the Lucie Stern Theatre in Palo Alto through January 4. For information, call 903-6000 or visit www.theatreworks.org.

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